A hymn to a sublime contralto: the complete Philips recordings of Aafje Heynis, remastered and compiled together, with original jackets, for the first time.

Aafje Heynis grew up as a church singer, and her faith and modesty radiate from her performances, which began to capture the ears of Dutch audiences after the war. A momentous debut with the Concertgebouw and Eduard van Beinum produced an account of the Alto Rhapsody by Brahms – it hardly betrays her nerves on the occasion, despite her misgivings, and launched her international career.

There followed a career path not dissimilar to her recent and eminent predecessor, Kathleen Ferrier, with Philips recording her in folk song and Lieder as well as sacred and spiritual repertoire. When Bernard Haitink made his first recording of the ‘Resurrection’ Symphony by Mahler, Heynis was the obvious choice to sing the pivotal ‘Urlicht’ movement, which she did with the grace, the nobility and gravity of expression she brought to all her performances. This Mahler Second has scarcely left the catalogue since its first issue. Much less familiar now are Heynis’s albums of Bach cantatas, and her contributions to Dutch-made recordings of the Dettingen Te Deum and Dixit Dominus of Handel. Rarer still are the short ‘EP’ albums of sacred arias, accompanied by the organists Pierre Palla and Simon C. Jansen, which were primarily issued for the local Dutch market.

A Beethoven Ninth under Igor Markevitch, and a Lieder album with Irwin Gage, hint at what might have been, if Heynis had chosen to embrace the calling of a truly international career. Likewise, we have a single record of Heynis in opera, singing the role of Orpheus in excerpts from Gluck’s opera, recorded in 1973.

Compiled and remastered from rare sources, and issued as an Original Covers collection with extensive photographic illustration as well as a new and moving tribute to the life and art of Heynis by Jean-Charles Hoffelé, this set will attract all collectors of great singers. Heynis could touch the heart of the listener like few others, and her voice, once heard, is never forgotten.

“Heynis has a tone of quite exceptional beauty. It is full and firm and clear, solid and without a hollow core.” – Gramophone, November 1958 (Sacred arias)

“Of all more modern recordings [than Ferrier’s] Miss Heynis’s is undoubtedly the finest. The phrasing, the long sustained curves, the difficult crescendos and diminuendos of this most lovely work are movingly realised. There is high technical accomplishment … above all, tone so beautiful that in itself it seems flooded with poetry.” – Gramophone, November 1958 (Brahms: Alto Rhapsody)

“A particularly lovely voice.” – High Fidelity, April 1959 (Handel: Dettingen Te Deum)

“Like dark amber maple syrup” – Fanfare

“Heynis is an unalloyed delight to the ear: a rich voice, splendidly controlled, with well-defined timbre and an ability to maintain perfect intonation through a long note swelling from piano to forte: all these qualities distinguish her as a fine artist and a sympathetic interpreter of Handel.” – Gramophone, November 1959 (Handel: Dettingen Te Deum)

“Van Beinum’s view of the Rhapsody is reverent and subdued. [Heynis] has a warm, refined voice.” – High Fidelity, December 1959 (Brahms: Alto Rhapsody)

“The surprise of the disc is the warm and open singing of the Alto Rhapsody by the Dutch contralto, Aafje Heynis. Hers is a rich and lustrous voice, in full control and with an expressiveness that is most moving.” – Stereo Review, January 1960 (Brahms: Alto Rhapsody – Sawallisch)

“Heynis … displays vocal richness, musicianship, expressiveness and a fine sense of style in both works. The brief choral contribution is well sung, the orchestra is excellent, and the stereo recording is first rate. Highly recommended.” – Stereo Review, September 1960 (Bach/Ritter)

“There is a welcome sense of repose about these performances … Heynis sings the cantata very expressively.” – Gramophone, October 1960 (Bach/Ritter)

“Heynis is, it needs scarcely be said, a splendid singer, and she brings much finesse and charm to her task.” – Gramophone, September 1961 (Folk Songs)

“The voice of Aafje Heynis, the young Dutch contralto, does not seem particularly large or rich but it has an attractive silvery, dusky hue. It is firm and true.” – High Fidelity, March 1962 (Bach: Cantatas)

“In the Rhapsody, Miss Heynis is placed more forward than she was in her previous recording. .. and the balance is more satisfactory. She has a very lovely voice, fresh and free from any affectations, and has coloured it more expressively than she did last time.” – Gramophone, May 1963 (Brahms: Alto Rhapsody – Sawallisch)

“A disc that is unalloyed pleasure from beginning to end … [Heynis] her usual lovely self in the Romance, producing phrases of exquisite beauty, yet warm substance.” – Stereo Review, April 1966 (Schubert: Rosamunde)