Heimwee

A Lasting Love for Her South African Homeland

With her debut album *Heimwee*, South African soprano Linda van Coppenhagen builds an insightful bridge between cultures, uniting German Romanticism with selected works by a South African composer. Together with her musical collaborators—clarinetist Friederike von Oppeln-Bronikowski and pianist David Grant—van Coppenhagen creates a moving and symbiotic musical experience full of discoveries.  

Louis Spohr’s *Six German Songs*, Op. 103, is one of the few works to explore the unique potential of the voice-clarinet-piano trio. From the first song, *Sei still, mein Herz*, the dialogic structure between clarinet and voice becomes evident, with the clarinet acting as a “second voice,” amplifying the unspoken emotions behind the words. This effect resonates throughout the cycle, offering a rich interplay of textures and sentiments.

Largely unfamiliar outside of South Africa, the country’s chamber music tradition deserves recognition despite its historical ties to apartheid. This is exemplified by the works of Stephanus Le Roux Marais (1896–1979), whose art songs shimmer as rare gems in this recording. The title track, *Heimwee*—Afrikaans for „longing“—embodies a deep, burning sense of yearning. This theme holds personal significance for van Coppenhagen, who experienced profound homesickness during the pandemic when travel restrictions separated her from her homeland, inspiring this recording. Her vocal intensity, especially in the melancholic undertones, underscores her emotional connection to the music.

In contrast, the powerful *Mali die slaaf se Lied* tackles the themes of slavery and oppression in South Africa, serving as a poignant musical commentary on historical and contemporary social injustice. Meanwhile, *Geboorte van die Lente* (*The Birth of Spring*) bursts with vibrant melodies and dynamic rhythms, celebrating renewal and hope.

Van Coppenhagen further demonstrates her interpretive prowess in songs by Richard Strauss. In *Schlechtes Wetter*, David Grant’s virtuoso piano performance evokes the pounding raindrops, mirroring the soprano’s dramatic vocal outbursts. Her homesickness for South Africa’s sunlit expanses lends authenticity to her interpretation. The shimmering heights of *Ständchen*, the precision of emotional unrest in *Schlagende Herzen*, and the delicate devotion of *Ich trage meine Minne* highlight her versatility. In *Die Nacht*, she captivates listeners with subtle dynamic nuances and a profound ability to evoke meditative melancholy.

The program concludes with Franz Schubert’s *Der Hirt auf dem Felsen*, a compelling finale that once again showcases the “trialogue” between soprano, clarinet, and piano. Written in the spring of 1828, shortly before Schubert’s death, the piece portrays a shepherd gazing into the distance. Van Coppenhagen and her collaborators delve deeply into the intimate bond between nature and love, as captured in this Schubert masterpiece.

In summary, this South African soprano, alongside her distinguished collaborators, masters the art of emotional and atmospheric precision within the concise format of the art song. Her debut album stands as a weighty artistic calling card, marking a significant contribution to the classical music landscape.

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