CDA 1675-2 Matilda Paulsson, mezzosoprano / Bengt-Åke Lundin, piano: Joseph Marx - Der Ton
Marx’s gifts were essentially lyrical. With few exceptions, his songs eschew drama and violent emotion. In the settings from the Italienisches Liederbuch Marx shows himself master of the delicate cameo, albeit without Wolf ’s wit and pungency. Elsewhere expressions of rapture, nature mysticism and nostalgic yearning predominate, in settings of poets ranging from Romantics such as Novalis and Mörike to contemporary authors including Rilke, Dehmel and Hesse.
Of the generation of Schoenberg, Webern and Berg, Marx was hostile to their musical radicalism, proclaiming to the end his belief in the power of tonality to express the whole gamut of human emotion. Like his older contemporary Richard Strauss, he remained au fond a late-Romantic (he liked to dub himself ‘a Romantic realist’) in a fractured, modernist age.
During the years 1908–12 Marx composed around 120 songs, some of which were published in the collections Italienische Lieder I–II (1912) and Lieder und Gesänge I–III (1910–12). Nowadays these songs are regarded as the finest works that he produced.
Joseph Marx (1882-1964)
- Ein junger Dichter denkt an die Geliebte - Nocturne
- Regen - Selige Nacht - Waldseligkeit - Trauergekrönt
From Italienische Liederbuch Band I - Liebe
- Am Brunnen - Die Liebste spricht - Der Lilie - Sendung
From Italienische Liederbuch Band II - Es zürnt das Meer - Die Begegnung - Die tote Braut - Am Fenster - Die Verlassene - Bitte - Gebet - Marienlied - Maienblüten - Windräder - Der Ton
- Nachtgebet - Septembermorgen