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Track(s) taken from CDA67055

Maigesang, Op 52 No 4

composer
author of text

Stephan Genz (baritone), Roger Vignoles (piano)
Recording details: September 1998
Tonstudio Teije van Geest, Sandhausen, Germany
Produced by Teije van Geest
Engineered by Teije van Geest
Release date: February 1999
Total duration: 2 minutes 2 seconds

Cover artwork: Faust and Magaretha. after Ary Scheffer (1795-1858)
Sotheby’s Picture Library
 
1

Reviews

'Stephan Genz has one of the most beautiful voices around today, used with such authority and imagination that I have found myself playing his Beethoven recital over and over again. I have never heard these songs sung more beautifully. An instant classic' (Gramophone)

'This disc, immaculately recorded, should win many new friends for Beethoven's songs' (The Daily Telegraph)

'Perfectly sung' (The Independent)

'A voice of warm, velvety beauty. A disc to have one reassessing Beethoven as song-writer' (The Guardian)

'As good as any anthology of Beethoven songs on CD' (Classic CD)

'Strongly recommended' (Hi-Fi News)
Understandably popular for its rare glimpse of Beethoven in a completely untroubled and relaxed frame of mind, Mailied, with its playful piano interludes between verses, sounds like a precursor to the more light-hearted moments in Schubert’s Die schöne Müllerin. Goethe writes of man’s unalloyed joy at Nature, and although Beethoven’s setting could hardly be described as a profound realization, it nevertheless provides a delightful soundscape on which to base the great poet’s inspired muse.

from notes by Julian Haylock © 1999

Jouissant d’une popularité compréhensible, car dévoilant un Beethoven rare, totalement serein et détendu, Mailied semble, avec ses espiègles interludes pianistiques entre les strophes, préfigurer les moments plus légers de Die schöne Müllerin de Schubert. Goethe dit la joie sans mélange que la Nature procure à l’homme et, même si elle ne saurait guère être décrite comme une réalisation profonde, la mise en musique de Beethoven offre un paysage sonore charmant, sur lequel faire reposer la muse inspirée du grand poète.

extrait des notes rédigées par Julian Haylock © 1999
Français: Hyperion Records Ltd

Verständlicherweise beliebt, da es Beethoven ausnahmsweise in völlig ungetrübter, entspannter Gemütsverfassung zeigt, klingt das Mailied mit seinen verspielten Klaviereinschüben zwischen den Strophen wie ein Vorläufer der unbeschwerteren Momente von Schuberts Schöner Müllerin. Goethe schreibt von der ungetrübten Freude des Menschen an der Natur, und obwohl sich Beethovens Vertonung kaum als profunde Umsetzung bezeichnen läßt, sorgt sie doch für eine reizvolle Klanglandschaft, um die schöpferische Muse des Dichters darin anzusiedeln. (Siehe auch Nr. br, op. 52, Nr. 3.)

aus dem Begleittext von Julian Haylock © 1999
Deutsch: Anne Steeb/Bernd Müller

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