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Track(s) taken from CDA67055

Neue Liebe, neues Leben, Op 75 No 2

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: 3 minutes 2 seconds

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


'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)
This is a consummate revision of a setting Beethoven had already made in 1798/9 (WoO127). It is the only one of the Op 75 set of songs to be through-composed, and is by some distance the subtlest setting of its kind that Beethoven had written up to this time. Indeed, its seemingly spontaneous exuberance and fluent ease of expression (hardly typical Beethoven traits) and effortless interplay between voice and piano mark it out as perhaps the finest song in the collection. The ending appears to have given Beethoven endless problems – his sketch books contain no fewer than seven different versions of this one passage alone – which may explain the strangely curtailed feel of even the printed version.

from notes by Julian Haylock © 1999

Révision aboutie d’une œuvre datant de 1798/9 (WoOl27) et seul lied durchkomponiert du corpus op.75, Neue Liebe, neues Leben se détache assez nettement comme la mise en musique la plus subtile alors réalisée par Beethoven dans ce genre. En effet, son exubérance apparamment spontanée, son aisance expressive fluide (des traits typiquement peu beethovéniens) et son jeu naturel entre la voix et le piano en font peut-être l’un des plus beaux lieder du recueil. La conclusion semble avoir posé d’infinis problèmes à Beethoven – ses esquisses ne comportent pas moins de sept versions de ce seul passage –, ce qui pourrait expliquer l’étrange sentiment de réduction ressenti, même dans la version imprimée.

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

Es handelt sich hierbei um die vollendete Überarbeitung einer Vertonung, die Beethoven 1798/99 vorgenommen hatte (WoO 127). Das Lied ist als einziges der Reihe op. 75 durchkomponiert und ist obendrein die mit Abstand raffinierteste Vertonung dieser Art, die Beethoven bis dahin hervorgebracht hatte. In der Tat weisen seine scheinbar spontane Ausgelassenheit und leichte, flüssige Expressivität (bestimmt keine typisch Beethovenschen Eigenschaften) sowie das mühelose Zusammenspiel von Gesangsstimme und Klavier es als das wohl beste Lied der Zusammenstellung aus. Der Schluß scheint Beethoven endlose Schwierigkeiten bereitet zu haben – seine Skizzenbücher enthalten allein von dieser Passage nicht weniger als sieben verschiedene Versionen –, was das seltsame Gefühl der Verkürzung erklären mag, mit dem selbst die Druckfassung behaftet ist.

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

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