Wilhelm Kienzl: Four Song-Cycles
The Austrian composer Wilhelm Kienzl (1857–1941) – also a pianist, conductor, musicologist and writer on music – enjoyed the esteem of his contemporaries particularly for his vocal music. But his star has waned over the past century, and only a handful of his 238 songs have had recent recordings. In style they range from the simple and folk-like to the dramatic and quasi-operatic; their harmonic world likewise embraces both the diatonic and chromatic, with hints of the influence of Schubert, Schumann, Brahms, Wagner and a foretaste of later composers. The four song-cycles recorded here treat the grand themes of life: love, loss, death and man’s interaction with nature.
Malte Müller, tenor
Werner Heinrich Schmitt, piano
Listen To This Recording:
Aus Friedrich Rückerts ‘Liebesfrühling’, Op. 11 (1876-77) (17:08)
- No. 1 So wahr die Sonne scheinet (1:17)
- No. 2 Da ich dich einmal gefunden (2:02)
- No. 3 Er ist gekommen in Sturm und Regen (1:22)
- No. 4 Komm’, verhüllte Schöne! (6:16)
- No. 5 Die gute Nacht, die ich dir sage (2:01)
- No. 6 Ich lag von sanftem Traum umflossen* (2:01)
- No. 7 Mir ist, nun ich dich habe* (2:09)
Drei Albumblätter für Gesang mit Klavier, Op. 24 (1881) (6:19)
- No. 1 Viel Träume (1:23)
- No. 2 Immer leiser wird mein Schlummer (2:54)
- No. 3 Ich liebe dich! (2:02)
Vier Lieder für eine Singstimme mit Begleitung des Pianoforte, Op. 44(1893-95) (11:10)
- No. 1 Winterlied (2:31)
- No. 2 Abendhelle (3:40)
- No. 3 Wie ist doch die Erde so schön! (2:01)
- No. 4 Meine Lust ist leben! (2:58)
Fünf Gesänge für eine hohe Singstimme mit Klavier, Op. 82 (1909) (17:24)
- No. 1 Liebesorakel (2:07)
- No. 2 Die Sterne (4:49)
- No. 3 Im Rosenduft (2:49)
- No. 4 Genesung (4:04)
- No. 5 Hinauf! (3:35)
Fanfare Magazine :
‘Kienzl [is] a worthy exponent of the Romantic German Lieder tradition.
‘The new Toccata disc, offering world premiere recordings […] affirms Kienzl’s affinity and gift for this art form. […] All of the featured songs are melodically engaging, and the vocal and piano writing rich, varied, and expressive. […]
[Malte Müller] artistry provides ample compensation. As I derive great pleasure from the later recordings of artists like Julius Patzak and Peter Pears, so I am convinced by Malte Müller’s interpretations of Sekles and Kienzl Lieder. Schmitt is once again an ever-attentive and intense collaborator. Full texts and translations, as well a detailed and informative essay by Dr. Carmen Ottner, are provided. Recommended.’
—Ken Meltzer ,Fanfare Magazine, July/Aug 2025
American Record Guide :
‘The songs are ordered chronologically, giving a clear glimpse into the development of his tonal language with its increasing chromatic complexity. These songs are well crafted, especially the ones written in the early 20th Century, and deserve a hearing.’
—Robert A Moore, American Record Guide, January 2025
Klassik begeistert :
‘Die Lieder haben anspruchsvolle Texte, dem trägt der Tenor Malte Müller mit erfreulich wortdeutlichem Gesang Rechnung. Die Stimme Müllers verfügt über ein großes Volumen, er hat sich bereits auch an Wagner versucht, das ermöglicht ihm einen robusten Zugriff auf die durchaus anspruchsvollen Gesanglinien.
Im Pianisten Werner Heinrich Schmitt hat er einen kongenialen Partner, der den vom Komponisten originell gestalteten Klavierpart bis ins Detail auslotet.
Man kann dieser Produktion nur weite Verbreitung wünschen, sie könnte ein wichtiger Beitrag zur wünschenswerten Neubewertung des zu Unrecht fast vergessenen Komponisten Wilhelm Kienzl sein.’
English translation:
‘The songs have demanding lyrics, which tenor Malte Müller takes into account with his pleasingly clear vocals. Müller’s voice has a great volume; he has already dabbled in Wagner, which allows him a robust grasp of the highly demanding vocal lines.
In pianist Werner Heinrich Schmitt, he has a congenial partner who explores the composer’s original piano part in every detail.
One can only wish this production widespread distribution; it could be an important contribution to the desirable re-evaluation of the unjustly almost forgotten composer Wilhelm Kienzl.’
—Peter Sommeregger, Klassik begeistert