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Track(s) taken from CDA67645


First line:
Bald gras ich am Neckar
9 August 1893; subsequently published as No 7 of Des Knaben Wunderhorn (also called Humoresken)
author of text
Rheinischer Bundesring, from Des Knaben Wunderhorn

Stephan Genz (baritone), Roger Vignoles (piano)
Recording details: February 2007
Tonstudio Teije van Geest, Sandhausen, Germany
Produced by Teije van Geest
Engineered by Teije van Geest
Release date: January 2008
Total duration: 3 minutes 2 seconds

Cover artwork: Apotheosis (detail). Sergius Hruby (1869-1943)
Private Collection; reproduced by kind permission of the copyright holders, Whitford & Hughes, UK / Bridgeman Images


‘Deeply affecting … warmly recommended’ (Gramophone)

‘Stephan Genz's light, warm and cultured baritone is especially fine in reflecting the ghost voices and moonlight serenades of Mahler's folk-inspired anthology … this is the first time that I've heard a male voice take on 'Urlicht' … and its quiet serenity, as in 'Wo die schonen trompeten blasen', is what Genz does best’ (BBC Music Magazine)

‘Urlicht is beautifully sung … and Vignoles's playing is remarkably expressive throughout’ (The Sunday Times)

‘The charm of Mahler's Lieder-composing style—so close to Schubert's—comes across beautifully. Stephan Genz is more than just a very fine singer: his precision, sensitivity and range of imagination proclaim him a true successor to the great Dietrich Fischer-Dieskau. And Vignoles's booklet note is an informative pleasure in itself’ (Classic FM Magazine)

‘This performance is a revelation, the simplicity of the piano setting and the serenity of Genz's performance casting a benediction on the entire program … Genz and Vignoles have produced a worthy successor’ (Fanfare, USA)

‘There are a number of other collections available … but none of these has the clear and unambiguous sound that this Hyperion release has, especially the excellent piano balance, and Genz sings with a definite point of view and a nice sense of characterization. You have to have one of the orchestral versions, but you will also find much satisfaction in Mahler’s superbly realized piano version as well, and this recording will serve many needs’ (Audiophile Audition, USA)

‘Roger Vignoles palpably revels in the task of conjuring a full Mahlerian orchestra … this CD is partly a demonstration of Genz's technique in this repertoire: the tone remains firm at even the most intimate levels and, most importantly, he binds consonants and vowels into the singing line, so that the lied emerges as a form of heightened speech. But it's a measure of Genz's sensitivity that one doesn't hear simply a great lieder singer at work. Instead, the entire set, with its panoply of characters, emanates from a recognizably 'Wunderhorn' persona—direct, ingenuous, fully in tune with the material's folklore-ish nature’ (Opera News)

‘It is a recording that seems, above all, to be characterised by enormous intelligence and sensitivity, from both singer and pianist … most prefer to here these songs in Mahler's brilliant and scathing orchestral versions but the artistry on show here makes me glad to hear them in the intimate, piano-only versions … this disc, then, allows us to experience these wonderful songs close-up in all their variety, humour and pathos. Highly Recommended’ (Musical Criticism.com)

‘This is a vibrant rendering of Mahler's Des Knaben Wunderhorn in the versions for voice and piano, a setting which requires the idiomatic approach Vignoles uses for the accompaniment and the nuanced tone Genz uses to evoke a sense of chamber music. Lacking the sonorous orchestral accompaniment, the singer is more exposed, and this allows Genz to display his vocal finesse well’ (Opera Today, USA)

‘Vignoles's pianism is so persuasive that one hardly misses the orchestral versions. In Revelge, for instance, his accompaniment to the song about the marching soldier has a suitably martial quality, while his playing of the lowest register of the piano to represent the drum rolls at the beginning of Der Tamboursg'sell is eerie and unforgettable. Genz, meanwhile, provides a well-characterised interpretation, his voice superbly controlled both in the vehemence of the prisoner's defiance in Lied des Verfolgten im Turm and in the beautiful pianissimos of Wo die schönen Trompeten blasen’ (MusicOHM.com)
Rheinlegendchen is the most charming and delightful of the many Ländler among the Wunderhorn songs, so successful at its first performance that the audience demanded an encore. In addition to the inevitable harmonization in thirds and sixths, the piano interludes incorporate elements of folk-fiddle improvisation. An inspired descent to the subdominant, as the mower’s ring sinks into the waters of the Rhine, is the most graphic of a number of startling key-shifts in this otherwise apparently simple song.

from notes by Roger Vignoles © 2008

De tous les Ländler des lieder wunderhorniens, Rheinlegendchen est le plus charmant, le plus avenant, celui dont la création fut un tel succès que le public le bissa. Outre l’inévitable harmonisation en tierces et en sixtes, les interludes pianistiques intègrent des éléments d’improvisation au violon rustique. Une descente inspirée à la sous-dominante, lorsque l’anneau de la faucheuse disparaît dans les eaux du Rhin, est la plus imagée de toutes les éblouissantes transitions tonales de ce lied qui semble, par ailleurs, simple.

extrait des notes rédigées par Roger Vignoles © 2008
Français: Hypérion

Rheinlegendchen ist der lieblichste und entzückendste der vielen Ländler in den Wunderhorn-Lieder und kam bei seiner Uraufführung so gut an, dass das Publikum seine Wiederholung verlangte. Abgesehen von der unvermeidlichen Harmonisierung in Terzen und Sexten, schließen die Klavierzwischenspiele Elemente volksmusikalischer Fiedelimprovisation ein. Ein inspirierter Abstieg in die Subdominante, wenn der Ring des Schnitters in das Wasser des Rheins fällt, ist die anschaulichste in einer Anzahl überraschender Verschiebungen in diesem sonst scheinbar simplen Lied.

aus dem Begleittext von Roger Vignoles © 2008
Deutsch: Renate Wendel

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