Reason In Madness - Songs & Arias / Sampson, Middleton

$15.99
Label
BIS
Release Date
April 5, 2019
Format
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    Featuring ⌄
    • COMPOSER
      VARIOUS
    • PERFORMER
      Sampson, Middleton
    Product Details ⌄
    • RELEASE DATE
      April 05, 2019
    • UPC
      7318599923536
    • CATALOG NUMBER
      BIS-2353
    • LABEL
      BIS
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. 5 Ophelia-Lieder, WoO 22: No. 4. Sie trugen ihn auf der Bahre bloß (version for unaccompanied soprano)

      Composer: Johannes Brahms

      Performer: Carolyn Sampson

    2. 6 Gesänge, Op. 107: No. 1. Herzeleid

      Composer: Robert Schumann

      Performer: Carolyn Sampson, Joseph Middleton

    3. No. 1. Wie erkenn' ich mein Treulieb vor andern nun?

      Composer: Richard Strauss

      Performer: Carolyn Sampson, Joseph Middleton

    4. No. 2. Guten Morgen, 's ist Sankt Valentinstag

      Composer: Richard Strauss

      Performer: Carolyn Sampson, Joseph Middleton

    5. No. 3. Sie trugen ihn auf der Bahre bloß

      Composer: Richard Strauss

      Performer: Carolyn Sampson, Joseph Middleton

    6. Chansons de Bilitis, Op. 39: No. 1. Hymne à Astarté

      Composer: Charles Koechlin

      Performer: Carolyn Sampson, Joseph Middleton

    7. No. 1. La flûte de Pan

      Composer: Claude Debussy

      Performer: Carolyn Sampson, Joseph Middleton

    8. No. 2. La chevelure

      Composer: Claude Debussy

      Performer: Carolyn Sampson, Joseph Middleton

    9. No. 3. Le tombeau des naïades

      Composer: Claude Debussy

      Performer: Carolyn Sampson, Joseph Middleton

    10. Chansons de Bilitis, Op. 39: No. 5. Épitaphe de Bilitis

      Composer: Charles Koechlin

      Performer: Carolyn Sampson, Joseph Middleton

    11. Romance de Mignon

      Composer: Henri Duparc

      Performer: Carolyn Sampson, Joseph Middleton

    12. No. 9. Mignon

      Composer: Hugo Wolf

      Performer: Carolyn Sampson, Joseph Middleton

    13. No. 5. Mignon I

      Composer: Hugo Wolf

      Performer: Carolyn Sampson, Joseph Middleton

    14. No. 6. Mignon II

      Composer: Hugo Wolf

      Performer: Carolyn Sampson, Joseph Middleton

    15. No. 7. Mignon III

      Composer: Hugo Wolf

      Performer: Carolyn Sampson, Joseph Middleton

    16. Gretchen am Spinnrade, Op. 2, D. 118

      Composer: Franz Schubert

      Performer: Carolyn Sampson, Joseph Middleton

    17. 5 Lieder, Op. 107: No. 5. Mädchenlied

      Composer: Johannes Brahms

      Performer: Carolyn Sampson, Joseph Middleton

    18. 6 Gesänge, Op. 107: No. 4. Die Spinnerin

      Composer: Robert Schumann

      Performer: Carolyn Sampson, Joseph Middleton

    19. La mort d'Ophélie

      Composer: Camille Saint-Saëns

      Performer: Carolyn Sampson, Joseph Middleton

    20. Chansons de Shakespeare, Op. 28: No. 3. Chanson d'Ophélie

      Composer: Ernest Chausson

      Performer: Carolyn Sampson, Joseph Middleton

    21. 5 Ophelia-Lieder, WoO 22

      Composer: Johannes Brahms

      Performer: Carolyn Sampson, Joseph Middleton

    22. Au pays où se fait la guerre

      Composer: Henri Duparc

      Performer: Carolyn Sampson, Joseph Middleton

    23. La dame de Monte-Carlo, FP 180

      Composer: Francis Poulenc

      Performer: Carolyn Sampson, Joseph Middleton


Throughout history men have feared madwomen, burning them as witches, confining them in asylums and subjecting them to psychoanalysis – yet, they have also been fascinated, unable to resist fantasizing about them. For their new release, Carolyn Sampson and Joseph Middleton have created a programme that explores the responses of a variety of composers to women whose stories have left them vulnerable and exposed. As a motto they have chosen an aphorism by Nietzsche: ‘There is always some madness in love, but there is also always some reason in madness.’ Brahms’ Ophelia Songs, composed for a stage production of Hamlet, appear next to those by Richard Strauss and Chausson, while Ophelia's death is described by both Schumann (in Herzeleid) and Saint-Saëns. Goethe’s mysterious and traumatized Mignon appears in settings by Hugo Wolf as well as Duparc, while his ill-used Gretchen grieves by her spinning-wheel in Schubert's matchless setting. Sadness and madness tip into witchery and unbridled eroticism with Pierre Louÿs's poems about Bilitis, set by Kœchlin and Debussy. Sampson and Middleton end their recital as it began, with a suicide by drowning: in Poulenc’s monologue La Dame de Monte-Carlo, the elderly female protagonist has been unlucky at the gambling tables and decides to throw herself into the sea.