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Track(s) taken from CDA67866

Der Wirthin Töchterlein, Op 1 No 2

First line:
Es zogen drei Bursche wohl über den Rhein
composer
Carl Loewe (1796-1869)
1823
author of text
Johann Ludwig Uhland (1787-1862)

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: 3 minutes 7 seconds

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

Reviews

‘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)
In Der Wirthin Töchterlein (1823) Loewe sets an ironically sentimental Uhland tale of three Rhenish lads vying in their devotion to an innkeeper’s dead daughter. After the jaunty opening, he dramatizes the tragic revelation (‘Mein Töchterlein liegt auf der Todtenbahr’) with a shock fortissimo on an alien chord. The third lad’s avowal of eternal love is crowned by a lingering descent on ‘Ewigkeit’, and a seraphic postlude that seems to pre-echo Schubert’s Ave Maria.

from notes by Richard Wigmore © 2011

Dans Der Wirthin Töchterlein (1823), Loewe met en musique un conte ironiquement sentimental d’Uhland, l’histoire de trois garçons de Rhénanie qui rivalisent de dévotion envers la fille défunte d’un aubergiste. Après le début guilleret, il dramatise la révélation tragique («Mein Töchterlein liegt auf der Todtenbahr») avec un fortissimo choc sur un accord étranger. L’aveu d’amour éternel du troisième gars est couronné par une lente descente sur «Ewigkeit» et un postlude séraphique qui semble anticiper l’Ave Maria de Schubert.

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

Mit Der Wirthin Töchterlein (1823) vertont Loewe ein ironisch-sentimentales Gedicht von Uhland über drei Burschen, die den Rhein entlang wandern und in ihrer Hingabe zu der toten Tochter der Wirtin miteinander wetteifern. Nach dem munteren Beginn dramatisiert er die tragische Offenbarung („Mein Töchterlein liegt auf der Todtenbahr“) mit einem schockartigen Fortissimo auf einem tonleiterfremden Akkord. Die Erklärung der ewigen Liebe des dritten Burschen wird durch einen zögernden Abstieg bei „Ewigkeit“ und ein seraphisches Nachspiel, das Schuberts Ave Maria vorwegzunehmen scheint, gekrönt.

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

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