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Track(s) taken from CDA67934

Über allen Gipfeln ist Ruh', S306 Third version

1859; LW N46
author of text
6 September 1780; Wandrers Nachtlied II

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: 3 minutes 32 seconds

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

Other recordings available for download

Rebecca Evans (soprano), Iain Burnside (piano)


'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)
It may be a cliché to say that Goethe’s ‘Wandrers Nachtlied II’, or Über allen Gipfeln ist Ruh’, is one of the greatest masterpieces of German verse—but it is. Written on 6 September 1780 on the wall of a wooden hut at the peak of the Kickelhahn mountain near Ilmenau, it begins by evoking the onset of night and then transforms ‘evening’ into the imminent end of life. In the quiet chords whose roots descend by thirds in the piano at the beginning of Liszt’s second version, we hear musical peace descend on the landscape. In the repetitions of the poet’s final lines, we hear a crescendo of longing, urgency, and perhaps a touch of fearfulness that cedes to the invocation of ultimate peace, bringing back the harmonies of the beginning on a higher plane.

from notes by Susan Youens © 2012

Cela fait peut-être un peu cliché de dire que le «Wandrers Nachtlied II» de Goethe, ou Über allen Gipfeln ist Ruh’, est l’un des plus grands chefs-d’œuvre de la poésie allemande—mais c’est vrai. Écrit le 6 septembre 1780 sur le mur d’une cabane en bois, au sommet du mont Kickelhahn, près d’Ilmenau, ce poème commence par évoquer la nuit naissante avant de transformer le «soir» en la fin imminente de la vie. Dans les paisibles accords aux sons fondamentaux descendant par tierces au piano, au début de la seconde version de Liszt, on entend la paix musicale descendre sur le paysage. Dans les répétitions des derniers vers du poète, c’est un crescendo d’aspiration, d’urgence, que l’on entend, et peut-être un rien de crainte, aussi, qui cède à l’invocation de la paix ultime, ramenant les harmonies initiales à un niveau plus élevé.

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

Es mag ein Klischee sein, wenn man Goethes Wandrers Nachtlied II oder Ein Gleiches (Über allen Gipfeln ist Ruh’) zu einem der größten Meisterwerke der deutschen Dichtkunst erklärt; doch genau das ist es. Das am 6. September 1780 an die Holzwand einer Hütte auf dem Gipfel des Kickelhahns (bei Ilmenau) geschriebene Gedicht beschwört anfangs die anbrechende Nacht und wandelt diese dann in das bevorstehende Lebensende um. Am Beginn von Liszts zweiter Version kann man in den ruhigen Akkorden, deren Grundtöne auf dem Klavier in Terzen absteigen, den musikalischen Frieden hören, der sich auf die Landschaft niedersenkt. In den Wiederholungen der Schlußzeilen des Dichters hört man ein Crescendo voller Sehnsucht, Dringlichkeit und wohl auch einem Hauch von Furchtsamkeit, die der Anrufung des endgültigen Friedens weicht, mit der die Harmonien des Anfangs auf einer höheren Ebene wiederkehren.

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

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Liszt: Liszt Abroad
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