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Track(s) taken from CDA67934

Ihr Glocken von Marling, S328

1874; LW N69
author of text

Angelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: October 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Simon Kiln
Engineered by Arne Akselberg
Release date: July 2012
Total duration: 2 minutes 35 seconds

Cover artwork: Photograph of Angelika Kirchschlager by Sim Canetty-Clarke


'Finding a wide palette of colours within her naturally warm mezzo, Kirchschlager is in her element … this recital should open many ears to the richness and variety of Liszt's songs. Recording and presentation are first-class' (Gramophone)

'The more one hears of Liszt's songs, the more one wonders why they have been so rarely performed … Kirchschlager's rich, resonant mezzo finds beauties everywhere on this disc, from heights of drama to intimacies of reflection, and at every turn Drake is with her' (BBC Music Magazine)

'This is a fascinating and rewarding recital, which explores Liszt’s oeuvre from the 1840s to 1870s … the grainy and distinctive timbre of Kirchschlager’s vivid mezzo-soprano is well suited to this highly charged emotional world, and Drake’s playing is eloquently impassioned without sinking to fortissimo ham' (The Daily Telegraph)

'Hyperion's retrospective of Liszt's complete songs [is] one of the most important recording projects of recent years … Kirchschlager is exquisite and intensely dramatic by turns … Drake is outstanding throughout' (The Guardian)

'The high expectations roused by Volume 1 of Hyperion's compete Liszt songs … are more than met with this second instalment … the programme is excellently chosen to showcase Liszt's versatility as a master of Romantic song … Kirchschlager's extraordinary dramatic gifts are displayed in the two longest songs here, Jeanne d'Arc au bûcher and Die drei Zigeuner … rich new levels of meaning are revealed … Kirchschlager and Drake deliver performances that set the beauty and inventiveness of each song in high relief … not to be missed' (International Record Review)
Marling is a village in the South Tyrol (the northernmost part of Italy, bordered by Austria to the east and north) where the Viennese poet Emil Kuh, a friend and biographer of the greater writer Friedrich Hebbel, spent the last years of his life. For Liszt, who had taken minor orders in the Catholic Church in 1865, the poetic persona’s invocation of the church bell’s ‘sacred song’ inspired one of his most beautiful late lieder, Ihr Glocken von Marling. Here, the overtone series of church bells, the way in which their pulsating tones fill the air, become non-resolving seventh and ninth chords in a beautifully lyrical manifestation of Liszt’s tonal sophistication.

from notes by Susan Youens © 2012

Marling est un village du Tyrol méridional (la partie la plus septentrionale de l’Italie, bordée par l’Autriche à l’est et au nord) où le poète viennois Emil Kuh, ami et biographe du grand écrivain Friedriech Hebbel, passa les dernières années de sa vie. L’invocation, par le héros du poème, du «chant sacré» des cloches d’église inspira à Liszt, qui avait pris les ordres mineurs en 1865, l’un de ses plus beaux lieder tardifs, Ihr Glocken von Marling. La série d’harmoniques des cloches, leur manière d’emplir l’air de leurs sons battants deviennent ici des accords de septième et de neuvième non résolus, dans une manifestation merveilleusement lyrique de la sophistication tonale lisztienne.

extrait des notes rédigées par Susan Youens © 2012
Français: Hypérion

In Marling, einem Dorf in Südtirol (im nördlichsten Teil Italiens, der im Osten und Norden an Österreich grenzt), verbrachte der Wiener Schriftsteller Emil Kuh, ein Freund und Biograph des großen Dichters Friedrich Hebbel, seine letzten Lebensjahre. Liszt, derm 1865 die niederen Weihen der katholischen Kirche erhalten hatte, wurde durch die Anrufung des lyrischen Ichs an den „heil’gen Gesang“ der Kirchenglocken zu einem seiner schönsten späten Lieder, Ihr Glocken von Marling, angeregt. Darin entwickelt sich die Obertonreihe der Kirchenglocken, deren schwellender Klang die Luft erfüllt, zu nicht aufgelösten Sept- und Nonenakkorden, in denen sich Liszts Klangraffinesse wunderbar lyrisch manifestiert.

aus dem Begleittext von Susan Youens © 2012
Deutsch: Christiane Frobenius

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