COV 92305

“The greatest song cycle ever written.” – at least Glenn Gould is very clear in his judgement of Paul Hindemith’s Marienleben. This superlative does not necessarily have to be shared, but what the 27-year-old, who was already one of Germany’s best-known musicians at the time in 1923, achieved is certainly worth hearing and marvelling at. Celebrated as an instrumentalist, Hindemith was considered a bourgeois terror as a composer, provoking with sayings such as “Tonschönheit ist Nebensache” (beauty of tone is a secondary matter) or “Nimm nehmen keine Rücksicht auf, was Du in der Klavierstunde gelernt hast” (have no regard for what you learned in piano lessons). In Mary’s Life, based on a collection of poems by Rainer Maria Rilke, he shows a completely different, internalised side. “There is something in these songs that forces and fascinates the listener beyond all habits of conventional song manner” wrote a contemporary reviewer, and to this day there is nothing to add. Yvonne Friedli and Constantin Alex make it palpable in their sensitive interpretation.

Paul Hindemith (1895-1826)
Das Marienleben, op. 27
Text: Rainer Maria Rilke (1875-1926)
1. Geburt Mariä 2:47
2. Die Darstellung Mariä im Tempel 6:29
3. Mariä Verkündigung 4:38
4. Mariä Heimsuchung 2:44
5. Argwohn Josephs 1:55
6. Verkündigung über den Hirten 6:10
7. Geburt Christi 4:34
8. Rast auf der Flucht in Ägypten 3:22
9. Von der Hochzeit zu Kana 7:13
10. Vor der Passion 5:19
11. Pietà 3:10
12. Stillung Mariä mit dem Auferstandenen 2:08
13. Vom Tode Mariä I 6:44
14. Vom Tode Mariä II 6:39
15. Vom Tode Mariä III 2:51
Total time: 1:06:50

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