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Johanna Müller-Hermann, Gustav Mahler, Richard Strauss, Margarete Schweikert, Kitty Whately, Joseph Middleton
Befreit: A Soul Surrendered, Lieder
| 1 | Wie Eine Vollmondnacht, Op. 20 No. 4 (1920s?) | 2:54 |
| 2 | Der Letzte Abend, Op. 2 No. 4 (c. 1907) | 3:29 |
| 3 | Befreit, Op. 39, Trv 189, No. 4 (1898) | 5:11 |
| 4 | Allerseelen, Op. 10, Trv 141, No. 8 (1885) | 3:08 |
| 5 | Wolke I (1935?) | 1:35 |
| 6 | Totenhausen (1935) | 4:26 |
| 7 | Zusammen Sterben (date Unknown) | 2:02 |
| 8 | Auf Ein Kind, Op. 47, Trv 200, No. 1 (1900) | 2:16 |
| 9 | Rückleben, Op. 47, Trv 200, No. 3 (1900) | 4:09 |
| 10 | Morgen!, Op. 27, Trv 170, No. 4 (1894) | 4:05 |
| 11 | Die Stille Stadt, Op. 4 No. 1 (1904) | 2:20 |
| 12 | Herbst, Op. 20 No. 2 (1920s?) | 2:53 |
| 13 | In Memoriam, Op. 28 No. 5 (1940?) | 2:31 |
| 14 | Unser Haus (1912?) | 2:40 |
| 15 | Die Entschlafenen (1923) | 2:24 |
| Kindertotenlieder (1901 – 04) | (22:10) | |
| 16 | 1 Nun Will Die Sonn’ So Hell Aufgeh’n!. | 4:40 |
| 17 | 2 Nun Seh’ Ich Wohl, Warum So Dunkle Flammen. | 4:31 |
| 18 | 3 Wenn Dein Mütterlein. | 4:05 |
| 19 | 4 Oft Denk’ Ich, Sie Sind Nur Ausgegangen! | 2:59 |
| 20 | 5 In Diesem Wetter! | 5:53 |
Booklet Editor – Finn S. Gundersen
Composed By – Gustav Mahler (16-20)
Composed By – Johanna Müller-Hermann (1, 2, 11-13)
Composed By – Margarete Schweikert (5-7, 14, 15)
Composed By – Richard Strauss (3, 4, 8-10)
Liner Notes – Paul Griffiths
Mezzo-soprano Vocals, Liner Notes – Kitty Whately
Piano – Joseph Middleton
Producer, Engineer, Editor – Jonathan Cooper
Composed By – Gustav Mahler (16-20)
Composed By – Johanna Müller-Hermann (1, 2, 11-13)
Composed By – Margarete Schweikert (5-7, 14, 15)
Composed By – Richard Strauss (3, 4, 8-10)
Liner Notes – Paul Griffiths
Mezzo-soprano Vocals, Liner Notes – Kitty Whately
Piano – Joseph Middleton
Producer, Engineer, Editor – Jonathan Cooper
Potton Hall, Dunwich, Suffolk; 25 – 28 February 2022
It has been my great pleasure to record with Joseph once again. We have long shared a mutual passion for early-twentieth-century romantic Lieder and talked of making a disc including songs by Mahler and Strauss. The opportunity to discover and research lesser-known composers from their era has been thrilling and fascinating.
As the world endured the pandemic, we all experienced fear and danger and loss in a way that most of our generation never did before, on such a global scale.
Joseph and I felt drawn to reflect on grief, mortality, and bereavement.’ The two lesser-known composers featured in the recording are Johanna Müller-Hermann (who studied with several of the most prominent teachers in Vienna – Josef Labor, Guido Adler, Alexander Zemlinsky, Josef Bohuslav Foerster, Franz Schmidt) and Margarete Schweikert, whose upbringing and life in Karlsruhe and studies with Joseph Haas in Stuttgart could hardly provide a greater contrast – clearly audible in their music.
It has been my great pleasure to record with Joseph once again. We have long shared a mutual passion for early-twentieth-century romantic Lieder and talked of making a disc including songs by Mahler and Strauss. The opportunity to discover and research lesser-known composers from their era has been thrilling and fascinating.
As the world endured the pandemic, we all experienced fear and danger and loss in a way that most of our generation never did before, on such a global scale.
Joseph and I felt drawn to reflect on grief, mortality, and bereavement.’ The two lesser-known composers featured in the recording are Johanna Müller-Hermann (who studied with several of the most prominent teachers in Vienna – Josef Labor, Guido Adler, Alexander Zemlinsky, Josef Bohuslav Foerster, Franz Schmidt) and Margarete Schweikert, whose upbringing and life in Karlsruhe and studies with Joseph Haas in Stuttgart could hardly provide a greater contrast – clearly audible in their music.
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