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Track(s) taken from CDA67866

Tom der Reimer, Op 135a

First line:
Der Reimer Thomas lag am Bach
circa 1860
author of text
18th-century Scottish ballad
translator of text

Florian Boesch (baritone), Roger Vignoles (piano)
Recording details: May 2010
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: May 2011
Total duration: 5 minutes 45 seconds

Cover artwork: The Fisherman and the Syren: From a ballad by Goethe (1857) by Frederic Leighton (1830-1896)
© Bristol City Museum and Art Gallery / Bridgeman Art Library, London


'As for the singing, I cannot praise it too highly. Florian Boesch has a warmly attractive baritone voice and his diction is first class, as is his response to the word meanings. Roger Vignoles's accompaniments, too, give great pleasure in themselves, especially in the pictorial devices which Loewe so relishes. The recording, as we expect from Hyperion, is first-class … if you are new to Loewe's music, I do urge you to try this richly rewarding CD. You won't be disappointed' (Gramophone)

'Boesch's performance demonstrates huge imaginative variety in characterisation … in such ways, Boesch emulates Loewe's own reputation, singing to his own accompaniment, as an 'actor-singer'. Vignoles matches him in playing of perception in what is pretty well an ideal introduction to a fascinating figure' (BBC Music Magazine)

'There is no better introduction to this great song composer; there are scarcely any more perfect song recitals on disc' (Classical Music)
Translated from the Scottish original by Theodor Fontane, Tom der Reimer is a lighthearted take on the archetypal tale of the beautiful temptress ensnaring her prey. Tom, happy to exchange seven years of enslavement for a kiss, is the most insouciant of Loewe’s vivid gallery of characters. The composer evokes the elegantly tripping steed and the tinkling silver bell with his trademark economy and charm, and marks the moment of revelation (‘Ich bin die Elfenkönigin’) by a shift to a strange, remote key. The pair then canter off through the greenwood in the most innocuous music imaginable, with the silver bells tinkling ironically to the end. Dating from around 1860, this is one of Loewe’s last ballads—though as contemporaries often remarked, his style and method had hardly changed in the four decades since Edward and Erlkönig.

from notes by Richard Wigmore © 2011

Traduit de l’original écossais par Theodor Fontane, Tom der Reimer est un tableau de chasse enjoué sur le conte archétypal de la belle tentatrice prenant sa proie au piège. Tom, heureux d’échanger sept ans d’asservissement contre un baiser, est le plus insouciant de la galerie vivante de personnages de Loewe. Le compositeur évoque le destrier au pas léger et la cloche en argent qui tinte avec l’économie et le charme qui le caractérisent, et il marque le moment de la révélation («Ich bin die Elfenkönigin») par un passage à une tonalité lointaine et étrange. Les deux personnages galopent ensuite dans la forêt verdoyante sur la musique la plus innocente que l’on puisse imaginer, les cloches en argent tintant ironiquement jusqu’à la fin. Datant de 1860 environ, c’est l’une des dernières ballades de Loewe—mais, comme des contemporains l’ont souvent remarqué, son style et sa méthode ont à peine changé au cours des quarante années qui la sépare d’Edward et d’Erlkönig.

extrait des notes rédigées par Richard Wigmore © 2011
Français: Marie-Stella Pâris

Tom der Reimer ist Theodor Fontanes unbeschwerte Fassung der ursprünglich schottischen Ballade, die von der archetypischen schönen Verführerin handelt, die ihr Opfer umgarnt. Tom, der gerne sieben Jahre der Versklavung gegen einen Kuss eintauscht, ist die unbekümmertste Gestalt in der lebendigen Figuren-Galerie Loewes. Der Komponist stellt das elegant tänzelnde Ross und die klingelnde Silberglocke mit charakteristischer Sparsamkeit und Charme dar und markiert den Augenblick der Offenbarung („Ich bin die Elfenkönigin“) mit einem Abstecher in eine weit entfernte, seltsame Tonart. Die beiden galoppieren dann zu einer denkbar unverfänglichen Musik durch den grünen Wald und die Silberglöckchen klingeln ironisch bis zum Ende. Dieses Werk entstand um 1860 herum und ist eine der letzten Balladen Loewes—seine Zeitgenossen bemerkten jedoch mehrfach, dass sich sein Stil und seine Technik in den vergangenen vier Dekaden seit Edward und Erlkönig kaum geändert habe.

aus dem Begleittext von Richard Wigmore © 2011
Deutsch: Viola Scheffel

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