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Track(s) taken from CDA67866

Odins Meeresritt, oder Der Schmied auf Helgoland, Op 118

First line:
Meister Oluf, der Schmied auf Helgoland
author 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: 4 minutes 7 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)
With Odins Meeresritt (1851), written in Norway while Loewe was recovering from the trauma of his daughter Adele’s death, the composer revisits the dark world of Scandinavian folk legend. The horse’s restless pawing, and (at the end) the strange glow and the soaring eagles are evoked as colourfully as the contrasting figures of the demonically driven Odin (= Wotan), king of the gods (from his music alone we know he is a giant), and the wary blacksmith. Memorable, too, is Loewe’s depiction of the expanding horseshoe (‘Es ist zu klein, da dehnt es sich aus’) in a slow crescendo and mysterious chromatic harmonies that grow to a dazzling brightness.

from notes by Richard Wigmore © 2011

Avec Odins Meeresritt (1851), écrit en Norvège alors que Loewe se remettait du traumatisme de la mort de sa fille Adele, le compositeur revisite le sombre univers de la légende traditionnelle scandinave. Le piaffement agité du cheval et (à la fin) la lueur étrange et les aigles qui planent sont évoqués de manière aussi pittoresque que les personnages contrastés d’Odin (= Wotan), le roi des dieux poussé par le Démon (par sa musique seule, on sait que c’est un géant) et du forgeron méfiant. La manière dont Loewe dépeint le fer à cheval de plus en plus grand («Es ist zu klein, da dehnt es sich aus») dans un lent crescendo et des harmonies chromatiques mystérieuses qui croissent jusqu’à un éclat éblouissant est tout aussi mémorable.

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

Mit Odins Meeresritt (1851), das in Norwegen entstand, als Loewe sich von dem Trauma des Todes seiner Tochter Adele erholte, setzt sich der Komponist wiederum mit der düsteren Welt der skandinavischen Volkslegenden auseinander. Das ruhelose Scharren der Pferdehufe und (ganz am Ende) der seltsame Glanz und die fliegenden Adler werden ebenso lebhaft wie die gegensätzlichen Figuren des dämonisch getriebenen Odin (= Wotan, der König der Götter; allein durch die Musik wird klar, dass er ein Riese ist) und des achtsamen Schmieds dargestellt. Ebenfalls einprägsam ist Loewes Beschreibung des sich ausdehnenden Hufeisens („Es ist zu klein, da dehnt es sich aus“) in einem langsamen Crescendo und geheimnisvollen chromatischen Harmonien, die sich zu einer blendenden Helligkeit steigern.

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

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