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

Lilla an die Morgenröte, D273

First line:
Wie schön bist du, du güldne Morgenröte
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: 1 minutes 39 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)
This is one of the six Lieder and three partsongs that Schubert composed on 25 August 1815. Despite the fact that it was born part of a crowded litter, it is a jewel of repose and spacious inner celebration — it sounds as if the composer had all the time in the world. It also seems the result of cool contemplation in the mountains, rather than fevered creativity (Vienna can also be extremely hot in August) in the tiny house in the Säulengasse. Schubert uses a typical horn motif rather than the flute scales which might have been suggested by the text, but his Attic restraint in the matter of elaboration lends a statuesque and religious (in a pagan sense) quality to the music. Lilla seems as much priestess as shepherdess. The spatial sense of echo reminds one of the Mayrhofer Abschied (D475, Volume 3) where a pilgrims' chorus resounds through the mountains. It shows that Schubert had long been fascinated by the sound of music echoing through large spaces (Benjamin Britten's church operas show a similar fascination and signalled a change in his entire creative style because of it) and suggests that a work like Der Hirt auf dem Felsen (which was to be Schubert's definitive statement on the subject of echo) had been in his thoughts for a number of years.

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...