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Track(s) taken from CDA67315

Der Kuss, Op 128

composer
author of text

Michael Schade (tenor), Malcolm Martineau (piano)
Recording details: December 2001
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: August 2002
Total duration: 2 minutes 8 seconds
 
1
Der Kuss Op 128  [2'08]

Reviews

'this is singing which is always alive, interesting, and personal … a fascinating record' (Gramophone)

'[Schade] sings Strauss’s Cäcilie and a wonderfully hushed Zueignung as though he and Martineau were the first to discover their ecstasy' (BBC Music Magazine)

'A fascinating selection of songs that exploits Michael Schade's versatile tenor' (The Daily Telegraph)

'What a joy it is to listen to Michael Schade! … This consistently bold, exhilarating recording is a must-have for aficionados of art-song repertoire and confirmed romantics alike' (Opera News)

'highly accomplished technique and rare vocal artistry … ideally accompanied by pianist Malcolm Martineau' (ClassicsToday.com)

'On peut considérer ce récital comme une bonne introduction à un siècle d’art vocal et littéraire' (Répertoire, France)
In December 1822, Beethoven briefly put aside such monumental projects as his Missa solemnis and ‘Diabelli’ Variations to pen his comic gem Der Kuss, Op 128, termed by Beethoven an ‘ariette’. Providing music in the highest spirits, the composer underscored the punchline with a subtle recurring keyboard titter.

from notes by Benjamin Folkman © 2002

En décembre 1822, Beethoven se détourna brièvement de ses projets monumentaux tels sa Missa solemnis et ses Variations «Diabelli» pour coucher sur le papier une petite perle comique Der Kuss, op.128, qualifié par Beethoven d’«ariette». Il choisit d’accompagner le trait final par un rire subtil au clavier, un élément parcourant toute cette page enjouée.

extrait des notes rédigées par Benjamin Folkman © 2002
Français: Isabelle Battioni

In Dezember 1822 legte Beethoven für einen kurzen Zeitraum solch monumentale Aufträge wie seine Missa solemnis und seine Diabelli Variationen zur Seite, um sein komisches, von ihm als „Ariette“ beschriebenes Meisterstück Der Kuss, op. 128, zu schreiben. Beethoven komponierte äußerst frohsinnige Musik und unterstrich die Pointe mit einem angedeuteten, wiederkehrenden Kichern im Klavier.

aus dem Begleittext von Benjamin Folkman © 2002
Deutsch: Elke Hockings

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