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Track(s) taken from CDA67392

Ich bin der Welt abhanden gekommen

author of text

Stephan Genz (baritone), Roger Vignoles (piano)
Recording details: January 2003
Tonstudio Teije van Geest, Sandhausen, Germany
Release date: October 2004
Total duration: 5 minutes 45 seconds

Cover artwork: The Tomb of Böcklin (1901/2, detail) by Ferdinand Keller (1842-1922)
Staatliche Kunsthalle, Karlsruhe / AKG-Images, London

Other recordings available for download

Karen Cargill (mezzo-soprano), Simon Lepper (piano)


'This disc shows Stephan Genz entering his fourth decade with all the light suppleness and ardour of his youthful recordings, but now with darker colours and firmer bass ballast folding into his baritone. His intuitive musical partnership with Roger Vignoles is as sentient and perceptive as ever; and together they uncover the dark, sensual mysteries of the late-Rommantic response to the natural world' (BBC Music Magazine)

'A rich sonorous eloquence from Genz, while Vignoles musters a full range of orchestral colours. Piano accompaniment lends these works a more personal, intimate feel, turning this generous disc into a pensive, rewarding journey through the many complex moods of Mahler's inner life' (The Observer)

'Even in this golden age of Lieder singers, Stephan Genz has few rivals for easeful beauty of tone and acuteness of insight' (The Daily Telegraph)

'Stephen Genz is an excellent light baritone whose timbre reminds me sometimes of one of his teachers, Dietrich Fischer-Diskau, and whose interpretations are like Fischer-Diskau's earlier ones,before he began to over-interpret … highly recommended' (American Record Guide)

'This is an extremely enjoyable disc, which casts a lot of light on even those songs of Mahler which were written to be accompanied orchestrally … Genz is singing a cycle to which he is utterly suited, and the effect is magical' (International Record Review)

'Stephen Genz relies on subtle shading, verbal refinement and a lightness of touch to interpret a generous selection of Mahlerian masterpieces' (Classic FM Magazine)

'What surpassingly magnificent music this is, and what a superbly intelligent display of Western high-art at its most poignant from Genz and Vignoles. I just can't stop playing the disc. Endless pleasure, endless sorrow, endless beauty' (Fanfare, USA)
Mahler’s personal identification with Rückert was profound. When he wrote ‘Only when I experience do I compose, and only when I compose do I experience’ he was echoing Rückert’s own statement that ‘I never think without poetizing and never poetize without thinking’. And in these songs he has finally abandoned the stock characters of the Wunderhorn, with their generalized if intense emotional expression, for a poetic world that could express his own feelings with uncanny accuracy and sensitivity. Thus of Ich bin der Welt abhanden gekommen he wrote ‘It is my very self’, and there is no doubt that in this song he created if not his all-out masterpiece, certainly one of the greatest and most profoundly spiritual songs in the German language. The mood of the song is one of rapt withdrawal from the concerns of the world – one may imagine how the middle-aged symphonic composer and director of the Vienna State Opera must often have longed for such a retreat.

from notes by Roger Vignoles © 2004

Mahler s’identifia profondément à Rückert: «C’est seulement lorsque j’éprouve que je compose et lorsque je compose que j’éprouve», écrivit-il en écho à la sentence rückertienne, «Je ne pense jamais sans poétiser, et je ne poétise jamais sans penser». Et il renonça enfin, dans ces lieder, aux personnages classiques du Wunderhorn, aux expressions intensément émotionnelles mais globales, leur préférant un univers poétique à même d’exprimer ses sentiments avec une exactitude et une sensibilité troublantes. Et nul doute que Ich bin der Welt abhanden gekommen, à propos duquel il écrivit «c’est tout moi», constitue sinon son plus grand chef-d’œuvre, du moins l’un des lieder les plus grandioses et les plus profondément spirituels. Ce lied baigne dans une atmosphère de retrait absorbé des soucis du monde—nous pouvons imaginer combien le compositeur symphonique, déjà âgé, directeur de l’Opéra de Vienne, a dû aspirer longtemps à pareille retraite.

extrait des notes rédigées par Roger Vignoles © 2004
Français: Hypérion

Mahlers persönliche Identifikation mit Rückert ging sehr tief. Als er schrieb, daß er nur im Erleben komponiere und nur im Komponieren erlebe, so klang darin Rückerts eigene Aussage, er denke nie ohne zu dichten und dichte nie ohne zu denken, wider. Und in diesen Liedern gibt der Komponist die Standard-Charaktere des Wunderhorns, mit ihren zwar intensiven aber doch verallgemeinerten emotionalen Äußerungen, endlich für eine poetische Welt auf, die seine eigenen Gefühle mit geradezu unheimlicher Genauigkeit und Sensibilität ausdrücken konnte. So schrieb er über Ich bin der Welt abhanden gekommen, dies sei sein wahres Selbst, und es gibt keinen Zweifel, daß er mit diesem Lied vielleicht nicht sein absolutes Meisterwerk, aber sicherlich eines der großartigsten und zutiefst vergeistigten Lieder in deutscher Sprache geschrieben hat. Die Stimmung des Liedes ist die eines verzückten Zurückziehens von allen Belangen der Welt (man mag sich vorstellen, wie oft sich der symphonische Komponist in den mittleren Jahren und Direktor der Wiener Staatsoper nach einem solchen Zufluchtsort gesehnt haben mag).

aus dem Begleittext von Roger Vignoles © 2004
Deutsch: Bettina Reinke-Welsh

Other albums featuring this work

Mahler & Mahler: Lieder
Studio Master: CKD453Download onlyStudio Master FLAC & ALAC downloads available
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