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Zigeunerlieder 'solo version', Op 103

Zigeunerlieder 'solo version', Op 103

composer
the composer's own arrangements of 8 of his 11 Zigeunerlieder, Op 103, oringally for ensemble and piano; solo versions published in April/May 1889
author of text
translated from Hungarian folksongs

 
Composed in Vienna during the winter of 1887–88, the solo version published in April/May 1889. The songs’ autograph (original quartet version) is in the British Library (Stefan Zweig Collection), London

Hugo Conrat, a member of a well-to-do Jewish family in Vienna (and later a close friend of Brahms), had made translations of these Magyar texts with the help of two of his children’s Hungarian nannies; he sent to Brahms a volume of twenty-five Ungarische Liebeslieder, supposedly original gypsy folk melodies with piano accompaniments by one Zoltán Nagy, published in Budapest with Conrat’s polished German translations (and, strangely enough, without the original Hungarian). Brahms, already a veteran of the Hungarian dances for piano and for orchestra, was enchanted; as the composer of the famous Liebeslieder-Walzer for vocal quartet, he first composed eleven of these poems for SATB (although some of the songs have solo passages for tenor). These settings owed almost nothing to the original melodies with accompaniments by Nagy, and the work enjoyed immediate success. A year later, Brahms made solo versions of eight songs—selecting Nos 1-7, and ending with No 11—of the multi-voiced version; these represent the texts of Nos 2, 3, 6-9, 13 and 21 of the Nagy arrangements. Despite the erotic nature of the songs, they found unexpected approval from the two critics of the composer who were most inclined to be prudish: Elisabeth von Herzogenberg and Clara Schumann. It was Clara who first praised Brahms’s achievement in having written a cycle where all the songs were in 2/4 (a metre required by the pervasive trochees and spondees of the text) but which nevertheless succeeded in holding the listener’s attention throughout. She might have added that, with the exception of the first, all these songs are printed on two pages and are composed with an economy and unpretentiousness that belie the extravagant emotions given musical voice in this vibrant cycle.

from notes by Graham Johnson © 2020

Recordings

Brahms: The Complete Songs, Vol. 10 - Sophie Rennert
Studio Master: CDJ33130Studio Master FLAC & ALAC downloads available

Details

No 1: He, Zigeuner, greife in die Saiten ein!
Track 14 on CDJ33130 [1'00]
No 2: Hochgetürmte Rimaflut, wie bist du so trüb
Track 15 on CDJ33130 [1'11]
No 3: Wisst ihr, wann mein Kindchen
Track 16 on CDJ33130 [1'42]
No 4: Lieber Gott, du weißt, wie oft bereut ich hab
Track 17 on CDJ33130 [1'30]
No 5: Brauner Bursche führt zum Tanze
Track 18 on CDJ33130 [1'40]
No 6: Röslein dreie in der Reihe blühn so rot
Track 19 on CDJ33130 [1'55]
No 7: Kommt dir manchmal in den Sinn
Track 20 on CDJ33130 [2'34]
No 8: Rote Abendwolken ziehn
Track 21 on CDJ33130 [1'27]

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