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Track(s) taken from CDA67844

Begegnung, TrV98

First line:
Die Treppe hinunter gesprungen
1880; WoO72; rediscovered in 1958; first performed in 1959 by Elisabeth Schwarzkopf and Gerald Moore
author of text

Elizabeth Watts (soprano), Roger Vignoles (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2012
Total duration: 2 minutes 9 seconds

Cover artwork: A Summer Night (1890) by Albert Joseph Moore (1841-1893)
© Walker Art Gallery, National Museums Liverpool / Bridgeman Art Library, London


'Vignoles plays the often extended introductions and postludes … quite magically, to say nothing of the extended interludes … my pleasure in this latest volume is without any reservations. Elizabeth Watts sings gloriously, rising fluently to the high tessitura of Strauss's melodic lines (immediately obvious in the first few songs included in the recital). Her beautiful voice, sensitive phrasing and response to word-meanings are consistently rewarding and her partnership with Roger Vignoles could hardly be more beautifully balanced' (Gramophone)

'Watts takes flight in this repertoire, her warm, generous soprano broadening into a luscious, creamy-toned wonder. Tonal glamour? You bet' (The Guardian)

'Watts has the full measure of the drama … she reveals herself as an accomplished Straussian throughout this recital and nowhere more so than in the very last song that the composer wrote, Malven, written for soprano Maria Jeritza in 1948 after he had finished the Vier letzte Lieder. A gift from one great artist to another and a fitting end to this admirable recording' (International Record Review)
The harmonic idiom of this song may hark back to Schumann, but its incisive rhythms and sparkling piano interjections clearly look ahead to the Strauss of All’ mein Gedanken, mein Herz und mein Sinn, Schlagende Herzen and even Schlechtes Wetter. In particular the character of mischievous confession is beautifully judged, lacing the harmony with deft chromatic touches—as at ‘wo die Trepp’ so dunkel ist’, for example—and landing the final punchline with perfect timing. It is nice to think that the song may have had its echo in real life, amid the chandeliers and panelled rooms of the spa in which Strauss and Lotti met.

from notes by Roger Vignoles © 2012

Le langage harmonique de Begegnung rappelle Schumann, mais ses rythmes incisifs et les interjections étincelantes du piano annoncent clairement le Strauss d’All’ mein Gedanken, mein Herz und mein Sinn, Schlagende Herzen et même de Schlechtes Wetter. L’impression de confession espiègle, notamment, est merveilleusement restituée, mêlant l’harmonie de touches chromatiques habiles—comme à «wo die Trepp’ so dunkel ist», par exemple—et amenant la chute finale juste au bon moment. On peut imaginer avec plaisir que ce lied eut peut-être des échos dans la vie réelle, au milieu des lustres et des pièces lambrissées de la station thermale où Strauss et Lotti se rencontrèrent.

extrait des notes rédigées par Roger Vignoles © 2012
Français: Marie-Stella Pâris

Die harmonische Sprache von Begegnung mag auf Schumann zurückverweisen, doch die scharfe Rhythmik des Lieds sowie die schillernden Einwürfe des Klaviers lassen schon deutlich den reifen Strauss anklingen und erinnern an All’ mein Gedanken, mein Herz und mein Sinn, an Schlagende Herzen oder sogar an Schlechtes Wetter. Besonders für den Eindruck eines verschmitzten Geständnisses beweist Strauss wunderbares Gespür: Geschickt verleiht er der Harmonik chromatische Nuancen—etwa bei „wo die Trepp’ so dunkel ist“—und bringt die abschließende Pointe mit perfektem Timing. Es ist ein schöner Gedanke, dass das Lied vielleicht auch im wirklichen Leben Niederschlag fand, als Strauss und Lotti im Kurhotel mit seinen Kronleuchtern und getäfelten Zimmern aufeinandertrafen.

aus dem Begleittext von Roger Vignoles © 2012
Deutsch: Arne Muus

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