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Weit Flog Ich: Lieder

Raimondi,Iidiko
Release Date: 07/13/2010 
Label:  Gramola   Catalog #: 98891   Spars Code: DDD 
Composer:  Spoken WordArnold SchoenbergThomas PernesGustav Mahler,   ... 
Performer:  Ildikó RaimondiEvelyn Pena Comas
Conductor:  Michael Lessky
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 56 Mins. 

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Notes and Editorial Reviews



WEIT FLOG ICH Ildikó Raimondi (sop); Evelyn Peña Comas (flute); Werner Wölbern (reciter); Michael Lessky, cond, Vienna Youth Phil GRAMOLA 98891 (56:12)


MAHLER Des Knaben Wunderhorn: Wer hat dies Liedel erdacht; Rheinlegendchen; Wo die schönen Trompeten blasen. DEHMEL Ein Stelldichein. SCHOENBERG Ein Read more Stelldichein. Gurrelieder: Lied der Waldtaube. WEBERN 4 Lieder. NONO Epitaffio per Federico García Lorca: Y su sangre ya viene cantando. 1


This disc barely pauses between tracks, giving the impression of a musical tapestry, merging from Mahler into Schoenberg, to Webern and Nono, before returning to Schoenberg’s Mahleresque epic, Gurrelieder . It is a neat trick in a fascinating, eclectic recital of vocal and instrumental pieces from, or influenced by, the Second Viennese School. The main point of interest, though, is Thomas Pernes’s orchestration of Webern’s Four Songs, op. 12, from poems by Rosegger, Bethge, Strindberg, and Goethe. Executed with real imagination and sensitivity to vocal lines, Pernes creates a suitably shifting nocturnal world, not always conveyed in Webern’s original piano score. It helps that Ildikó Raimondi sings them with a darker tone than normally heard.


I find Werner Wölbern’s reciting of Dehmel’s Ein Stelldichein (A Tryst) rather mannered and, although a useful introduction to Schoenberg’s instrumental realization, the spoken voice here rather breaks the spell of this musical collage. Schoenberg’s dark, ethereal fragment is well performed here, but it will remain a minor work for him.


In contrast, Nono’s second Epitaph for Federico Garcia Lorca , for flute, strings, and percussion, is the most striking and substantial item. Written to be played between two choir works (Epitaphs 1 and 3), it acts as a powerful instrumental lament for his author friend. Nono’s spare, bleak style would almost feel out of place in this otherwise more wistful program, were it not the similarly intense, but lusher, Gurrelieder afterward. Flutist Evelyn Peña Comas plays with a wonderfully full-bodied, sensual sound, adding heat and unease to this piece.


Ildikó Raimondi’s voice is a beautiful if curious instrument. Although a soprano, the sheer darkness of her timbre makes the music seem transposed down. Her keen, expressive accounts of the Mahler songs sound like a mezzo Lucia Popp, although that is hardly a criticism. Like Popp, she is a delightful communicator, and her flexibility makes her an ideal choice for the high mezzo lines of the Wood Dove’s song from Gurrelieder , here given in its chamber orchestration. Raimondi gives a rapt performance, not quite in the Fassbaender league, but the ideal voice for this cleaner, pared-down accompaniment, and it makes a soaring end to the disc. The sound is clear and well balanced, with a slight halo around Raimondi’s shimmery voice. I wanted more definition for the chamber works, especially Ein Stelldichein, but otherwise this has been recorded with care. The Vienna Youth Philharmonic plays beautifully for Michael Lessky.


So basically top marks for the disc’s contents, but, damningly, there are no texts supplied! Fine, I have copies of Des Knaben Wunderhorn and Gurrelieder to refer to, but how many people have a volume of Dehmel on their shelf? Likewise, there are few other recordings of the Webern songs from which to use the texts. This. Is. Not. Good. Enough. And preposterous for a highbrow program that is focused so closely on text and song. Instead of Gramola paying an actor to recite Ein Stelldichein , I would have so much preferred just to have been able to read it, while listening to Schoenberg’s interpretation. Here also is the strangest omission. Who is playing this quintet for piano, violin, cello, oboe, and clarinet? Sloppily, no one is credited. Also, are these all world premiere recordings, as proclaimed, misleadingly, on the cover? Despite mentions of chamber versions of Des Knaben Wunderhorn , we are never told if these are the versions recorded. To me the orchestra sounds hardly any less full-bodied than usual. It is certainly not the first Ein Stelldichein to have been recorded, either. Still, these are delightful performances full of life and color, and imaginatively programmed. So long as Gramola cleans up its act on presentation, I can recommend this.


FANFARE: Barnaby Rayfield
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Works on This Recording

1. Ein Stelldichein by Spoken Word
Venue:  Wien, Ehrbar Saal 
Length: 1 Minutes 52 Secs. 
2. Ein Stelldichein (fragment, completed by Cerha) by Arnold Schoenberg
Conductor:  Michael Lessky
Period: 20th Century 
Written: 1905; Austria 
Venue:  Wien, Ehrbar Saal 
Length: 8 Minutes 7 Secs. 
3. Lieder (4), for voice & orchestra (after Mahler's Op. 12) by Thomas Pernes
Performer:  Ildikó Raimondi ()
Conductor:  Michael Lessky
Period: Contemporary 
Venue:  Wien, Ehrbar Saal 
Length: 5 Minutes 20 Secs. 
4. Gurrelieder: Lied der Waldtaube by Arnold Schoenberg
Performer:  Ildikó Raimondi ()
Conductor:  Michael Lessky
Period: 20th Century 
Written: 1900-1911; Vienna, Austria 
Venue:  Wien, Ehrbar Saal 
Length: 12 Minutes 18 Secs. 
5. Des Knaben Wunderhorn: no 4, Wer hat dies Liedlein erdacht? by Gustav Mahler
Performer:  Ildikó Raimondi ()
Conductor:  Michael Lessky
Period: Romantic 
Written: 1892-1898; Hamburg, Germany 
Venue:  Wien, Ehrbar Saal 
Length: 2 Minutes 12 Secs. 
6. Des Knaben Wunderhorn: no 7, Rheinlegendchen by Gustav Mahler
Performer:  Ildikó Raimondi ()
Conductor:  Michael Lessky
Period: Romantic 
Written: 1892-1898; Hamburg, Germany 
Venue:  Wien, Ehrbar Saal 
Length: 3 Minutes 12 Secs. 
7. Des Knaben Wunderhorn: no 9, Wo die schönen Trompeten blasen by Gustav Mahler
Performer:  Ildikó Raimondi ()
Conductor:  Michael Lessky
Period: Romantic 
Written: 1892-1898; Hamburg, Germany 
Venue:  Wien, Ehrbar Saal 
Length: 7 Minutes 36 Secs. 
8. Epitaffio per Federico Garcia Lorca No.2: Y su sangre ya viene cantando, for flute & small orchestra by Luigi Nono
Performer:  Evelyn Pena Comas (Flute)
Conductor:  Michael Lessky
Period: Contemporary 
Written: 1952 
Venue:  Wien, Ehrbar Saal 
Length: 15 Minutes 5 Secs. 

Sound Samples

Des Knaben Wunderhorn (text by A. von Arnim): No. 4. Wer hat dies Liedlein erdacht?
Des Knaben Wunderhorn (text by A. von Arnim): No. 7. Rheinlegendchen
Des Knaben Wunderhorn (text by A. von Arnim): No. 9. Wo die schonen Trompeten blasen
Ein Stelldichein
Ein Stelldichein
4 Songs, Op. 12 (arr. T. Pernes): No. 1. Der Tag ist vergangen
4 Songs, Op. 12 (arr. T. Pernes): No. 2. Die geheimnisvolle Flote
4 Songs, Op. 12 (arr. T. Pernes): No. 3. Schien mir's, als ich sah die Sonne
4 Songs, Op. 12 (arr. T. Pernes): No. 4. Gleich und Gleich
3 Epitaffi per Federico Garcia Lorca: No. 2. Y su sangre ya viene cantando
Gurre-Lieder, Part I: Lied der Waldtaube (Song of Wood Dove) (version with chamber orchestra)

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