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Track(s) taken from CDA67315

Wonne der Wehmut, Op 83 No 1

author of text

Michael Schade (tenor), Malcolm Martineau (piano)
Recording details: December 2001
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: August 2002
Total duration: 2 minutes 51 seconds

Other recordings available for download

Stephan Genz (baritone), Roger Vignoles (piano)
John Mark Ainsley (tenor), Iain Burnside (piano)


'This is singing which is always alive, interesting, and personal … a fascinating record' (Gramophone)

'[Schade] sings Strauss’s Cäcilie and a wonderfully hushed Zueignung as though he and Martineau were the first to discover their ecstasy' (BBC Music Magazine)

'A fascinating selection of songs that exploits Michael Schade's versatile tenor' (The Daily Telegraph)

'What a joy it is to listen to Michael Schade! … This consistently bold, exhilarating recording is a must-have for aficionados of art-song repertoire and confirmed romantics alike' (Opera News)

'Highly accomplished technique and rare vocal artistry … ideally accompanied by pianist Malcolm Martineau' (Classics Today)

'On peut considérer ce récital comme une bonne introduction à un siècle d’art vocal et littéraire' (Répertoire, France)
A warm-hearted, sublimely understated setting that finds Beethoven at his most poetically subtle, especially when at the end the suggestion of falling tears in the piano accompaniment becomes slightly less free-flowing than has formerly been the case. So too the constant breaks in the vocal line allow the piano to ponder further on what is being sung. Most effective of all is the major-key setting which perfectly encapsulates the poem’s central theme of finding joy through sadness.

from notes by Julian Haylock © 1999

Cette mise en musique chaleureuse, sublimement discrète, nous montre un Beethoven au mieux de sa subtilité poetique – notamment à la fin, lorsque l’évocation des larmes en train de couler, dans l’accompagnement pianistique, devient légèrement moins fluide qu’auparavant. En outre, les constantes interruptions de la ligne vocale permettent au piano de réfléchir davantage à ce qui est chanté. Le trait le plus efficace de ce lied est la mise en musique en mode majeur, qui appréhende parfaitement le thème central du poème: la découverte de la joie à travers la tristesse.

extrait des notes rédigées par Julian Haylock © 1999
Français: Hyperion Records Ltd

Diese warmherzige, herrlich zurückhaltende Vertonung zeigt Beethoven von seiner poetisch subtilsten Seite, vor allem wenn am Ende der Hinweis auf rinnende Tränen in der Klavierbegleitung weniger ungehindert fließt, als dies früher der Fall war. Im gleichen Sinn versetzen die ständigen Unterbrechungen der Gesangslinie das Klavier in die Lage, weiter über das Gesungene nachzudenken. Am wirkungsvollsten ist jedoch der Dursatz, der das zentrale Thema des Gedichts – im Kummer Freude finden – perfekt zusammenfaßt.

aus dem Begleittext von Julian Haylock © 1999
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Beethoven: Lieder und Gesänge
Studio Master: SIGCD145Download onlyStudio Master FLAC & ALAC downloads available
Beethoven: Songs
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