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Track(s) taken from CDA67934

Im Rhein, im schönen Strome, S272 Second version

1855; LW N3
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: 3 minutes 17 seconds

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

Other recordings available for download

Andrew Kennedy (tenor), 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)
Where Robert Schumann drew on the idea of reflections in the water for his setting of Heinrich Heine’s Im Rhein, im schönen Strome, in the song cycle Dichterliebe, Op 48, Liszt paints rippling waters and the fluttering of angels’ wings. In this revised version the waters flow in gentler, less virtuosic manner; one notes again the chiming chords in the treble register indicative of Liszt’s ‘ethereal’ or ‘angelic’ strain of music. Poem and song were born of one of the great building projects of the nineteenth century: the completion of Cologne Cathedral (officially the Hohe Domkirche St Peter und Maria), begun in 1248 but left unfinished in the early sixteenth century. In 1814 the future Prussian monarch Friedrich Wilhelm IV first resolved to see to its completion, and the actual building began in 1842, two years after he assumed the throne. For a time both Liszt and Heine were involved in fundraising efforts for the cathedral, the deeply Catholic Liszt more so than the poet. The image of the Virgin in this song refers to a famous panel on a retable altarpiece painted by the late Gothic painter Stephan Lochner in the 1440s.

from notes by Susan Youens © 2012

Là où Robert Schumann exploita l’idée des reflets dans l’eau pour mettre en musique Im Rhein, im schönen Strome de Heinrich Heine (dans son cycle de lieder Dichterliebe op. 48), Liszt peint les eaux ondoyantes et le battement des ailes des anges. Dans cette version révisée, les eaux fluent avec davantage de douceur, moins de virtuosité; là encore, les accords carillonnants, dans le registre aigu, marquent des accents musicaux «éthérés», «angéliques». Le poème et le lied naquirent d’un des grands projets architecturaux du XIXe siècle: l’achèvement de la cathédrale de Cologne (Hohe Domkirche St Peter und Maria, de son nom officiel), entamée en 1248 mais laissée inachevée au début du XVIe siècle. En 1814, le futur monarque prussien Friedrich Wilhelm IV fut le premier à décider de la voir achevée; la construction commença véritablement en 1842, deux ans après son accession au trône. Pendant un temps, et Liszt et Heine s’attelèrent à lever des fonds pour ce projet—le très catholique Liszt bien plus que le poète. Dans ce lied, l’image de la Vierge renvoie à un célèbre panneau de retable peint par l’artiste gothique tardif Stephan Lochner dans les années 1440.

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

Wo Robert Schumann die Vorstellung des sich spiegelnden Wassers für seine Vertonung von Heinrich Heines Im Rhein, im schönen Strome in seinem Zyklus Dichterliebe op. 48 nutzte, malt Liszt das wogende Wasser und die flatternden Engelsflügel. In dieser revidierten Fassung fließt das Wasser sanfter, weniger virtuos; wieder fallen die glockenartigen Akkorde in der hohen Lage auf, die Liszts ätherische oder engelhafte Musik charakterisieren. Gedicht und Lied gingen aus einem der großen Bauprojekte des 19. Jahrhunderts hervor: der Vollendung des Kölner Domes (offiziell die Hohe Domkirche St. Peter und Maria), der 1248 begonnen wurde, Anfang des 16. Jahrhunderts jedoch unvollendet blieb. 1814 beschloß der künftige preußische König Friedrich Wilhelm IV. erstmals, für die Vollendung des Baues zu sorgen, die 1842, zwei Jahre nach seiner Thronbesteigung, begann. Eine Zeit lang waren sowohl Liszt als auch Heine mit Spendenaktionen für den Dom befaßt, der tief katholische Liszt mehr als der Dichter. Das Bild der Heiligen Jungfrau in diesem Lied bezieht sich auf ein berühmtes Altarbild des spätgotischen Malers Stephan Lochner aus den späten 1440er Jahren.

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

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