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Was Liebe sei, S288 Third setting

First line:
Dichter! Was Liebe sei, mir nicht verhehle!
circa 1878/9; LW N7
author of text

In his final setting of Was Liebe sei, Liszt returns to the notion of curlicued filigree for the pianist at the start, followed by his signature late mixture of unharmonized phrases for the singer and chromatically altered chords for the piano in the interstices. The ending is poised in mid-air, with a final high pitch left to evaporate at the close.

from notes by Susan Youens © 2016

Dans sa dernière version de Was Liebe sei, Liszt revient à la notion de fioritures en filigranes pour le pianiste au début, suivies du mélange tardif de phrases non harmonisées qui est sa signature pour la partie vocale et d’accords altérés chromatiquement au piano dans les interstices. La fin est suspendue dans l’air, avec une note finale aiguë qu’il laisse s’évaporer à la conclusion.

extrait des notes rédigées par Susan Youens © 2016
Français: Marie-Stella Pâris

In seiner letzten Vertonung von Was Liebe sei kehrt Liszt eingangs zu seiner Vorstellung von filigranen Verzierungen für den Pianisten zurück und läßt dann seine in der Spätzeit typische Mischung aus nichtharmonisierten Phrasen für den Sänger sowie chromatisch alterierten Akkorden für das Klavier zwischen den Phrasen folgen. Das Ende bleibt schwebend mit einem letzten Ton in hoher Lage, der am Schluß verfliegt.

aus dem Begleittext von Susan Youens © 2016
Deutsch: Christiane Frobenius


Liszt: The Complete Songs, Vol. 4 - Sasha Cooke
Studio Master: CDA68117Studio Master FLAC & ALAC downloads available


Track 10 on CDA68117 [1'18]

Track-specific metadata for CDA68117 track 10

Recording date
6 December 2014
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Tim Oldham
Recording engineer
David Hinitt
Hyperion usage
  1. Liszt: The Complete Songs, Vol. 4 - Sasha Cooke (CDA68117)
    Disc 1 Track 10
    Release date: May 2016
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