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Hyperion Records

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Evening, wild ducks (1901) by Bruno Liljefors (1860-1939)
Thielska Galleriet, Stockholm
Track(s) taken from CDH55471
Recording details: June 2001
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: April 2002
Total duration: 2 minutes 37 seconds

'Compellingly shaped and hugely accomplished recital' (BBC Music Magazine)

'One of the very finest selections of Sibelius’s songs … Karnéus’s mellow, heartfelt mezzo is perceptively accompanied by Drake' (BBC Music Magazine) » More

'If you want a single disc to demonstrate the richness and variety of Sibelius's songs, you will not do better than this. Karnéus's voice is glorious' (The Daily Telegraph)

'Rich in variety and entirely satisfying as a recital' (International Record Review)

'Inspired performances … it is a magic partnership, giving fresh insights in every song' (The Guardian)

'Highly recommended to lovers of Sibelius's music who, like me, were unaware of this treasure' (The Sunday Times)

'A wonderful, thoroughly recommendable album … this disc receives my highest recommendation' (Fanfare, USA)

'Julius Drake has all the precision of nuance and sensitivity to rhythm and balance that the piano parts demand. Karnéus is utterly compelling' (The Evening Standard)

'Enveloppée dans le piano généreux et coloré de Julius Drake, Katarina Karnéus interprète ces Mélodies avec émotion et simplicité’ (Classica, France)

Men min fågel märks dock icke, Op 36 No 2
First line:
Svanen speglas re’ni sundet
author of text

Introduction  EnglishFrançaisDeutsch
Men min fågel märks dock icke (‘But my bird is long in homing’), a Runeberg setting, has a simplicity of utterance, an immediacy of atmosphere and a sheer melodic sweep that earn it a high position in the Sibelian pantheon. Runeberg’s nature lyricism seems to call on the deepest vein of inspiration in Sibelius, for not only is Men min fågel märks dock icke one of his most perfect songs, but it also ranks as one of the finest in the whole romans repertoire. In his definitive five-volume study of the composer, Erik Tawaststjerna reminds us that the rising figure which opens it ‘almost recalls the opening of The swan of Tuonela and that, of course, the song itself begins by a reference to a swan!’.

from notes by Robert Layton © 2002

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