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Hyperion Records

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Photograph of Angelika Kirchschlager by Sim Canetty-Clarke (b?)
Track(s) taken from CDA67934
Recording details: October 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Simon Kiln
Engineered by Arne Akselberg
Release date: July 2012
Total duration: 1 minutes 16 seconds

'Finding a wide palette of colours within her naturally warm mezzo, Kirchschlager is in her element … this recital should open many ears to the richness and variety of Liszt's songs. Recording and presentation are first-class' (Gramophone)

'The more one hears of Liszt's songs, the more one wonders why they have been so rarely performed … Kirchschlager's rich, resonant mezzo finds beauties everywhere on this disc, from heights of drama to intimacies of reflection, and at every turn Drake is with her' (BBC Music Magazine)

'This is a fascinating and rewarding recital, which explores Liszt’s oeuvre from the 1840s to 1870s … the grainy and distinctive timbre of Kirchschlager’s vivid mezzo-soprano is well suited to this highly charged emotional world, and Drake’s playing is eloquently impassioned without sinking to fortissimo ham' (The Daily Telegraph)

'Hyperion's retrospective of Liszt's complete songs [is] one of the most important recording projects of recent years … Kirchschlager is exquisite and intensely dramatic by turns … Drake is outstanding throughout' (The Guardian)

'The high expectations roused by Volume 1 of Hyperion's compete Liszt songs … are more than met with this second instalment … the programme is excellently chosen to showcase Liszt's versatility as a master of Romantic song … Kirchschlager's extraordinary dramatic gifts are displayed in the two longest songs here, Jeanne d'Arc au bûcher and Die drei Zigeuner … rich new levels of meaning are revealed … Kirchschlager and Drake deliver performances that set the beauty and inventiveness of each song in high relief … not to be missed' (International Record Review)

Vergiftet sind meine Lieder, S289 Third version
composer
1844/9; LW N29
author of text
Lyrisches Intermezzo No 51

Introduction  EnglishFrançaisDeutsch
Vergiftet sind meine Lieder is one of Liszt’s greatest songs. Liszt was perhaps the first composer to discover the fifty-first poem in Heine’s Lyrisches Intermezzo for song; other nineteenth-century musicians steered clear of the Vesuvian compound of accusation, vulnerability, helplessness, lamentation, even fear, in these words. In one reading, Heine’s poem tells of his lifelong dilemma as a post-Romantic poet caught between the Ideal and the Real: the ‘Geliebte’ could be both the Romantic muse, or the Ideal, who has poisoned his art of real life, and the Real who poisons the Ideal. Liszt may have seen in this poem a reflection of his disintegrating relationship with Marie d’Agoult, which ended the same year of 1844 in which he first composed this song. His music is organized by repetitions of the initial theme both with and without words, a mini-rondo of obsessive grief. When he designates ‘du’, ‘you’, as the beloved, housed in his heart along with Medusa-like serpents, we hear one of the most shattering dissonances in all nineteenth-century music.

from notes by Susan Youens © 2012

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