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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: 1 minutes 38 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
PERFORMANCE
RECORDING

'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)

Bollspelet vid Trianon, Op 36 No 3
First line:
Det smattrar prat och slår boll och skrattar
composer
1899
author of text

Introduction  EnglishFrançaisDeutsch
Bollspelet vid Trianon (‘Tennis at Trianon’) is a setting of Gustaf Fröding, one of the greatest Swedish romantic poets of the nineteenth century, and the poem strikes a particularly responsive chord in Sibelius for the piano part has a finesse not always encountered in his keyboard writing. The song shows considerable subtlety in the handling of contrast and the alternation between recitative and a pastiche pastoral style, and there is in the background a sense of foreboding at the approaching revolution.

from notes by Robert Layton © 2002

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