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Puisque j'ai mis ma lèvre

author of text

This setting of Hugo is the nearest Reynaldo ever came to writing a Lied. The influence of the whimsicality of Schumann can be heard relatively often in his work, but here for the first time we detect in the composer an ambition to write a really profound song in the German manner. The result seems to have something in common with the Hugo Wolf of such Mörike settings as Lebewohl and the Peregrina songs. In any case, Hahn’s scrupulous prosody and his preference for vocal lines which follow the contours of speech (both lifelong characteristics of his work) link him to the work of the Austrian master no matter how different the musical results. Hahn has paid unusual attention to the two-part writing between the vocal and bass lines; the function of the right hand is mainly to fill in the harmony. The Wolfian impression is strengthened by a chromaticism that is restless to the point of confusing the ear, as well as the appearance of an extended interlude between the verses and an even longer postlude. Another influence may be detected in the writing for piano in the passage beginning ‘Je puis maintentant dire aux rapides années’: we can hear at this point the harmonic world of late Fauré—Paradis from La Chanson d’Eve comes strongly to mind. Once again the choice of poem seems to reflect melancholy of a deep and nameless nature; a key phrase for this composer seems to be ‘J’ai dans l’âme une fleur que nul ne peut cueillir!’

from notes by Graham Johnson © 1996


Hahn: Songs


Track 7 on CDA67141/2 CD2 [4'28] 2CDs

Track-specific metadata for CDA67141/2 disc 2 track 7

Recording date
22 December 1995
Recording venue
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Recording producer
Mark Brown & Arthur Johnson
Recording engineer
Antony Howell & Julian Millard
Hyperion usage
  1. Hahn: Songs (CDA67141/2)
    Disc 2 Track 7
    Release date: June 1996
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