Kitty Whately, Joseph Middleton - Befreit – A Soul Surrendered (2023) [Hi-Res]

Tracklist

01. Vier Lieder, Op. 20: No. 4, Wie eine Vollmondnacht
02. Fünf Lieder, Op. 2: No. 4, Der letzte Abend
03. Fünf Lieder, Op. 39, TrV 189: No. 4, Befreit
04. Acht Gedichte aus ‘Letzte Blätter’ von Hermann von Gilm, Op. 10, TrV 141: No. 8, Allerseelen
05. Lieder für eine Singstimme mit Klavierbegleitung: Wolke I
06. Totenhausen
07. Zusammen sterben
08. Fünf Lieder nach Gedichten von Ludwig Uhland, Op. 47, TrV 200: No. 1, Auf ein Kind
09. Fünf Lieder nach Gedichten von Ludwig Uhland, Op. 47, TrV 200: No. 3, Rückleben
10. Vier Lieder, Op. 27, TrV 170: No. 4, Morgen!
11. Vier Lieder, Op. 4: No. 1, Die stille Stadt
12. Vier Lieder, Op. 20: No. 2, Herbst
13. Herbstlieder, Op. 28: No. 5, In Memoriam
14. Unser Haus
15. Die Entschlafenen
16. Kindertotenlieder: No. 1, Nun will die Sonn' so hell aufgeh'n!
17. Kindertotenlieder: No. 2, Nun seh' ich wohl, warum so dunkle Flammen
18. Kindertotenlieder: No. 3, Wenn dein Mütterlein
19. Kindertotenlieder: No. 4, Oft denk' ich, sie sind nur ausgegangen!
20. Kindertotenlieder: No. 5, In diesem Wetter!
21. Vier Lieder, Op. 20: No. 1, Widmung (Bonus Track)
22. Einem Vorangegangenen (Bonus Track)

The mezzo-soprano Kitty Whately trained at Chetham’s School of Music, the Guildhall School of Music and Drama, and the International Opera School of the Royal College of Music. Having won both the Kathleen Ferrier Award and Royal Overseas League Award in the same year, she attended the prestigious Academy of the Verbier Festival. She writes of this project: ‘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 st udies with Joseph Haas in Stuttgart could hardly provide a greater contrast – clearly audible in their music.

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