Mark Padmore sings Mozart, Beethoven and Haydn
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Label: Harmonia Mundi
Cat No: HMU907611
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 7th April 2015
Contents
Works
Abendlied unterm gestirnten Himmel, WoO150Adelaide, op.46
An die Hoffnung, op.94
An die ferne Geliebte, op.98
Gesange (6), op.75
» no.2 Neue Liebe, neues Leben
» no.3 Aus Goethes Faust 'Es war einmal ein Konig'
Lieder (8), op.52 » no.4 Mailied
Resignation, WoO149Selbstgesprach, WoO114
Antwort auf die Frage eines Madchens, Hob.XXVIa:46
She never told her love, Hob.XXVIa:34
The Spirit's Song, Hob.XXVIa:41
Abendempfindung an Laura, K523
Das Veilchen, K476
Die ihr des unermesslichen Weltalls Schopfer ehrt, K619
Artists
Mark Padmore (tenor)Kristian Bezuidenhout (fortepiano)
Works
Abendlied unterm gestirnten Himmel, WoO150Adelaide, op.46
An die Hoffnung, op.94
An die ferne Geliebte, op.98
Gesange (6), op.75
» no.2 Neue Liebe, neues Leben
» no.3 Aus Goethes Faust 'Es war einmal ein Konig'
Lieder (8), op.52 » no.4 Mailied
Resignation, WoO149Selbstgesprach, WoO114
Antwort auf die Frage eines Madchens, Hob.XXVIa:46
She never told her love, Hob.XXVIa:34
The Spirit's Song, Hob.XXVIa:41
Abendempfindung an Laura, K523
Das Veilchen, K476
Die ihr des unermesslichen Weltalls Schopfer ehrt, K619
Artists
Mark Padmore (tenor)Kristian Bezuidenhout (fortepiano)
About
Following their acclaimed Schumann recording, tenor Mark Padmore and fortepiano phenomenon Kristian Bezuidenhout join forces again for this varied and appealing lieder recital of songs by Haydn, 'An die ferne Geliebte' Op.98 by Beethoven, and the Masonic Cantata K.619 by Mozart.
Sound/Video
Paused
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1Haydn - She never told her love, Hob.XXVIa:34
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2Haydn - Hark! What I tell to thee (The Spirit Song), Hob.XXVIa:41
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3Haydn - Antwort auf die Frage eines Madchens, Hob.XXVIa:46
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4Mozart - Das Veilchen, K476
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5Mozart - Abendempfindung, K523
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6Mozart - Kantate: Die ihr des unermesslichen Weltalls, K619
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7Beethoven - Mailied, op.52 no.4
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8Beethoven - Neue Liebe, neues Leben, op.75 no.2
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9Beethoven - Aus Goethes Faust, op.75 no.3
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10Beethoven - Adelaide, op.46
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11Beethoven - Selbstgesprach, WoO114
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12Beethoven - Resignation, WoO149
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13Beethoven - An die Hoffnung, op.94
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14Beethoven - An die ferne Geliebte, op.98
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15Beethoven - Abendlied unter'm gestirnten Himmel, WoO150
Europadisc Review
It wasn't until the post-1815 Biedermeier period that German art-song or Lied really took off in Vienna, most spectacularly in the Lieder of Franz Schubert. But, as this new disc from tenor Mark Padmore and fortepianist Kristian Bezuidenhout amply demonstrates, there were some fascinating forerunners from the great trinity of Viennese masters: Haydn, Mozart and Beethoven.
Padmore actually starts the recital with two of Haydn's English canzonettas, products of his second visit to London in 1794–95. She never told her love is a miniature through-composed scena setting Viola's words from Act 2 of Shakespeare's Twelfth Night, while The Spirit's Song (regarded by some as the composer's greatest song) has a text by the London poet Anne Hunter, who provided Haydn with the texts for his canzonettas. In both these works Padmore has a tendency to sound a little 'under' the longer notes, as if still warming up. Happily, in the German-texted works that make up the rest of the disc, there is no such problem.
With Mozart's 1785 of Goethe's Das Veilchen (The Violet), the performers really enter their stride. Abendempfindung (Evening reflections, composed in 1787) is beautifully poised, while the late Masonic cantata (Ye who honour the Creator) is imbued with a sense of drama that transcends its Enlightenment roots.
It is the generous selection of Beethoven songs, however, that make this disc really special. With Padmore on top form, and Bezuidenhout – fresh from his widely praised series of solo Mozart discs – alive to every nuance in the accompaniments, these prototype Lieder really spring to life. The Mailied (May song) bubbles with vitality, and Neue Liebe, neues Leben (New love, new life) has a joyous urgency about it. The 'Song of the Flea' from Goethe's Faust has can seldom have sounded so comically engaging as it does here, Padmore using the words and Bezuidenhout the timbres of his 1820 Rosenberger instrument to maximum effect. Adelaide – composed at the same time as Haydn's English songs – is a model of rapt delicacy, Padmore's voice here at its most sensitive.
Beethoven's second setting of An die Hoffnung (To Hope) receives a highly-charged and anguished account that never abandons stylishness, but the highlight – perhaps inevitably – is Beethoven's pioneering song-cycle of 1816, An die ferne Geliebte (To the distant Beloved). Here the six songs are presented on a single track, and performed as it were in a single span, as was clearly Beethoven's intention. The result is exceptionally involving, emphasising the expressive range as well as the narrative trajectory. Padmore sounds by turns passionate, wistful and playful, and this performance, fully alert to period sensibilities, is one of the finest on disc, right up to the poignant closing recollection of the opening song.
The Abendlied unterm gestirnten Himmel (Evening song beneath the starry sky) of 1820 makes for a magical and uplifting conclusion to what must surely be one of the Lieder discs of the year.
Padmore actually starts the recital with two of Haydn's English canzonettas, products of his second visit to London in 1794–95. She never told her love is a miniature through-composed scena setting Viola's words from Act 2 of Shakespeare's Twelfth Night, while The Spirit's Song (regarded by some as the composer's greatest song) has a text by the London poet Anne Hunter, who provided Haydn with the texts for his canzonettas. In both these works Padmore has a tendency to sound a little 'under' the longer notes, as if still warming up. Happily, in the German-texted works that make up the rest of the disc, there is no such problem.
With Mozart's 1785 of Goethe's Das Veilchen (The Violet), the performers really enter their stride. Abendempfindung (Evening reflections, composed in 1787) is beautifully poised, while the late Masonic cantata (Ye who honour the Creator) is imbued with a sense of drama that transcends its Enlightenment roots.
It is the generous selection of Beethoven songs, however, that make this disc really special. With Padmore on top form, and Bezuidenhout – fresh from his widely praised series of solo Mozart discs – alive to every nuance in the accompaniments, these prototype Lieder really spring to life. The Mailied (May song) bubbles with vitality, and Neue Liebe, neues Leben (New love, new life) has a joyous urgency about it. The 'Song of the Flea' from Goethe's Faust has can seldom have sounded so comically engaging as it does here, Padmore using the words and Bezuidenhout the timbres of his 1820 Rosenberger instrument to maximum effect. Adelaide – composed at the same time as Haydn's English songs – is a model of rapt delicacy, Padmore's voice here at its most sensitive.
Beethoven's second setting of An die Hoffnung (To Hope) receives a highly-charged and anguished account that never abandons stylishness, but the highlight – perhaps inevitably – is Beethoven's pioneering song-cycle of 1816, An die ferne Geliebte (To the distant Beloved). Here the six songs are presented on a single track, and performed as it were in a single span, as was clearly Beethoven's intention. The result is exceptionally involving, emphasising the expressive range as well as the narrative trajectory. Padmore sounds by turns passionate, wistful and playful, and this performance, fully alert to period sensibilities, is one of the finest on disc, right up to the poignant closing recollection of the opening song.
The Abendlied unterm gestirnten Himmel (Evening song beneath the starry sky) of 1820 makes for a magical and uplifting conclusion to what must surely be one of the Lieder discs of the year.
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