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Hyperion Records

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The Fisherman and the Syren: From a ballad by Goethe (1857) by Frederic Leighton (1830-1896)
© Bristol City Museum and Art Gallery / Bridgeman Art Library, London
Track(s) taken from CDA67866
Recording details: May 2010
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: May 2011
Total duration: 5 minutes 45 seconds

'As for the singing, I cannot praise it too highly. Florian Boesch has a warmly attractive baritone voice and his diction is first class, as is his response to the word meanings. Roger Vignoles's accompaniments, too, give great pleasure in themselves, especially in the pictorial devices which Loewe so relishes. The recording, as we expect from Hyperion, is first-class … if you are new to Loewe's music, I do urge you to try this richly rewarding CD. You won't be disappointed' (Gramophone)

'Boesch's performance demonstrates huge imaginative variety in characterisation … in such ways, Boesch emulates Loewe's own reputation, singing to his own accompaniment, as an 'actor-singer'. Vignoles matches him in playing of perception in what is pretty well an ideal introduction to a fascinating figure' (BBC Music Magazine)

'There is no better introduction to this great song composer; there are scarcely any more perfect song recitals on disc' (Classical Music)

Tom der Reimer, Op 135a
First line:
Der Reimer Thomas lag am Bach
circa 1860
author of text
18th-century Scottish ballad
translator of text

Introduction  EnglishFrançaisDeutsch
Translated from the Scottish original by Theodor Fontane, Tom der Reimer is a lighthearted take on the archetypal tale of the beautiful temptress ensnaring her prey. Tom, happy to exchange seven years of enslavement for a kiss, is the most insouciant of Loewe’s vivid gallery of characters. The composer evokes the elegantly tripping steed and the tinkling silver bell with his trademark economy and charm, and marks the moment of revelation (‘Ich bin die Elfenkönigin’) by a shift to a strange, remote key. The pair then canter off through the greenwood in the most innocuous music imaginable, with the silver bells tinkling ironically to the end. Dating from around 1860, this is one of Loewe’s last ballads—though as contemporaries often remarked, his style and method had hardly changed in the four decades since Edward and Erlkönig.

from notes by Richard Wigmore © 2011

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