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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: 1 minutes 14 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)

Wir beide wollen springen, TrV175
First line:
Es ging ein Wind durch's weite Land
1896; WoO90; first published in 1964
author of text

Introduction  EnglishDeutsch
This brief two-page caprice of a song lay dormant until after Strauss’s death, being published only for the first time in the Boosey & Hawkes Complete Edition of 1964. It was actually composed in 1896, a year after the three other Bierbaum settings that constitute Strauss’s Op 29: Traum durch die Dämmerung, Schlagende Herzen and Nachtgang (all recorded on CDA67588). Its fragmentary nature and somewhat improvisatory character no doubt reflect its curious history. It was intended to appear in an illustrated almanac entitled The many-coloured Bird of 1897, and a highly decorated version of the manuscript was prepared, surrounded by an extravagant Art Nouveau illustration by Julius Diez. In the end this was too late for inclusion in the almanac, but a facsimile appeared a year later in the Munich weekly magazine Jugend.

Strauss presumably felt it was too slight a fragment for publication, but it is full of delightful Straussian gestures, from the opening flourish to the skipping final cadence. It also follows Strauss’s frequent practice of beginning in one key (F sharp) only to settle later in another (G major)—appropriately enough at the moment when the wind brings two lovers together. This key prevails for most of the second page, until the singer’s last line, when a neat return to F sharp tells us not to take any of this too seriously.

from notes by Roger Vignoles 2012

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