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Track(s) taken from CDA67934

Es muss ein Wunderbares sein, S314

1852; LW N49
author of text
from Amaranth

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: 1 minutes 48 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)
Es muss ein Wunderbares sein is one of Liszt’s most popular songs, given its merger of sophisticated harmonies and its spare texture, devoid of pyrotechnics. The Bavarian poet Oscar von Redwitz-Schmölz became famous in his twenties for his sentimental epic Amaranth from which the Princess Augusta of Saxe-Weimar-Eisenach (later Queen of Prussia and German Empress) extracted two stanzas in July 1852 for Liszt to set to music. Fifteen years later, in 1867, Liszt met Redwitz-Schmölz and wrote to Carolyne von Sayn-Wittgenstein (1819–1887, the most important woman in Liszt’s life from the time of their meeting in 1847 to his death) to say: ‘His person pleases me more than I would have expected. One generally imagines him wholly steeped in piety—with lowered eyes and a timid manner of speaking, intermingled with sighs! Not he!’ The penultimate harmony on ‘sagen’ is a final touch of chromatic expressivity in this small gem.

from notes by Susan Youens © 2012

Es muss ein Wunderbares sein doit à sa fusion d’harmonies sophistiquées et à sa texture raréfiée, sans pyrotechnie, de figurer parmi les mélodies les plus populaires de Liszt. Le poète bavarois Oscar von Redwitz-Schmölz avait une vingtaine d’années quand il devint célèbre pour Amaranth, une épopée sentimentale dont la princesse Augusta de Saxe-Weimar-Einsenach (future reine de Prusse et impératrice allemande) confia deux strophes à Liszt, en juillet 1852, pour qu’il les mît en musique. Quinze ans plus tard, en 1867, Liszt rencontra Redwitz-Schmölz et écrivit à Carolyne von Sayn-Wittgenstein (1819–1887, la femme la plus importante de la vie de Liszt, de leur rencontre en 1847 jusqu’à sa mort à lui): «Sa personne me plaît plus que je ne l’aurais cru. On l’imagine en général confit en dévotion—les yeux baissés et une manière de parler timide, entrecoupée de soupirs! Eh bien non!» L’avant-dernière harmonie sur «sagen» apporte une ultime touche d’expressivité chromatique à ce petit bijou.

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

Es muss ein Wunderbares sein ist eines der beliebtesten Lieder von Liszt mit seiner Verschmelzung raffinierter Harmonien und seiner sparsamen Textur ohne jedes Feuerwerk. Der bayrische Poet Oscar von Redwitz-Schmölz erlangte 25-jährig Berühmtheit mit seinem sentimentalen Epos Amaranth, aus dem die Prinzessin Augusta von Sachsen-Weimar und Eisenach (die spätere Königin von Preußen und deutsche Kaiserin) im Juli 1852 zwei Strophen für Liszt zur Vertonung entnahm. 15 Jahre später, 1867, begegnete Liszt Redwitz-Schmölz und schrieb an Carolyne von Sayn-Wittgenstein (1819–1887; sie war die wichtigste Frau im Leben Liszts von ihrer Begegnung 1847 an bis zu seinem Tod): „Er gefällt mir mehr, als ich erwartet hätte. Man stellt sich ihn gewöhnlich ganz in Frömmigkeit getaucht vor—gesenkten Auges und mit einer ängstlichen, von Seufzern unterbrochenen Sprechweise! Keinesfalls!“ Die vorletzte Harmonie bei „sagen“ ist ein letzter Hauch chromatischer Ausdruckskraft in diesem kleinen Juwel.

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

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