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Track(s) taken from CDA67830

Wo die schönen Trompeten blasen

First line:
Wer ist denn draußen und wer klopfet an
July 1898; subsequently published as No 9 of Des Knaben Wunderhorn (also called Humoresken)
author of text
Unbeschreibliche Freude, from Des Knaben Wunderhorn

Gerald Finley (baritone), Julius Drake (piano)
Recording details: February 2010
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2011
Total duration: 7 minutes 44 seconds

Cover artwork: La belle dame sans merci by Sir Frank Dicksee (1853-1928)
© Bristol City Museum and Art Gallery / Bridgeman Art Library, London

Other recordings available for download

Stephan Genz (baritone), Roger Vignoles (piano)


'Finley, who has one of those exquisite voices that could make poetry of the telephone directory, vividly characterises the words without recourse to the exaggerated enunciation … Drake uses all the colouristic forces he can command with wit (The Flea), bravura (Erlkönig and Wolf's spellbinding Der Feurreiter) and imagination (Loewe's Die wandelnde Glocke). As these pages have said before, it's a great partnership' (Gramophone)

'A new idea for the anthology disc: here is Gerald Finley, in his vocal prime, as balladeer—telling tales of misadventure and gothic horror … Finley is a fine tale-teller. In Loewe, he sounds as though he's singing just for you, the listener, so rapt and intense is his communication' (BBC Music Magazine)

'Drake's playing has successfully suited the varied repertoire. Finley has enthralled with his interpretations and delighted with his singing purely as singing, combining the two expertly. If I were a reviewer who seems to think that it is mandatory to nominate a CD as outstanding each month I might consider proposing this well-recorded issue' (International Record Review)

'Listen to these wonderfully melodramatic, mostly Victorian ballads by candlelight in a haunted house … performances full of raging fortissimos and ghoulish tremolandos from Finley and his pianist Julius Drake' (The Times)
In concert, the Wunderhorn songs are often performed by two singers, male and female, and the collection includes a number of dialogues, of which the most famous, Wo die schönen Trompeten blasen, is perhaps the emotional highpoint of the whole set. It has a direct ancestor in Kriegers Ahnung, one of the most compelling songs of Schubert’s Schwanengesang. Offstage military fanfares and drum beats set the scene, in which a girl is visited by her lover, or by his spirit, on the eve of battle. Whether he is already dead, or has a premonition of death next day, is not absolutely clear, but in either case the rapt tenderness of the encounter, and its foreboding, is unmistakeable, contrasting the tight-laced 2/4 of military duty with the lilting, dreamlike 3/4 of the lovers’ embrace.

from notes by Roger Vignoles © 2008

En concert, les lieder du Wunderhorn sont souvent chantés par un homme et une femme, et le recueil contient plusieurs dialogues, le plus célèbre, Wo die schönen Trompeten blasen, marquant peut-être l’apogée émotionnel du corpus. Son ancêtre direct, Kriegers Ahnung, compte parmi les lieder les plus envoûtants du Schwanengesang schubertien. En coulisses, fanfares militaires et battements de tambour plantent le décor: à la veille d’une bataille, une jeune fille est visitée par son amant, ou par l’esprit de celui-ci. On ne sait au juste s’il est déjà mort ou s’il pressent la mort qui le frappera le lendemain; toujours est-il que la tendresse ravie de la rencontre, son caractère prémonitoire aussi, sont indéniables, qu’illustre le contraste entre le 2/4 bien serré du devoir militaire et le 3/4 souple, langoureux, de l’étreinte des amants.

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

Im Konzert werden die Wunderhorn-Lieder oft von zwei Sängern—einem Mann und einer Frau—aufgeführt, und die Sammlung enthält einige Dialoge, von denen Wo die schönen Trompeten blasen nicht nur der berühmteste ist, sondern womöglich auch der emotionale Höhepunkt der ganzen Sammlung. Er hat einen direkten Vorgänger in Kriegers Ahnung, einem der fesselndsten Lieder aus Schuberts Schwanengesang. Entfernte Militärfanfaren und Trommelschläge setzen die Szene, in der ein Mädchen am Vorabend einer Schlacht von ihrem Geliebten—oder seinem Gespenst—besucht wird. Ob er schon tot ist oder eine Todesahnung für den nächsten Tag hat, ist nicht genau klar, aber wie auch immer—die verzückte Zärtlichkeit des Treffens und die unheilschwangere Atmosphäre sind im Kontrast zwischen dem militärisch strengen 2/4-Takt und dem träumerischen 3/4 in der Umarmung der Liebenden unverkennbar.

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

Other albums featuring this work

Mahler: Des Knaben Wunderhorn
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