Vienna: Fin de siecle
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Label: Alpha
Cat No: ALPHA393
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 21st September 2018
Contents
Works
Fruhe Lieder (Early Songs) (7)Lieder (4)
Lieder (5) nach Gedichten von Richard Dehmel
Mignon I 'Heiss mich nicht reden' (Goethe-Lieder no.5)
Mignon II 'Nur wer die Sehnsucht kennt' (Goethe-Lieder no.6)
Mignon III 'So lasst mich scheinen' (Goethe-Lieder no.7)
Mignon IV 'Kennst du das Land' (Goethe-Lieder no.9)
Gesange (5), op.7
Artists
Barbara Hannigan (soprano)Reinbert de Leeuw (piano)
Works
Fruhe Lieder (Early Songs) (7)Lieder (4)
Lieder (5) nach Gedichten von Richard Dehmel
Mignon I 'Heiss mich nicht reden' (Goethe-Lieder no.5)
Mignon II 'Nur wer die Sehnsucht kennt' (Goethe-Lieder no.6)
Mignon III 'So lasst mich scheinen' (Goethe-Lieder no.7)
Mignon IV 'Kennst du das Land' (Goethe-Lieder no.9)
Gesange (5), op.7
Artists
Barbara Hannigan (soprano)Reinbert de Leeuw (piano)
About
a JUNO Classical Award in Canada, the Preis der Deutschen Schallplattenkritik, FFFF in Télérama and DIAMANT in
Opéra Magazine and was BBC Music Magazine CD of the Month, Barbara Hannigan is back with her long-time
collaborator, the Dutch pianist and great interpreter of twentieth-century music Reinbert de Leeuw, for a recital
exploring the roots of modern music, with the composers who left their mark on the turn of the twentieth century:
Hugo Wolf (Mignon Lieder), Arnold Schoenberg (Vier Lieder, op.2), Anton Webern (Fünf Lieder nach Gedichten von
R. Dehmel), Alexander Zemlinsky (selected lieder), Alma Mahler (Die stille Nacht etc.) and Alban Berg (Sieben frühe Lieder).
From what has been called the Second Viennese School, an incredible mix of musicians, painters, writers and other
artists frequenting salons and cafés, a completely new musical language was born. Barbara Hannigan is especially
fond of this repertory and has long championed it. Of course, we think of Berg and his unforgettable Lulu: ‘The
artist who sings’, as journalists often like to describe her, embodies this music with her legendary dramatic sense,
making each of these lieder a story in itself, even a mini-opera...
Sound/Video
Paused
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1Schoenberg: Vier Lieder, Op. 2 - Erwartung
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2Schoenberg: Vier Lieder, Op. 2 - Schenk Mir Deinen Goldenen Kamm (Jesus Bettelt)
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3Schoenberg: Vier Lieder, Op. 2 - Erhebung
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4Schoenberg: Vier Lieder, Op. 2 - Waldsonne
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5Webern: Fünf Lieder Nach Gedichten Von Richard Dehmel - Ideale Landschaft
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6Webern: Fünf Lieder Nach Gedichten Von Richard Dehmel - Am Ufer
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7Webern: Fünf Lieder Nach Gedichten Von Richard Dehmel - Himmelfahrt
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8Webern: Fünf Lieder Nach Gedichten Von Richard Dehmel - Nähtliche Scheu
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9Webern: Fünf Lieder Nach Gedichten Von Richard Dehmel - Helle Nacht
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10Berg: Sieben Frühe Lieder - Nacht
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11Berg: Sieben Frühe Lieder - Schilflied
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12Berg: Sieben Frühe Lieder - Die Nachtigall
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13Berg: Sieben Frühe Lieder - Traumgekrönt
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14Berg: Sieben Frühe Lieder - Im Zimmer
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15Berg: Sieben Frühe Lieder - Liebesode
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16Berg: Sieben Frühe Lieder - Sommertage
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17Zemlinsky: Lieder, Op. 2 - Empfängnis
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18Zemlinsky: Lieder, Op. 2 - Frühlingstag
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19Zemlinsky: Lieder, Op. 5 - Tiefe Sehnsucht
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20Zemlinsky: Lieder, Op. 5 - Schlaf Nur Ein
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21Zemlinsky: Lieder, Op. 7 - Da Waren Zwei Kinder
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22Zemlinsky: Lieder, Op. 7 - Entbietung
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23Zemlinsky: Lieder, Op. 7 - Irmelin Rose
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24Mahler (A): Fünf Lieder - Die Stille Stadt
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25Mahler (A): Laue Sommernacht
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26Mahler (A): Ich Wandle Unter Blumen
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27Mahler (A): Vier Lieder - Licht In Der Nacht
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28Wolf: Goethe-Lieder - Mignon 1
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29Wolf: Goethe-Lieder - Mignon 2
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30Wolf: Goethe-Lieder - Mignon 3
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31Wolf: Goethe-Lieder - Kennst Du Das Land
Europadisc Review
Now, following their highly-acclaimed collaboration in the music of Satie (Socrate, on the Winter & Winter label), Hannigan and de Leeuw reunite on disc to explore key works in the early development of ‘Second Viennese School’ song. The repertoire they have chosen focuses on the unravelling of traditional tonality, as expressed through settings of poems loosely centred on the theme of ‘Sehnsucht’ (usually translated as ‘longing’). Here, the longing seems above all to be for a lost age of greater harmonic certainty, while at the same time looking forward with a mixture of angst and hope to the new musical possibilities taking shape on the horizon.
As you’d expect, Schoenberg, Berg and Webern feature prominently, with beautifully committed, engaged and nuanced performances of Schoenberg’s Four Songs, op.2 (1899), Webern’s Five Songs on Poems by Richard Dehmel (1906-08), and Berg’s celebrated Seven Early Songs (1907). De Leeuw’s colourful but supremely sensitive piano playing points up fascinating connections between Schoenberg and Debussy in particular, and both he and the ever-involving Hannigan are thoroughly idiomatic in the expressionistic depths of Webern and the more overtly lyrical outpourings of Berg. This is music in which one feels both performers are completely in their element, with singing and playing of thrilling immediacy.
By including songs by Zemlinsky (from the mid- to late 1890s) and Alma Mahler (1910 and 1915) alongside these three pillars of the Second Viennese School, Hannigan and de Leeuw add not only an expanded context but real substance to their recital. Zemlinsky’s fundamentally tonal musical language seems to be looking back to a Brahmsian tradition, but also tentatively forward as the world stands on the brink of a new century. Certainly you feel the tension in Hannigan’s performance of Entbietung (‘Invitation’), a setting of words by Richard Dehmel – who provided a crucial literary inspiration for all these composers. Alma Mahler (herself a source of inspiration not only for her husband Gustav, but also for Berg and Zemlinsky, among several others) seems to look even further back from her vantage point in the early to mid-1910s, yet even here you feel a sense of foreboding, not least in the eerie harmonies that open her setting of Dehmel’s Die stille Stadt (‘The Silent Town’).
Following the trajectory set by the Zemlinsky and Mahler songs, Hannigan and de Leeuw end their programme at the point where, in their view, it all started: Hugo Wolf’s Mignon settings from Goethe’s Wilhelm Meister. Here, as the 19th century moved toward its close, music and text, melody and accompaniment became inextricably entwined. Texture as much as tonality defined the music of the new century, and song-setting, for all these composers, was an essential part of their musical DNA, as well as laying the formal foundations for the ‘new music’ ahead. By bidding a tender farewell with Wolf’s extraordinarily prescient music, Hannigan and de Leeuw seem to be inviting us to listen again to the whole programme in the light of its discoveries and connections.
And return to it again the listener surely will. There may be more tonally radiant recordings of some of these songs, and others with more clinical, pinpoint accuracy. But there are few that combine such a sense of sheer involvement, at foreground and deep-background levels, with such a complete awareness of, and identification with, the fin-de-siècle mindset. For that reason alone, lovers of 20th-century art song need to hear this disc. They will find it an immensely rewarding and thought-provoking experience: from these musicians, one would expect no less!
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