Franz Liszt - Lieder (Cyrille Dubois; Tristan Raës)

Information

Composer: Franz Liszt

1. Hohe Liebe, LW N18/S307
2. Jugendglück, LW N61/S323
3. Liebestraum "O lieb", LW N18/S298
4. Morgens steh' ich auf und frage, LW N16/S290-2 (2e version)
5. Es rauschen die Winde, LW N33/S294-2 (2e version)
6. Die Loreley, LW N5/S273-2 (2e version)
7. Freudvoll und Leidvoll II, LW N23/S280-2
8. Vergiftet sind meine Lieder, LW N29/S289
9. Bist du, LW N21/S277
10. Was Liebe sei, LW N7/S288-1 (1re version)
11. Die Zelle in Nonnenwerth, LW N6/S274-2 (4e version)
12. Ein Fichtenbaum steht einsam, LW N36/S309 (1re version)
13. Nimm einen Strahl der Sonne, LW N20/S310
14. Laßt mich ruhen, LW N55/S314
15. In Liebeslust, LW N56/S318
16. Schwebe, schwebe blaues Augen, LW N35/S305-1 (1re version)
17. Der Fischerknabe, LW N32/S92-1 (1re version)
18. S'il est un charmant gazon, LW N25/S284-1 (1re version)
19. Enfant, si j'étais roi, LW N24/S283-2 (2e version)
20. Oh ! quand je dors, LW N11/S282-2 (2e version)
21. Comment, disaient-ils, LW N12/S276-2 (2e version)
22. Angiolin dal biondo crin, LW N1/S269-2 (2e version)
23. Trois Sonnets de Pétrarque, LW N14/S270-1 (1re version, 1846): I. Pace non trovo
24. Trois Sonnets de Pétrarque, LW N14/S270-1 (1re version, 1846): II. Benedetto sia 'l giorno
25. Trois Sonnets de Pétrarque, LW N14/S270-1 (1re version, 1846): III. I' vidi in terra angelici costumi

Cyrille Dubois, tenor

Tristan Raës, piano

Date: 2019

Label: Aparté

https://cyrilledubois.bandcamp.com/album/liszt-o-lieb-bonus-track-version

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Review

Liszt’s transcriptions of Schubert Lieder develop the piano part with greater elaboration than Schubert’s originals where naturalism is of the essence. Liszt’s own songs and Lieder reflect the international circles he moved in and the more “modern” times he lived in. As Dubois and Raës explain, “Liszt’s ardour and expression resonate with the youthful nature of our duo, just as his music, so demonstrative and accessible, answers the tumult of our troubled times”.

This is demonstrated in Die Loreley, second version, LWS273 (1841), to the poem by Heinrich Heine, and possibly one of the most beautiful Lieder ever written. The structure is dramatic: almost an opera in miniature, the piano evoking the richness of an orchestra. The first motif rises like an overture, the repeat softer, descending as if from some rocky height to the river below. “Ich weiss nicht, was soll es bedeuten” his voice delicately restrained, so the words “Ein Märchen aus alten Zeiten”, are infused with a sense of wonder. Near-declamation turns to lyrical warmth. “Die Luft ist kühl, und es dunkelt, Und ruhig fliesst der Rhein” the melody dances: the music evoking the flow of the river., complete with sparkling figures and the repeating phrase “Die Loreley”. On the short phrase “Im Abendsonnenschein”, Dubois shapes the dramatic crescendo, expressing the thrill the poet feels as he sees at last the lovely maiden combing her golden hair. The line “Sie kämmt es mit goldenem Kamme” is repeated twice, each time with difference emphasis, a pattern that runs through the whole piece. Enchantment turns to horror, as the poet sees the sailor in his boat dashed upon the rocks. Rolling figures in the piano part descend, like engulfing waves. Tristan Raës low pedalling exudes menace. After the tumult, an eerie calm. Is this the spirit of the Loreley herself, innocently oblivious to what has been done? The song ends with the line “Die Loreley getan!” repeated, the last taken with tessitura so high that it seems to soar to the skies.

Dubois and Raës preceded Die Loreley with Liszt’s Hohe Liebe (LWN18/S307, 850, Uhland), Jugendglück (LWN61/S323, 1860, Richard Pohl), Liebestraum (LW N18/S298, 1850, Freiligrath), Morgens steh’ ich auf und frage (2nd version, LWN16/S290-2, 1859, Heine), and Es rauschen die Winde (2nd version, LWN33/S294, Rellstab). With Vergiftet sind meine Lieder (LW N29/S289, 1859, Heine), its intensity belied by its compact duration, contrasting with the delicacy of Bist Du (LW N29/S289, 1859, Prince Elim Metscherskey). Die Zelle in Nonnenwirth (4th version, LW N6/S274-2, 1860, Furst von Lichnowsy), is a dramatic scena based on medieval legend. Liszt’s setting lifts it above its maudlin text, and Dubois gives it heroic ring. The very well-known Ein Fichetenbaum steht einsam (1st version, LW N36/S309, 1860, Heine) is followed by Nimm einen Strahl der Sonne (LW N20/S310, 1860, Rellstab), and two settings of Liszt’s friend Hoffmann von Fallersleben, Laßt mich ruhen (LW N55/S314, 1859) and In Liebeslust (LW N55/S314, 1859). Der Fischerknabe (1st version, LW N32/S92-1, 1847) is one of three settings Liszt made of poems from Friedrich von Schiller’s William Tell. Thus, the spirit of full-throated freedom. Raës plays the piano line so it evokes “alpine” images - tinkling figures that might be cowbells or pure water in a mountain lake, swelling forth, then precipitately descending. One crescendo after the other in the voice part, posing no problems for a singer like Dubois whose technique is so agile.

Four settings of Victor Hugo : S’il est un charmant gazon (1st version, LW N25/S284-1, 1844),.Enfant, si j’étais roi (2nd version, LW N24/S283-2, 1859), Oh! quand je dors (2nd version, LW N11/S282-2, 1859) and Comment disaient-ils (2nd version, LW N12/S276-2, 1859), showing how Liszt was at ease with Mélodie and with Hugo’s idiom. The last song, in particular, is beautifully balanced, Dubois bringing out its elegant, understated charm.

Liszt’s Three Petrach Sonnets (Trois Sonnets de Pétrarque) (1st version, LW N14/S270-1, 1846) (S270/1 1842-6) are extremely well known, and here receive superb performances, making this recording a recommendation for admirers of the composer. “E nulla stringo, tutto l’mondo abbracio” sang Dubois. His poise is superb - this is how rubato should properly be used. He breathed into “i sospiri e le lagrime e ‘l desio” so it seemed to well up from deep within. Raës sculpted the piano line, as firm as marble. Surprisingly, Liszt only wrote two other songs in Italian. Angiolin dal biondo crin (2nd version, LW N1/S269-2, 1856 Cesare Boccella) is a gentle lullaby for Liszt’s daughter Blandine, then 4 years of age, a little angel with blonde hair. The Marquis de Boccella was a family friend of Liszt and Marie d’Agoult. Thus, the tenderness and intimacy of Dubois’ delivery, Raës’ piano like an embrace.

-- Anne Ozorio, Opera Today

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Franz Liszt (October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, and music teacher. Liszt gained renown in Europe for his virtuosic skill as a pianist and in the 1840s he was considered to be the greatest pianist of all time. As a composer, Liszt was one of the most prominent composers of the "New German School". Some of his most notable musical contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form, and making radical departures in harmony.

https://en.wikipedia.org/wiki/Franz_Liszt

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Cyrille Dubois (born 1985 in Ouistreham) is a French tenor. He studied with Alain Buet, Anne Le Bozec and Jeff Cohen at the Conservatoire de Paris. In 2010, Cyrille Dubois became a member of the opera studio at the Opéra National de Paris. Since then, he has sung at La Scala (Milan), the Opéra National de Paris, and at La Monnaie (Brussels). Together with his partner Tristan Raës, Dubois won a prize at the Lili and Nadia Boulanger Competition and three prizes at the Lyon Chamber Music Competition in 2013. Dubois has also appeared with Anne Le Bozec, Jeff Cohen, Michel Dalberto, and Nicolas Stavy.

https://www.bach-cantatas.com/Bio/Dubois-Cyrille.htm

http://cyrille-dubois.fr/

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Tristan Raës (born 1981) began learning the piano with his father Alain Raës, then at the Schola Cantorum, the Conservatory of Lille, and the Paris Conservatory. In 2013, he was the winner of the international chamber music competition in Lyon, where he was awarded the First Prize, the Special Prize of the Bayer Foundation and the Audience Prize in duo with Cyrille Dubois. Raës performs in recital, chamber music and with orchestra in numerous festivals. For several years he has occupied the post of Specialized Assistant in Artistic Instruction at the Conservatoire à Rayonnement Régional of Paris.

https://www.editionshortus.com/artiste_fiche.php?artiste_id=256&langue=en

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