Brendel pf Zehetmair vn Zimmermann va Duven vc Riegelbauer db. Birgit Remmert, the alto soloist in Ständchen (sung, incidentally, in the version with women’s voices), sings well enough but with insufficient lightness and sense of fun. Every element of these two sonatas has been thought out, considered; in the hands of a lesser artist the results could have been pernickety but instead they tend towards the transcendent. Savour and enjoy it here.' The ideal Hyperion recording catches everything in very present terms. This is something very special. 5.0 out of 5 stars The best Schubert lieder performances. Personally, I would call his Legends rendition his veyr best and one of the high points in his distinguished career as a Schubert singer. Most of the other songs of 1828, which open the recital, are assigned to Schade, who sings them with refined tone and an innate feeling for sharing his enjoyment in performing them, nowhere more so than in the opening ‘Auf dem Strom’. The slight but charming setting of ‘Das war ich’ is appealingly done by the light-voiced Daniel Norman, and Ann Murray brings her usual charisma and dramatic conviction to the pathetic Italian scena Didone abbandonata. Such details are always obeyed. 30. These words are revealing and characteristic of a blessedly controversial genius whose play of light and shade and poetic charisma colour every page, whether freely experimental or ideally structured. The Beaux Arts cellist brings lovely phrasing and a true simplicity of line, so right for Schubert – memorably in the lovely slow movement melody of the Trio No 2 in E flat. Such is the intensity of the playing that by the end of the disc you, too, are quite exhausted.' But, these cavils apart, no complaints about the singing or the vivid accompaniments. If you’re quick you may be able to catch him in Oxford in August. Dietrich Fischer-Dieskau, surely the most famous interpreter of Schubert Lieder, returned to the Winterreise on several occasions throughout his career. But that would be to shirk my reviewerly duty. Like Hans Hotter, Rose leaves one with a sense of a vast burden of suffering determinedly endured against appalling odds, of Lear’s ‘Men must endure their going hence, even as their coming hither. This is something special and I urge everyone interested in the discography of Schubert’s piano music to hear it. And then there are the gradations of colour, of dynamic. This Winterreise-man is, if not ‘mad’, then seriously ‘disturbed’ or unhinged. Sometimes his tone hardens when he’s depicting the deserted lover present in so many of these pieces but that’s hardly inappropriate to the depth of feeling being expressed. Rachmaninov did not know of their existence, and their unique character and vision was usually obscured by lazy assumptions and cliches (their lack of conventional form, their ‘heavenly length’, their touching Viennese lightness and lyricism). This side of the composer has not perhaps been celebrated as well as it might. Like Hotter before him, Rose can effectively soften and lighten his timbre, while he and his pianist partner Gary Matthewman choose their tempi discerningly. Piano Sonatas – A minor, D845; D, D850; No 20, D959. Isserlis talks in the notes of the work’s ‘immense, if understated, sadness’ and that is beautifully brought to life here, from the aching introduction onwards. And the slow movement of the Quintet is aching but never emotes superficially; the way the players withdraw the sound at its close is absolutely mesmerising. “The Schubert of this quintet is not the great Schubert, but the one whom we cannot help but love.” Pertinent sentiments (Alfred Einstein quoted by William Kinderman) although listening to this particular performance of the Trout suggests something of a compromise between ‘lovable’ and ‘great’. Browse: Search results for: 'schubert lieder' Skip search recommendations. Schnabel's account of D960 is a necessary acquisition for any representative collection of piano music on record. Schubert’s piano sonatas remained uncharted territory for an embarrassingly long time. This disc, the last in Hyperion’s Schubert Edition, is in large part devoted to the per-formance of the non-cycle Schwanengesang, that extraordinary collection in which Schubert seems more original and more inclined even than in earlier Lieder to peer into the future. He can be charming, too, as in the lazy barcarolle ‘Der Schiffer’ and the pastoral sway of ‘Abendlied an die Entfernte’, where Huber gives a delightful lift to the 6/8 rhythms. But, listening again, we may be reminded that Beecham could equally well dig deep into the darker moments of these works. Zimerman, quite simply, sounds like no one else. That’s what I call luxury casting.). Even as you long, overall, for a higher degree of drama and intensity, you are simultaneously made aware of a pianist who brought an Apollonian grace to even the fiercest Dionysian pages of Beethoven and who, arguably, found his truest voice in Schubert. As a bonus we have here a recitation of the Prologue and Epilogue and of the Müller poems not set by Schubert: Fischer-Dieskau graces it with his speaking voice. The Rondo brillant and the Fantasie, both written for the virtuoso duo of Karl von Bocklet and Josef Slawik, can sound as if Schubert were striving for a brilliant, flashy style, foreign to his nature. Ludwig, particularly in the mezzo and alto range, has the most beautiful voice on recordings, and the artistry to go with it. Six of the best Schubert songs Der Erlkönig, D328 (1815) Nacht und Träume, D827 (1825) Ich wollt, ich wär ein Fisch, D558 (1817) Gute Nacht, D911 (1828) Licht und Liebe, D352 (1816?) She makes the most of any passionate phrases and is equally convincing at cool, mysterious or dreamlike moments. Birgit Remmert contr Werner Güra ten Philip Mayers pf Scharoun Ensemble; RIAS Chamber Choir, Berlin / Marcus Creed. While there are more moving Winterreise recordings, not least from Goerne and Fischer-Dieskau, Rose’s deeply felt, impressively sung performance seems to catch, more than most, something of the poet Müller’s mordant, mocking irony which Schubert chose to soften and deflect when he set the verses. Even so the pain will out, as it does in the last phrase, ‘ihr Bild dahin’, of ‘Erstarrung’. The Fantasie’s finale and the Rondo brillant are irresistibly lively and spirited, and this duo’s technical finesse extends to more poetic episodes – Melnikov’s tremolo at the start of the Fantasieshimmers delicately, while the filigree passagework in the last of the variations that form the Fantasie’s centrepiece have a delightful poise and sense of ease. It is doubtful whether Schnabel ever played better than this on record or whether the interpretation has been surpassed in its comprehensive grasp of the issues that lie at the heart of this music. The Gaudier, though, are anything but perfunctory. Their Schubert Arpeggione is thoughtful and full of details that so often pass by unnoticed. Another superb performance then from the Florestans, penetrating, yet full of spirited spontaneity, and in spite of the moments of sadness, much Schubertian bonhomie. The traditionally ceremonial key of C major takes on a different hue in Schubert’s Quintet. Nor do they slacken the tension inherent in the lines. Read the review, 'Kaufmann’s combination of vocal beauty and verbal sensitivity (his diction always a model), and the fastidiously textured and coloured playing of Helmut Deutsch, make this new recording an important addition to the vast Winterreise discography.' Gramophone is part of Other highlights here include the alfresco Nachtgesang, with its quartet of echoing horns, Ständchen, a delicious nocturnal serenade, the austere, bardic Scott setting Coronach and the serenely luminous Nachthelle. The recording, too, is exceedingly warm, with only the occasional want of inner detail to bar unqualified enthusiasm (sample the main body of the first movement’s development, from say 10'03'' into track 1). Download. Of these, Kempff holds a unique place and DG’s immaculate reissue of virtually all the sonatas is worth its weight in gold. Bostridge’s gift for finding the right manner for each song is exemplified in the contrast between the easy simplicity he brings to such apparently artless pieces as ‘Fischerweise’, ‘Frühlingsglaube’ and the less familiar ‘Im Haine’ (this a wondrous performance of a song that’s the very epitome of Schubert the melodist), and the depth of feeling found in ‘Erster Verlust’ (a properly intense reading), ‘Nacht und Traüme’, ‘Wandrers Nachtlied’ I and II, ‘Du bist die Ruh’ (so elevated in tone and style) and ‘Litanei’. Nor will Schubert’s consciously archaic tribute to his teacher Salieri have you itching for the repeat button – though, like several other numbers, it shows the 19-year-old composer rivalling Mozart in his gift for musical mimicry. The cover shows Caspar David Friedrich’s familiar The Wanderer above the Sea of Fog. They could not have a better advocate. From the flickering will-o’-the-wisp of ‘Irrlicht’ onwards, most singers convey varying degrees of mental unbalance. Gramophone is brought to you by Mark Allen Group Think back to his Gramophone Award-winning Debussy Préludes in 1994. For Kempff the sonatas are an exploration of ‘the immeasurable depths of Schubert’s soul, offering nothing for the out and out virtuoso and everything for those who find solace in music freed from all material concerns’. Recordings. Over the years a mere handful of true basses, most famously Martti Talvela and Kurt Moll, have recorded Winterreise, none with complete success. The recorded sound is clear and warm, with a well-judged vocal-instrumental balance. Yet the dominant impression of this deeply considered Winterreise is of gentle, rueful introspection, momentarily flaring up in embittered protest (forte high notes invariably bring a visceral thrill), then drifting into trance-like resignation. From this proximity it’s impossible to say, but I’d say the odds are pretty good. The Belcea’s response to Schubert’s kaleidoscopic moods, from anguished tempestuousness to poetic felicity, centres round their superfine sensitivity to all his markings. Our recordings recommendations are also intended for the beginner listener and represent the best version listeners can get familiar with the piece. The Very Best of Mozart's The Marriage of Figaro 2013 Mozart - Don Giovanni 1997 Mozart: Don Giovanni - Highlights 1989 Bach: St Matthew Passion 1989 … Each shift of perspective in ‘An den Mond in einer Herbstnacht’ – say, the sudden stab of fear at the vulture gnawing the soul, or the lightening of gait and spirit at the memory of boyhood – is vividly caught. The dramatically rhythmic opening of the first movement could almost be by Beet-hoven but once again these players show themselves to be completely within the Schubertian sensibility and catch perfectly the atmosphere of the more important lyrical motif, first heard on the cello (in bars 15 and 16), which is to dominate the movement alongside the engaging repeated-note figure (so delicately articulated by the piano). This Wigmore Hall recital serves emphatically to underline that point, and, with Graham Johnson as a supportive and inspiring partner at the piano, it sees Appl in even more natural-sounding and impressive form. It’s notable not only for the highest standards of ensemble, intonation and blend, but also for its imaginative insights; these attributes readily apply to the music-making on this Duo reissue, particularly in the slow movements. You may feel that Edith Vogel’s claim that ‘Schubert is like Beethoven in heaven’ is a trifle one-sided, but her view is certainly confirmed by Wilhelm Kempff. How many have made it, sincerely and imaginatively, two setting out as nearly as possible as one! Schiff is, perhaps, Brendel’s successor. die Lerch’’. Schubert Lieder Volume 2: An Mein Herz Matthias Goerne (baritone), Eric Schneider (piano) and Helmut Deutsch (piano) Goerne… and Schneider offer grave and solemn performances of Goethe's Mignon and Harper songs, before ending on a higher note, celebrating the eternal joy of love in 'Willkommen and Abschied'. Ian Bostridge ten Graham Johnson pf with Dietrich Fischer-Dieskau narr. There are many good pianists that can beat … Just the best. I cannot think of anyone of his calibre who has mastered the fortepiano as well as the modern piano and shown such distinction on both. His instinctive feel for these songs is immediately striking and manifests itself in the sort of artlessness that distinguishes the finest Lieder singers: a lack of tension, an easy relationship with the poetry, a confidence in the words and Schubert’s melodies to communicate with nothing but the gentlest helping interpretative hand. You won’t find yourself tiring of Böhm’s approach; he doesn’t give in to irritating idiosyncrasies (à la Harnoncourt), but ensures that the Schubertian stream is always clear to the ear and sweet to the taste. But ‘Das Fischermädchen’ has a lilting tenderness, Schiff again singing in dulcet partnership with the voice, while in the remaining Heine songs singer and pianist unflinchingly probe the extremes of anguish and bitterness. It’s the kind of playing, in fact, where comparisons cease to matter. Schiff, on the outside looking in, saw that many of the instruments then were not in prime condition and he kept a beady eye too on the practitioners, who were often not awfully good. The Hagen include the exposition repeat in a movement that lasts almost 20 minutes. Academy of St Martin in the Fields / Sir Neville Marriner. Gretchen am Spinnrade, D118 (1814) MA Music, Leisure and Travel We start with a touchingly tender and chaste account of ‘Der Bach im Frühling’, after which Johnson’s accompaniment to ‘Der Wanderer an den Mond’ is a marvel of peacock-like prancing. 11 Ecossaises, D781. In the anguished Heine songs Prégardien’s less extreme style than, say, Peter Schreier, is scarcely less moving, whether in the rhythmically incisive ‘Der Atlas’ (where the fortepiano’s percussive resonance brings uncommon clarity to Schubert’s quasi-orchestral textures), or an ‘Am Meer’ of aching tenderness, the final stab of pain all the more affecting for being understated. Read the review, 'Bostridge and Johnson go to the heart of the matter, the young tenor in his aching tones and naturally affecting interpretation, the pianist in his perceptive, wholly apposite playing – and, of course, in his extensive notes. But such witnesses for the prosecution will find themselves silenced by an empathy with Schubert’s spirit so total that it would be extraordinary in a pianist of any age, let alone one still in his twenties. Casals is the linchpin. But the lyrical phrases in the Rondo’s introduction surely demand a more heartfelt utterance. Gramophone is brought to you by Mark Allen Group ... of the best regarded Schubertian, but I won't call him the best. Best service. In Matthias Goerne’s Volume 7 of his ongoing Schubert Edition he offers a program of 19 songs, its title derived from perhaps the most famous of them, Schubert’s daring and dramatic setting of Goethe’s Erlkönig. 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