Marianne Beate Kielland

Frauenliebe und -leben, Op. 42 / Liederkreis, Op. 24 / Maria Stuart Lieder, Op. 135 / Songs from Myrthe

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020182193
Catnr: LWC 1197
Release date: 12 June 2020
1 CD
✓ in stock
€ 19.95
Lawo Classics
Catalogue number
LWC 1197
Release date
12 June 2020

About the album

Schumann’s astonishing outpouring of songs in his so-called “Liederjahr” was inspired by his love for Clara, whom he married in September that year after prolonged and acrimonious opposition from her father. Schumann survived the ordeal of court appearances in which Friedrich Wieck attempted to defame his character. Myrthen (Myrtle Wreath), a group of twenty-six songs based on texts by several poets, including Rückert, Goethe, Burns, Byron and Thomas Moore, was published on the day of Schumann’s wedding. It contains many of his most popular songs.

Frauenliebe und -leben, Opus 42 is a sequence of eight songs, a true song-cycle unified by a continuing narrative and recurring musical material. The poems are by Adelbert von Chamisso, who was French-born but grew up in Germany. These verses (previously set in 1836 by Carl Loewe) provided a subject with which Schumann could closely identify – a young woman’s love and life.. From dazzled (“blind”) adoration of her lover, she progresses to marriage, experience of motherhood, and finally bereavement. A sentimental naivety is typical of Chamisso’s earlier work, including Frauenliebe und -leben, and indeed of much German poetry of that time, but Schumann’s sympathetic emotional engagement produces a memorable song-cycle, art of a deeper hue. His music evokes the woman’s fluctuating moods with sensitivity.

Schumann completed his Liederkreis (literally “song-circle”), Opus 24 in a few days during February 1840, setting a sequence of nine poems from Junge Leiden (Youthful Sorrows), the first section of Heine’s Buch der Lieder. Schumann wrote to Clara “while I was composing, my thoughts were only of you.” Here in his first Liederkreis (– a second work of this name, Opus 39, has texts by Eichendorff) and in many other Schumann songs from this period, there are natural parallels with his own fluctuating emotions while courting Clara in spite of her father’s violent opposition. Schumann set Heine’s words more than forty times (most remarkably in his Dichterliebe, Opus 48) but he was inclined to soften the harsh or bitterly ironic tone of some of his poems. Unfortunate in love, Heine took out his frustration and sometimes anguish in his verses, but Schumann was relatively unscarred and his deep affection for Clara prevailed.

The majority of Schumann’s most popular songs (and song-cycles) date from 1840 but his extensive and treasurable work in this genre continued until 1852. At the end of that year he set five poems doubtfully attributed to Mary, Queen of Scots and translated by Gisbert von Vincke – Gedichte der Königin Maria Stuart, Opus 135. Written in one of Schumann’s least productive years, they were his last songs. In 1835 Donizetti had composed an opera based on Schiller’s play about Mary Stuart, but otherwise there is very little music inspired by her life and death. Schumann’s musical language had become understated and simpler, qualities which effectively deepen the poignancy of Mary’s circumstances.


Marianne Beate Kielland – Mezzo-Soprano
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 more than 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 previously released nine recordings on the LAWO Classics label: Früh (LWC1033), Sæle jolekveld (LWC1040), Grieg (LWC1059), Young Elling (LWC1072), The New Song (LWC1097), Whispering Mozart (LWC1111), Songs: Kielland/Dørumsgaard (LWC1145), Einsamkeit – Songs by Mahler (LWC1157) and Eivind Groven Songs (LWC1178). 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.

Johannes Weisser – Baritone
Norwegian baritone Johannes Weisser has established himself as one of the most exciting European singers of his generation.

Recent engagements have brought him to the Salzburg Festival, Staatsoper Berlin, Teatro Real Madrid, Théâtre de La Monnaie in Brussels, Théâtre des Champs-Elysées, Canadian Opera Company, Festspielhaus Baden-Baden, Komische Oper Berlin, Norwegian National Opera, Royal Danish Opera, and the Edinburgh International Festival. Johannes Weisser is also a much sought-after concert and oratorio singer, with repertoire that spans from the early 17th century music of Monteverdi to the works of Weill, Britten and contemporary composers. He has worked with conductors such as Herbert Blomstedt, Andris Nelsons, Kirill Petrenko, Thomas Dausgaard, Andrew Manze, Adam Fischer, Dmitry Jurowski, Massimo Zanetti, René Jacobs, Ingo Metzmacher, Marc Minkowski, Giovanni Antonini, Fabio Biondi, Ottavio Dantone, Diego Fasolis, Philippe Herreweghe, Vasily Petrenko, and Trevor Pinnock.

Widely known for the numerous award-winning recordings that he has already produced, Johannes has appeared on disc in the title role of Don Giovanni (René Jacobs/harmonia mundi), Don Pizarro in Beethoven’s original Leonore and Haydn’s Die Schöpfung (René Jacobs/harmonia mundi), Bach’s St Matthew Passion and St John Passion (both René Jacobs/harmonia mundi), but also in the role of Achilla in Giulio Cesare (Alan Curtis/naive), and Ståle Kleiberg’s Mass for a Modern Man with Trondheim Sinfonietta. In 2013 he was a GRAMMY nominee for his role as David in Ståle Kleiberg‘s opera David and Bathsheba, a recording with the Trondheim Symphony Orchestra conducted by Tönu Kaljuste (best opera recording).

Nils Anders Mortensen – Piano
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 nine 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), Songs: Kielland/Dørumsgaard (LWC1145), Einsamkeit – Songs by Mahler (LWC1157) and Eivind Groven Songs (LWC1178). 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. In 2019 he released his third solo recording on the LAWO Classics label, Bach: Ouvertüre nach Französischer Art, BWV 831 / Sarabande con Partite, BWV 990 / Englische Suite Nr. 6 d-Moll, BWV 811 (LWC1174), and in 2020 he released Schumann: Piano Quintet, Op. 44 / Piano Quartet, Op. 47 (LWC1189) with the Engegård Quartet.



Play album
Myrthen, Op. 25: III. Der Nussbaum
Frauenliebe und -leben, Op. 42: I. Seit ich ihn gesehen
Frauenliebe und -leben, Op. 42: II. Er, der Herrlichste von allen
Frauenliebe und -leben, Op. 42: III. Ich kann's nicht fassen
Frauenliebe und -leben, Op. 42: IV. Du Ring an meinem Finger
Frauenliebe und -leben, Op. 42: V. Helft mir, ihr Schwestern
Frauenliebe und -leben, Op. 42: VI. Süsser Freund, du blickest
Frauenliebe und -leben, Op. 42: VII. An meinem Herzen
Frauenliebe und -leben, Op. 42: VIII. Nun hast du mir den ersten Schmerz getan
Myrthen, Op. 25: VII. Die Lotosblume
Liederkreis, Op. 24: I. Morgens steh' ich auf
Liederkreis, Op. 24: II. Es treibt mich hin
Liederkreis, Op. 24: III. Ich wandelte unter den Bäumen
Liederkreis, Op. 24: IV. Lieb' Liebchen
Liederkreis, Op. 24: V. Schöne Wiege meiner Leiden
Liederkreis, Op. 24: VI. Warte, warte, wilder Schiffmann
Liederkreis, Op. 24: VII. Berg' und Burgen schau'n herunter
Liederkreis, Op. 24: VIII. Anfangs wollt' ich fast verzagen
Liederkreis, Op. 24: IX. Mit Myrthen und Rosen
Myrthen, Op. 25: I. Widmung
Gedichte der Königin Maria Stuart, Op. 135: I. Abschied von Frankreich
Gedichte der Königin Maria Stuart, Op. 135: II. Nach der Geburt ihres Sohnes
Gedichte der Königin Maria Stuart, Op. 135: III. An die Königin Elisabeth
Gedichte der Königin Maria Stuart, Op. 135: IV. Abschied von der Welt
Gedichte der Königin Maria Stuart, Op. 135: V. Gebet
Myrthen, Op. 25: XXIV. Du bist wie eine Blume
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