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Track(s) taken from CDA67055

Der Liebende, WoO139

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 26 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)
Throughout his career Beethoven was prone not only to artistic leaps forward, but also to fond reflections of past achievements. Der Liebende clearly belongs in the latter category, for despite a suggestion in the harmonies of the variation (middle) movement of the ‘Kreutzer’ Sonata (1803), there is little here that implies an affinity with such contemporaneous triumphs as the Op 75 songs, the ‘Harp’ String Quartet or the ‘Les Adieux’ Piano Sonata. There is an unmistakably Schubertian feel to Der Liebende, yet this delightful plaisanterie does little more than scratch the surface of the powerful emotions expressed in the poem.

from notes by Julian Haylock © 1999

Toute sa carrière durant, Beethoven fut enclin non seulement aux bonds artistiques en avant, mais à de naïfs reflets de réalisations passées. Der Liebende appartient de toute évidence à cette dernière catégorie car, nonobstant ses harmonies évocatrices du mouvement (central) de variation de la Sonate «à Kreutzer» (1803), peu d’éléments de ce lied suggèrent une affinité avec des triomphes contemporains tels que les lieder de l’op.75, le Quatuor à cordes «Les Harpes» ou la Sonate pour piano «Les Adieux». En dépit d’une atmosphère indubitablement schubertienne, cette ravissante plaisanterie ne fait qu’effleurer les puissantes émotions dépeintes dans le poème.

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

Seine gesamte Laufbahn hindurch neigte Beethoven nicht nur zu künstlerischen Sprünge in die Zukunft, sondern auch zu liebevoller Besinnung auf vergangene Leistungen. Der Liebende gehört eindeutig der zweiten Kategorie an, denn abgesehen von einer Andeutung in den Harmonien des (mittleren) Variationssatzes der „Kreutzersonate“ (1803) gibt es hier wenig, was auf eine Wesensverwandtschaft mit zeitgleich entstandenen Triumphen wie den Liedern op. 75, dem „Harfenquartett“ oder der Klaviersonate „Les Adieux“ hindeutet. Der Liebende hat eine unverkennbar Schubertsche Atmosphäre, doch tut diese vergnügliche plaisanterie wenig mehr, als die Oberfläche der mächtigen Gefühle anzukratzen, die das Gedicht zum Ausdruck bringt.

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

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