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Track(s) taken from CDA67934

J'ai perdu ma force et ma vie, S327

1872; LW N68
author of text
1840; Tristesse

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 55 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)
Alfred de Musset’s La confession d’un enfant du siècle (1836) and his 1840 sonnet ‘Tristesse’ or ‘Sadness’—Liszt’s text for J’ai perdu ma force et ma vie—define the so-called ‘mal du siècle’, a compound of ennui, melancholy, apathy, and distaste for life. In a letter of condolence to the wife of Alexei Tolstoy (second cousin to Leo Tolstoy) in 1875, Liszt quoted the closing lines of Musset’s poem, in which life is summed up as weeping. Chromatically clouded, dramatic-emphatic ‘sighing figures’ fill the piano introduction before the singer enters with an unaccompanied, recitative-like passage, typical of Liszt’s late songs. This work is also emblematic of Liszt in its interior ‘ethereal’ treble passage evoking the eternal and its exploration of tonal ambivalence: we end in mid-air.

from notes by Susan Youens © 2012

La Confession d’un enfant du siècle (1836) et le sonnet «Tristesse» (1840) d’Alfred de Musset—auquel Liszt emprunta le texte de son J’ai perdu ma force et ma vie—définissent le «mal du siècle», mélange d’ennui, de mélancolie, d’apathie et de dégoût de la vie. Dans une lettre de condoléances adressée à la femme d’Alexei Tolstoï (cousin au deuxième degré de Léon Tolstoï), en 1875, Liszt cita les derniers vers du poème de Musset, où la vie se résume à des pleurs. Des «figures soupirantes» tragico-emphatiques, chromatiquement assombries, emplissent l’introduction pianistique avant que la chanteuse ne fasse son entrée avec un passage sans accompagnement, façon récitatif, typique des mélodies tardives du compositeur. Cette œuvre se révèle, en outre, emblématiquement lisztienne par son passage intérieur aigu, «éthéré», évoquant l’éternel, comme par son exploration de l’ambivalence tonale: on s’arrête en plein ciel.

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

Alfred de Mussets autobiographischer Roman La confession d’un enfant du siècle (1836) und sein Sonett Tristesse von 1840—Liszts Textgrundlage für J’ai perdu ma force et ma vie—umreißen den sogenannten Weltschmerz („le mal du siècle“), eine Mischung aus Langeweile, Melancholie, Apathie und Lebensüberdruß. In einem Kondolenzschreiben an die Witwe von Alexej Tolstoi (eines Cousins zweiten Grades von Leo Tolstoi) von 1875 zitierte Liszt den Schluß aus Mussets Gedicht, wonach das Weinen noch das Beste im Leben sei. Chromatisch umwölkte, dramatisch-emphatische Seufzerfiguren erfüllen die Klaviereinleitung, bevor die Stimme mit einer unbegleiteten rezitativischen Passage einsetzt—typisch für Liszts späte Lieder. Dieses Werk ist auch emblematisch für Liszt mit der ätherischen Binnenpassage in hoher Lage, in der das Ewig Gültige evoziert und dessen klangliche Mehrdeutigkeit erkundet wird: das Ende bleibt in der Schwebe.

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

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