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 CDJ33009

Der Sänger am Felsen, D482

First line:
Klage, meine Flöte, klage
September 1816; first published in 1895
author of text

Arleen Auger (soprano), Graham Johnson (piano)
Recording details: October 1989
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: January 1991
Total duration: 3 minutes 21 seconds


'If you've been collecting the discs in the Hyperion series you'll know what to expect here; a really classy production and treasures waiting to be discovered' (American Record Guide)

'The most delicious thus far in the series' (Fanfare, USA)

'A ravishingly beautiful voice and it is on glorious display here, revelling in these delightfully varied songs' (Lady)

'Great singing, clean of affectation and warm in devotion' (Scotland on Sunday)
The composer Benjamin Britten used to 'orchestrate' the accompaniments he played — mostly just in his head, but sometimes with pencilled instrumental cues on the printed music itself. Here we have the sole instance of Schubert doing the same on one of his manuscripts — the opening pianoforte ritornello, prompted by the opening words of the poem, is marked with the word 'flute' in brackets (Flöte). The introduction is nevertheless wonderful piano music with a touch of Mozartian drama and rhetoric. The song is marked 'restlessly and plaintively' and the key of E minor is often associated with dejection and unhappiness in Schubert's music. One is tempted to regard the passionate melismatic semiquavers and triplets of the vocal line as Italian in inspiration. The inspiration of the poem is certainly from the warm south of classical times: Karoline Pichler's 135-verse 'Idylle', a dialogue between Alexis and Mycon, is set in pastoral Greece and seems to be a type of Chanson de Bilitis of its time. The song dates from the same time as another Pichler setting — Lied (D483), which opens Volume 5.

from notes by Graham Johnson © 1990

Other albums featuring this work

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Waiting for content to load...
Waiting for content to load...