Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA67782

In Liebeslust, S318

composer
1858; LW N56
author of text

Matthew Polenzani (tenor), Julius Drake (piano)
Recording details: February 2010
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2010
Total duration: 2 minutes 20 seconds

Cover artwork: Photograph of Matthew Polenzani by Sim Canetty-Clarke (b?)
 
1
In Liebeslust S318  [2'20]

Reviews

'Polenzani is evidently a tenor of the finest quality: a lyric voice, sweet and ingratiating, with the capacity to ring out excitingly, gloriously easy on high but with a perfectly adequate body to the tone in its middle and lower registers. He is firm and even, pleasingly expressive … he sings with warmth, intelligence and conviction, matching the superb playing of his pianist Julius Drake' (Gramophone)

'Polenzani remains an extraordinarily communicative Lieder singer, possessed of an agile and flexible voice of tremendous versatility. In the most intimate of these settings, as well as in the quasi-operatic ones, Polenzani and Drake create performances that are at once thoughtful, richly atmospheric and never less than compelling … this auspicious inauguration of the series whets the appetite for more' (International Record Review)

'This stupendous disc, issued ahead of the Liszt bicentenary next year, marks the start of Hyperion's survey of his complete songs, still a grey area for many despite past attempts by major artists such as Brigitte Fassbaender and Dietrich Fischer-Dieskau to rehabilitate them … as with so much of his music, their difficulty in performance is to be found in their emotional and expressive extremes. The challenges are more than met here, with Polenzani doing things in songs such as Der Fischerknabe or Pace Non Trovo that you never thought were possible for a human voice, while Drake's intensity is total and unswerving' (The Guardian)
In 1858 Liszt set to music a poem by his ‘dear, excellent friend’ Hoffmann von Fallersleben, whose elder son was named Franz in the composer’s honour: In Liebeslust. It was this poet who, in an ode in praise of the Altenburg (Liszt’s Weimar home), wrote ‘Es ist nicht eine Burg der Alten’ (‘It is not a refuge for the old’), to hymn the youthful hearts and forward-looking artistic sensibilities of those who congregated there. Liszt’s progressive, late-Romantic harmonies are on display here, complete with enharmonic key transformation in the penultimate section. The song is tightly unified by recurrences, transpositions, and metamorphoses of the three-note figure we hear at the start in the piano. For the proclamations ‘Ich liebe dich’ at the song’s climax, Liszt bids the singer to loudly declaim the words ‘ich lie—[be]’ (‘I love’) and then become hushed for the crucial word ‘dich’ (‘you’) in an example both of the contrasts Liszt loved and the emotional truth he sought.

from notes by Susan Youens © 2010

En 1858, Liszt a mis en musique un poème de son «cher et excellent ami» Hoffmann von Fallersleben, qui donna à son fils aîné le prénom de Franz en l’honneur du compositeur: In Liebeslust. C’est ce poète qui, dans une ode à la louange de l’Altenburg (la résidence de Liszt à Weimar), a écrit «Es ist nicht eine Burg der Alten» («Ce n’est pas un refuge pour les personnes âgées») pour chanter un hymne à la gloire des cœurs jeunes et des sensibilités artistiques tournées vers l’avenir de ceux qui s’y rassemblaient. Les harmonies progressistes de la fin du romantisme sont présentes ici, avec une transformation tonale enharmonique dans l’avant-dernière section. Ce lied est bien unifié par les récurrences, les transpositions et les métamorphoses de la figure de trois notes que l’on entend au début au piano. Pour les proclamations «Ich liebe dich» au point culminant du lied, Liszt invite le chanteur à déclamer à voix forte les paroles «ich lie—[be]» («J’aime»), puis à voix feutrée «dich» («toi»), un exemple des contrastes qu’affectionnait Liszt et de la vérité émotionnelle qu’il recherchait.

extrait des notes rédigées par Susan Youens © 2010
Français: Marie-Stella Pâris

1858 vertonte Liszt In Liebeslust, ein Gedicht seines „teuren, vorzüglichen Freundes Hoffmann von Fallersleben“, dessen älterer Sohn dem Komponisten zu Ehren den Vornamen Franz erhielt. Dieser Dichter war es auch, der in einer Lobeshymne auf die Altenburg (Liszts Weimarer Wohnsitz) und die jugendliche Zukunftsgläubigkeit der sich dort Versammelnden schrieb: „Es ist nicht eine Burg der Alten!“ Liszts progressive, spätromantische Harmonien werden hier komplett mit enharmonischen Verwechslungen im vorletzten Abschnitt vorgeführt. Das Lied ist eng gewirkt mit Wiederholungen, Transpositionen und Metamorphosen der zu Beginn vom Klavier gespielten Figur aus drei Noten. Die Liebeserklärung soll der Sänger gemäß Liszts Streben nach Kontrasten und Gefühlswahrheit laut deklamierend mit „ich lie—[be]“ beginnen und das so wichtige „dich“ nur noch flüsternd singen.

aus dem Begleittext von Susan Youens © 2010
Deutsch: Henning Weber

Search

There are no matching records. Please try again.