Marianne Beate Kielland & Nils Anders Mortensen

Einsamkeit | Songs by Mahler

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020181790
Catnr: LWC 1157
Release date: 07 September 2018
1 CD
✓ in stock
€ 19.95
Lawo Classics
Catalogue number
LWC 1157
Release date
07 September 2018

About the album

Mahler. For any lover of classical music, the name itself is evocative of orchestral colour, broad, sweeping symphonic brushstrokes and the culmination of the romantic symphony. However, Mahler wrote with equal mastery in another genre: His oeuvre is remarkable in that he virtually wrote in two genres alone, namely symphony and song. What is more, there were few composers for whom the two genres were so closely connected: Mahler would often reuse material from songs in symphonies, and some claim that these self-quotations are keys to secret programmes in the symphonies. Most important of all is the fact that all of his mature songs were written both with orchestral accompaniment and as songs for piano and voice. In one of his final masterpieces, Das Lied von der Erde (the Song of the Earth) he combined the two into a symphonic song cycle.

Where does this leave the piano version? Are these ‘mere’ piano reductions? One might ascribe commercial reasons for their creation: in Mahler’s own time, a reduced arrangement was the only way the works could be heard outside of the concert hall, and a piano reduction would be the easiest to sell. This, however, would give far too little credit to the pieces. In fact, the attention to detail given in them shows that they were written to be performed as equals in either form. After all, since it would be in this form that most people would have the opportunity to hear them, it was important that these versions were as strong as they could possibly be.

"The songs of Gustav Mahler have haunted me for 20 years. These are songs that you begin to take in, hum along to, and listen to early in your studies. See them lie far yonder, like a glimpse of the Grail. To sing these songs – nay, to dare sing them – is indeed a challenge.

But the day came, at least for me, when Mahler’s songs suddenly were part of the repertoire. And the more I perform them, the more they grow into me. They feel as they are a part of me now, and I hope that I shall continue to sing this wonderful repertoire for a long, long time.

Why is this record titled Einsamkeit? Mahler has not chosen the lightest lyrics for his music, which must partially reflect his own situation. How lonely it must be not to find a life partner, or to lose your own children! And even if the Rückert songs contain some bright and beautiful moments, there is still much existentialism in Ich bin der Welt and Um Mitternacht.

Enjoy! I hope you will come to love these songs as much as I do."

– Marianne Beate Kielland
Mahler. Für jeden Liebhaber der klassischen Musik erinnert der Name selbst an orchestrale Farben, breite, schwungvolle symphonische Pinselstriche und den Höhepunkt der romantischen Symphonie. Mahler schrieb jedoch mit gleicher Meisterschaft in einem anderen Genre: sein Werk ist insofern bemerkenswert, als er praktisch nur in zwei Genres schrieb, nämlich Symphonie und Gesang. Außerdem gab es nur wenige Komponisten, für die die beiden Genres so eng miteinander verbunden waren: Mahler hat oft Material aus Liedern in Sinfonien wiederverwendet und einige behaupten, dass diese Selbstzitate Schlüssel zu geheimen Programmen in den Sinfonien sind. Am wichtigsten ist die Tatsache, dass alle seine ausgereiften Lieder sowohl mit Orchesterbegleitung als auch als Lieder für Klavier und Gesang geschrieben wurden. In einem seiner letzten Meisterwerke, Das Lied von der Erde, kombinierte er die beiden zu einem symphonischen Liederzyklus.
Wo bleibt die Klavierfassung? Sind das "bloße" Klavierauszüge? Man könnte kommerzielle Gründe für ihre Entstehung anführen: In Mahlers eigener Zeit war ein reduziertes Arrangement die einzige Möglichkeit, die Werke außerhalb des Konzertsaals zu hören und ein Klavierauszug wäre am einfachsten zu verkaufen. Das würde den Stücken jedoch viel zu wenig Ehre machen. In der Tat, die Liebe zum Detail in ihnen zeigt, dass sie geschrieben wurden, um als gleichwertig in beiden Formen gespielt zu werden.
"Die Lieder von Gustav Mahler verfolgen mich seit 20 Jahren. Das sind Lieder, die Sie zu Beginn Ihres Studiums aufnehmen, mitsummen und anhören. Seht, wie sie weit weg liegen, wie ein Blick auf den Gral. Diese Lieder zu singen - nein, sie zu wagen - ist in der Tat eine Herausforderung.
Aber der Tag kam, zumindest für mich, an dem Mahlers Lieder plötzlich zum Repertoire gehörten. Und je mehr ich sie aufführe, desto mehr wachsen sie in mich hinein. Sie fühlen sich wie ein Teil von mir und ich hoffe, dass ich dieses wunderbare Repertoire noch lange, lange Zeit singen werde.
Warum heißt diese Platte Einsamkeit? Mahler hat für seine Musik nicht den leichtesten Text gewählt, der teilweise seine eigene Situation widerspiegeln sollte. Wie einsam muss es sein, keinen Lebenspartner zu finden oder die eigenen Kinder zu verlieren! Und auch wenn die Lieder von Rückert einige helle und schöne Momente enthalten, gibt es in ‚Ich bin der Welt‘ und ‚Um Mitternacht‘ immer noch viel Existentialismus. Genießen Sie es! Ich hoffe, du wirst diese Lieder genauso lieben wie ich." Marianne Beate Kielland


The classical music magazine Gramophone wrote of Marianne Beate Kielland: “The mezzo-soprano is quite outstanding: strong, firm, sensitive in modulations, imaginative in her treatment of words, with a voice pure in quality, wide in range, and unfalteringly true in intonation.”

Kielland studied at the Norwegian Academy of Music with Svein Bjørkøy. Her other teachers have included Oren Brown and Barbara Bonney. Considered today one of Europe's leading singers, she performs regularly on major concert stages in Europe, America and The East. Among the conductors with whom she has performed are Philippe Herreweghe, Fabio Biondi, Jordi Savall, Rinaldo Alessandrini, Christophe Rousset, Marc Minkowski, Masaaki Suzuki, Thomas Dausgaard, Juanjo Mena, Jos van Immerseel, Robert King, Andrew Manze, Daniel Reuss and Rune Bergmann.

In 2012 she received a Grammy nomination in the category of ’Best Classical Vocal Solo’ for her recording of "Veslemøy Synsk" by the composer Olav Anton Thommessen. With nearly fifty other albums in addition to a demanding concert schedule, Marianne Beate Kielland is established as an exceptional performer with a wide-ranging repertoire from baroque to contemporary. Together with pianist Nils Anders Mortensen she has released seven earlier recordings on the LAWO Classics label: "Früh" (LWC1033), "Sæle jolekveld" (LWC1040), "Grieg" (LWC1059), "Young Elling" (LWC1072), "The New Song" (LWC1097), "Whispering Mozart" (LWC1111), and "Songs: Kielland/Dørumsgaard" (LWC1145) In 2015 she released "Påsketid" (LWC1077) with violinist Elise Båtnes and organist Kåre Nordstoga, and in 2017 she released "Terra Nova" (LWC1125) with composer and pianist Jan Gunnar Hoff.

Nils Anders Mortensen was born in Flekkefjord in 1971. He began playing piano at age three, and in 1986 he won the Norwegian Young Pianist Competition. He studied at the Norwegian Academy of Music, École Normale in Paris, and Hochschule für Musik und Theater in Hannover with Einar Steen-Nøkleberg. Other important teachers have been Tatjana Nikolajeva and Hans Leygraf.

Mortensen was the recipient of the prestigious Concerts Norway ‘Debutant of the Year’ award in 1996. He has won international prizes and grants. In 1998 he won the Mozarteum Prize in Salzburg. In 2004 Mortensen received the Robert Levin Memorial Prize.

Mortensen has appeared as soloist with Norway’s leading orchestras. He recorded piano concertos of Geirr Tveitt with Stavanger Symphony Orchestra. His first solo album "Im Freien" (LWC1032), featuring music of Debussy, Grieg, and Bartok, was released in 2012 to glowing reviews. Mortensen has also released seven recordings with mezzo-soprano Marianne Beate Kielland on the LAWO Classics label: "Früh" (LWC1033), "Sæle jolekveld" (LWC1040), "Grieg" (LWC1059), "Young Elling" (LWC1072), "The New Song" (LWC1097), "Whispering Mozart" (LWC1111), and "Songs: Kielland/Dørumsgaard" (LWC1145). In 2015 he released the solo recording "In finstrer Mitternacht" (LWC1084), featuring music of Brahms, and "Tundra" (LWC1092), a recording of solely Russian music, with double-bassist Knut Erik Sundquist. In 2016 he released "Schumann Violin Sonatas Op. 105 & Op. 121" (LWC1110) with violinist Arvid Engegård.



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