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.
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Quintin Beer (treble), St John's College Choir Cambridge, John Robinson (organ), David Hill (conductor)» More |
Jeremy Budd (treble), St Paul's Cathedral Choir, John Scott (conductor), Andrew Lucas (organ)» More |
Eton College Chapel Choir, Ralph Allwood (conductor), David Goode (organ), Tom Norrington (treble), Adam Berman (treble)» More |
Tom Pickard (treble), King's College Choir Cambridge, Sir Stephen Cleobury (conductor), Douglas Tang (organ)» More |
Hör mein Bitten shows none of the sense of fatigue that afflicted Mendelssohn throughout his visit. On the contrary he seems to have taken the opportunity to conjure up the feelings of peace and contentment in the opening section that he so desperately sought in his personal life. As the choir joins the soprano (or treble) soloist, the music moves into 3/8 (E minor) and becomes considerably more agitated. After a brief and dramatic recitative, the contented final section resolves any tension in the flowing melodic lines of the inimitable ‘O for the wings, for the wings of a dove’.
from notes by Julian Haylock © 2006
Hör mein Bitten ne trahit en rien la fatigue qui accabla Mendelssohn durant ce séjour. Bien au contraire, le compositeur semble avoir saisi là l’occasion de faire jaillir les sentiments de paix et de contentement (section d’ouverture) qu’il recherchait si désespérément dans sa vie personnelle. Lorsque le chœur se joint au soprano (ou au treble) solo, la musique passe à 3/8 (mi mineur) et devient nettement plus agitée. Passé un bref et dramatique récitatif, la section finale, apaisée, résout toute la tension dans les lignes mélodiques fluides de l’inimitable «O for the wings, for the wings of a dove».
extrait des notes rédigées par Julian Haylock © 2006
Français: Hypérion
Hör mein Bitten weist nicht eine Spur der Müdigkeit auf, an der Mendelssohn während seines gesamten Besuches litt. Ganz im Gegenteil scheint der Komponist im Anfangsabschnitt die Gelegenheit wahrgenommen zu haben, Gefühle des Friedens und der Zufriedenheit zu schaffen, die er so verzweifelt in seinem Privatleben suchte. Wenn sich der Chor zu der Sopranistin (oder Knabenstimme) hinzugesellt, verwandelt sich die Musik in einen 3/8-Takt (e-Moll) und wird eindeutig aufgeregter. Nach einem kurzen und dramatischen Rezitativ löst der zufriedene Schlussabschnitt in den fließenden melodischen Linien des unverwüstlichen „O könnt ich fliegen wie Tauben dahin“ („O for the wings, for the wings of a dove“) alle Spannungen auf.
aus dem Begleittext von Julian Haylock © 2006
Deutsch: Elke Hockings
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