
Paul Hindemith
Yvonne Friedli ⋅ soprano
Edition: Coviello Classics
Booklet: de / en
Media: CD / HD Download
“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) |
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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 |