Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA68010

Abschied, D475

First line:
Über die Berge zieht ihr fort
September 1816; published in 1885
author of text
poem originally titled Lunz

Florian Boesch (baritone), Roger Vignoles (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2012
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by David Hinitt
Release date: February 2014
Total duration: 5 minutes 7 seconds

Cover artwork: The Wanderer Above the Sea of Mist (1818) by Caspar David Friedrich (1774-1840)

Other recordings available for download

Ann Murray (mezzo-soprano), Graham Johnson (piano)


'Florian Boesch is the kind of baritone who, once heard, makes you want to hear him in any and all repertoire appropriate to his voice. A more alluringly rich voice than Christian Gerhaher’s is hard to imagine until hearing Boesch, who has a greater capacity for soft singing, maintaining an interpretatively interesting tone even in pianissimos … Boesch isn’t the sort of singer who tells you what to think or feel in this music. He lays it out with hugely attractive (and protracted) clarity and then lets you enter the music a fuller participant' (Gramophone)

'Boesch's singing is faultless: he's in fine voice and marvellously alert to every verbal nuance, without ever fracturing the line for the sake of the text. Vignoles, playing some of Schubert's most taxing accompaniments, tirelessly matches his every emotional shift. Very fine' (The Guardian)» More

'Florian Boesch and Roger Vignoles are two of the best performers of Lieder in our time … Boesch sings with the gentle sadness which pervades most of the songs that follow, his rich, true baritone voice reflective rather than assertive, the words all the more moving for the restraint with which they are delivered … this fine disc, pervaded with sadness though it is, has a great deal to offer those who love Schubert’s songs. There is an excellent booklet note by Richard Wigmore, and his own very good translations' (International Record Review)» More

'The Romantic outsider fated or choosing to live beyond the bounds of society is the main theme of this striking collection. Boesch, who recently released a powerfully convincing Schöne Müllerin cycle, has an ideal voice, at once dark and dazzling, and his accompanist —except that Schubert's rich, inventive piano parts are so much more than accompaniments—is perfect' (The Sunday Times)» More
Mayrhofer's poem is entitled Lunz which is a village in Lower Austria whither the poet had travelled on a walking tour in 1816. The pilgrim's aria on which the song is said to be based has never been traced, although we can hear the echoing resonances of phrases sung across the mountains by the travellers, and the wonderful effect of alphorn harmonies merging into each other. The poet's concept of parting and decay has something in common with Collin's Wehmut (Volume 5). Using the simplest strophic means Schubert elevates the poet's not extremely original text into a universal hymn; this musical journey crosses the bar (as Tennyson has it) into new spiritual realms. Fischer-Dieskau has pointed out the similarity of the introduction to the prisoners' 'schnell schwindest du uns wieder' from Fidelio, which is also a type of farewell. I am reminded of the rainbow of descending chords which open the slow movement of Brahms's F minor Piano Sonata; others hear Mahler in this song, with its surprisingly modern chain of chords in introduction and postlude. The whole piece certainly has a folksy nostalgia which puts one in mind of the mood of some of that composer's Des Knaben Wunderhorn songs. As always Schubert is a Janus, looking backwards to his revered models and anticipating new developments much more than is usually allowed by the music historians.

from notes by Graham Johnson © 1989

Other albums featuring this work

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Schubert: The Hyperion Schubert Edition, Vol. 3 - Ann Murray
CDJ33003Archive Service; also available on CDS44201/40
Waiting for content to load...
Waiting for content to load...