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Hyperion Records

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A Summer Night (1890) by Albert Joseph Moore (1841-1893)
© Walker Art Gallery, National Museums Liverpool / Bridgeman Art Library, London
Track(s) taken from CDA67844
Recording details: January 2012
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2012
Total duration: 2 minutes 27 seconds

'Vignoles plays the often extended introductions and postludes … quite magically, to say nothing of the extended interludes … my pleasure in this latest volume is without any reservations. Elizabeth Watts sings gloriously, rising fluently to the high tessitura of Strauss's melodic lines (immediately obvious in the first few songs included in the recital). Her beautiful voice, sensitive phrasing and response to word-meanings are consistently rewarding and her partnership with Roger Vignoles could hardly be more beautifully balanced' (Gramophone)

'Watts takes flight in this repertoire, her warm, generous soprano broadening into a luscious, creamy-toned wonder. Tonal glamour? You bet' (The Guardian)

'Watts has the full measure of the drama … she reveals herself as an accomplished Straussian throughout this recital and nowhere more so than in the very last song that the composer wrote, Malven, written for soprano Maria Jeritza in 1948 after he had finished the Vier letzte Lieder. A gift from one great artist to another and a fitting end to this admirable recording' (International Record Review)

Rote Rosen, TrV119
First line:
Weißt du die Rose, die du mir gegeben?
composer
1883; WoO76; written for Lotti Speyer; rediscovered in 1958; first performed in 1959 by Elisabeth Schwarzkopf and Gerald Moore
author of text

Introduction  EnglishDeutsch
In the summer of 1883 the nineteen-year-old Strauss paid a ten-day visit to Bad Heilbrunn, near Munich, where he encountered Lotti Speyer, the daughter of a Frankfurt lawyer and granddaughter of a well-known song composer, Wilhelm Speyer. She made enough of an impression on Strauss for him to compose a song especially for her, sending it off with two further songs, Die erwachte Rose and Begegnung. All three remained unknown and in manuscript for seventy-five years until their chance discovery in 1958 led to their publication and first performance in 1959, by Elisabeth Schwarzkopf and Gerald Moore. Rote Rosen, the one song actually composed for Lotti, shares features with the Opus 10 songs composed that same year: the flowing triplet accompaniment is not unlike that of Die Georgine (another flower song), while its more passionate middle section has something of the idiom of Geduld. And like Allerseelen it seems to start (and in this case end) as if in mid-sentence.

from notes by Roger Vignoles © 2012

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