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Richard Strauss (1864-1949)

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Grainger: Rambles & Reflections

Grainger: Rambles & Reflections

Grainger's transcriptions of works by other composers


 

Beautiful Fresh Flower

Chinese melody

Lullaby from Tribute to Foster

after Stephen Foster

Byrd:

The Carman's Whistle

Delius:

Air and Dance

Dowland:

Now, O now, I needs must part

Fauré:

Après un rêve, Op. 7 No. 1

Nell, Op. 18 No. 1

Gershwin:

The Man I Love

Love Walked In

Grainger:

Cradle Song (after Brahms)

Paraphrase on Tchaikovsky's Flower Waltz

Handel:

Water Music: Hornpipe

Scott, C:

Handelian Rhapsody, Op.17 (W134)

Stanford:

Four Irish Dances

Strauss, R:

Ramble on Love Duet (from Der Rosenkavalier)


Piers Lane (piano)

Though he professed not to enjoy concert giving, Grainger was one of the greatest pianists of the earlier twentieth century and had an intimate understanding of the capabilities of the piano and how best to write for it. He possessed a unique compositional voice and was, in many ways, part of the great composer–pianist tradition stretching from Liszt to Busoni for whom the concert transcription was an essential part of their art.

This recording contains the majority of Grainger’s concert transcriptions of music by other composers (his few Bach arrangements are performed by Piers Lane on Bach Piano Transcriptions Volume 3). They range from the folk-inspired Irish Dances of Stanford, full of Grainger’s characteristically extrovert piano writing, to the hyper-romantic lushness and incredible pianistic sophistication of his Ramble on Love based on Richard Strauss’s ‘Rosenkavalier’. All are superbly played by Piers Lane.

“Grainger's eclectic idiosyncratic piano transcriptions, despatched with light-fingered clarity. Strauss swoons, Stephen Foster's all of a tingle. Excellent notes, too.” BBC Music Magazine, December 2011 ****

“Lane boasts a fabulous technique … succulent performances” Fanfare

“Musically enchanting fare … everything is played with unfaltering command … the recording and presentation are immaculate” Gramophone Magazine

“A fine selection … an easy listen that often delights the ear” Pianist Magazine

“A delight from start to finish” The Observer

“Heroic stamina by Piers Lane” The Times

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Helios Instrumental Selections - CDH55454

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Of ladies and love ...

Of ladies and love ...


Beethoven:

Adelaide, Op. 46

Wonne der Wehmut, Op. 83 No. 1

Der Kuss, Op. 128

Fauré:

Nell, Op. 18 No. 1

Adieu, Op. 21 No. 3, from Poème d'un jour

Sylvie, Op. 6 No. 3

Lydia, Op. 4 No. 2

Fleur jetée, Op. 39 No. 2

Liszt:

Sonetti di Petrarca (3) for voice & piano, S270

Ravel:

Cinq mélodies populaires grecques

Schubert:

Trost: An Elisa, D97

Laura am Klavier, D388

An Sylvia, D891

Der Jüngling an der Quelle, D300 (Salis-Seewis)

Strauss, R:

Cäcilie, Op. 27 No. 2

Zueignung, Op. 10 No. 1

Nichts, Op. 10 No. 2

Morgen, Op. 27 No. 4


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Hyperion Song Recitals - CDA67315

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R. Strauss: Don Quixote & Till Eulenspiegel

R. Strauss: Don Quixote & Till Eulenspiegel


Strauss, R:

Don Quixote, Op. 35

with Alban Gerhardt (cello) & Lawrence Power (viola)

Till Eulenspiegels lustige Streiche, Op. 28


Strauss’s ‘Fantastic variations on a theme of knightly character’, as Don Quixote is subtitled, is one of the composer’s most popular tone poems, principally because of the beautifully drawn central characters of the Don (performed by a solo cellist) and Sancho Panza (viola). These roles are luxuriously cast in this new recording, being taken by Hyperion artists Alban Gerhardt and Lawrence Power. The merry tale of Till Eulenspiegel completes this release.

The Gürzenich-Orchester Köln, the very orchestra which gave the premieres of both works in the 1890s, is conducted by Markus Stenz, who has held the position of Principal Conductor since 2003. He visited China with the orchestra in early 2008 and conducted their first ever BBC Prom at the Royal Albert Hall in August 2008. In September 2010 he returned to China with the Gürzenich Orchestra and the Opera of Cologne to conduct the first ever production of Wagner’s ‘Ring’ in Shanghai. Among other posts he is Chief Guest Conductor of the Hallé.

“the playing here is first-rate, and Alban Gerhardt and Lawrence Power are vivid soloists.” Sunday Times, 7th April 2013

“Stenz gets the proportions exactly right. He plunges us into the delirium of the melancholy hero's addled brain with a clarity pointing forward to Schoenberg's First Chamber Symphony...Adventurous Alban Gerhardt is vivid as Quixote takes several tumbles...The peerless viola player Laurence Power is luxury casting as an equally human Sancho Panza. No stars needed to be drafted in for one of the best Till Eulenspiegels on disc...an irrepressible performance.” BBC Music Magazine, May 2013 *****

“Gerhardt and Power convey the complex nature of the relationship between the two...Stenz's conducting is all about the cumulative impact of small gestures rather than grand statements. We're conscious throughout of the classical form at the work's heart, though Stenz is also marvellous when it comes to those astonishing moments when the Don's fantasies assume a transcendent reality greater than anything on earth. It's nigh-on perfect.” The Guardian, 11th April 2013 *****

“[Power and Gerhardt are] both magnificent, and neither distorts the work's shape with excessive ego displays. This is a sublime, idiomatically phrased performance, given by the very orchestra which premiered the work. So you’d expect something special. The moments of quiet rapture are divine...The high points are too numerous to list” The Arts Desk, 13th April 2013

“an excellent account of Don Quixote. The catalogue isn’t exactly short of fine recordings but this one competes with the best. Gerhardt and Power are marvellous principals but they manage to project their characters splendidly while giving us a sense also that they are primus inter pares, as Strauss intended.” MusicWeb International, 22nd April 2013

“pictorial points are in general well made; the scenes are colourfully set; and both Gerhardt and Power are such fine, sensitive and expressive musicians that they encapsulate the varied moods of their protagonists poignantly and purposefully. Markus Stenz attacks Till Eulenspiegel with vigour” Gramophone Magazine, May 2013

BBC Music Magazine

Disc of the month - May 2013

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Hyperion - CDA67960

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Richard Strauss: The Complete Songs 1

Richard Strauss: The Complete Songs 1


Strauss, R:

Zueignung, Op. 10 No. 1

Die Georgine Op. 10 No. 4

Breit' über mein Haupt Op. 19 No. 2

Wie sollten wir geheim sie halten, Op. 19 No. 4

Glückes genug Op. 37 No. 1

Ich liebe dich Op. 37 No. 2

Hochzeitlich Lied Op. 37 No. 6

Leises Lied, Op. 39 No. 1

Befreit, Op. 39 No. 4

Wiegenlied, Op. 41 No. 1

In der Campagna Op. 41 No. 2

Frühlingsfeier Op. 56 No. 5

Die heiligen drei Könige aus Morgenland Op. 56 No. 6

Gesänge des Orients Op. 77

Allerseelen, Op. 10 No. 8


Christine Brewer (soprano) & Roger Vignoles (piano)

“Pianist and presiding spirit Roger Vignoles takes us on a select chronological jaunt, making sure Brewer boldly goes to the heart of the bigger numbers where lesser voices would fear to tread. Her glorious instrument, fine-tuned from top to bottom, effortlessly negotiates some of Strauss's more outlandish intervals.” BBC Music Magazine, June 2005 ****

“There seems to be no challenge that Christine Brewer and Roger Vignoles can’t meet in these opulent songs. Brewer’s soaring voice offers a fabulous range of colour and dynamics, and Vignoles matches her with a truly orchestral palette at the keyboard” Classic FM Magazine

“Christine Brewer … combines opulent, blazing tone, fearless top notes and surprising agility” Daily Telegraph

“This is the first volume in Hyperion's Richard Strauss edition, something to be devoutly hoped for: he was a great Lieder composer but only a small fraction of his 200-plus songs are at all well known. Admittedly, his taste in poetry wasn't always as elevated as that of his fellow composers, yet his music can transform rather ordinary verses. And the major poets do get a look-in.
This disc includes two Heine settings, one of which, 'Frühlingsfeier', came a year after Salome and echoes the operatic score. This is where Christine Brewer, whose repertory includes the title-roles in Ariadne auf Naxos and Die ägyptischeHelena, might be expected to be most comfortable: her big, gleaming soprano sweeps through impressively. If at first her voice seems less than ideally flexible as a Lieder instrument, especially in the earlier songs, it would be ungrateful not to marvel at what she does ultimately bring to these performances.
Opening with 'Zueignung', which Strauss never intended to be relegated to encore status, Brewer sounds glorious if a little staid. But she quickly lightens up, catching the palpitations of 'Wie sollten wir geheim sie halten' and the gem-like intimacy of 'Leises Lied'. She positively blazes in the sunlight-evoking 'In der Campagna', where Vignoles's piano captures the splash of a Straussian orchestra. Both artists bring something fresh to the chestnuts 'Allerseelen' and 'Wiegenlied', in which Brewer floats a beautiful line over the rippling accompaniment. Having the high tessitura demanded in the rarely heard Gesänge des Orients, she clinches any remaining argument magnificently.”
Gramophone Classical Music Guide, 2010

“At all times Brewer and Vignoles work together hand in glove … This is a properly equal partnership that bodes very well indeed for this admirable project. Brewer and Vignoles set high standards for anyone who would record Strauss now and for future collaborations on Hyperion too!” International Record Review

“Christine Brewer in magisterial voice … a major project, beautifully performed and presented” The Independent

“Could there be a more enticing title stamped across a CD than Strauss: The Complete Songs – 1? Richard Strauss the man may be widely resistible; but it would take someone extraordinarily hard-hearted not to take any delight in his luxuriant imagination and succulent harmonies … each planned CD in the series will be shaped around the talents of different singers, and Brewer’s disc marks a tremendous start” The Times

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Hyperion Richard Strauss Complete Songs - CDA67488

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Richard Strauss: The Complete Songs 2

Richard Strauss: The Complete Songs 2


Strauss, R:

Die Nacht, Op. 10 No. 3

Geduld Op. 10 No. 5

Mein Herz ist stumm, Op. 19 No. 6

All mein Gedanken ... Op. 21 No. 1

Du meines Herzens Krönelein, Op. 21 No. 2

Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3

O wärst du mein Op. 26 No. 2

Ruhe, meine Seele!, Op. 27 No. 1

Nachtgang Op. 29 No. 3

Blauer Sommer, Op. 31 No. 1

Weißer Jasmin, Op 31 No 3

Das Rosenband, Op. 36 No. 1

Waldseligkeit, Op. 49 No. 1

In goldener Fülle Op. 49 No. 2

Wiegenliedchen Op. 49 No. 3

Wer lieben will, muss leiden Op. 49 No. 7

Ach, was Kummer, Qual und Schmerzen, Op. 49 No. 8

Blindenklage, Op. 56 No. 2

Drei Lieder der Ophelia Op. 67


Anne Schwanewilms (soprano) & Roger Vignoles (piano)

“It's hard to dispute Roger Vignoles's claim that Anne Schwanewilms is "a great singing actress". That's clear in every song, where both the overall tinta and the text have not just been scrupulously attended to in the head but are excitingly delivered with the heart.” Gramophone Magazine, August 2007

“Not even Felicity Lott with Graham Johnson can match Anne Schwanewilms and Roger Vignoles here in the Drei Lieder der Ophelia … By any yardstick this is magnificent singing, with Schwanewilms always alert to the dramatic potential in so many of Strauss’s songs … Again you admire the effortless partnership between the two musicians, each, it seems, hanging on the other’s last word and always raising the musical bar. This second volume of the Complete Strauss songs suggests we are at the start of another remarkable Hyperion journey.” International Record Review

“Not just for Salome did Strauss demand several voices in one: here he ranges from the ditzy skitterings of the Ophelia Songs via the full-on operatic scena that is the Schwarzkopf favourite Blindenklage to the wandering tonalities of Owärst du mein!, not to mention the tricky characterisation of Ach, was Kummer (with its repeated 'hm, hm') and the naive playfulness of SchlagendeHerzen.
It's hard to dispute Roger Vignoles's claim that Anne Schwanewilms is 'a great singing actress'. That's clear in every song, where both the overall tinta and the text have not just been scrupulously attended to in the head but are excitingly delivered with the heart. The occasional price to pay is in pitching (coming onto a note from above) and in vocal agility – this is a large voice and it can move through its gears quite slowly – but it's of little significance given the repertoire, the live nature of the takes for which Hyperion opted, and the sheer intensity of the singing.
Schwanewilms achieves the full compass of the testing items noted, finds an appropriately rich skein of tone for In goldener Fulle and manages real affection – and a degree of playfulness – in Wiegenliedchen. There's a real experience here, knowingly and profoundly communicated.
Vignoles is, as always, an equal and fully 'worked-in' team member. As well as being an impressive achievement in itself, this recital is a timely addition to a catalogue currently rather short of female competition in these songs.”
Gramophone Classical Music Guide, 2010

BBC Music Magazine Awards 2008

Vocal Finalist

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Hyperion Richard Strauss Complete Songs - CDA67588

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Richard Strauss: The Complete Songs 3

Richard Strauss: The Complete Songs 3


Strauss, R:

Nichts, Op. 10 No. 2

Die Zeitlose, Op. 10 No. 7

Die Verschwiegenen, Op. 10 No. 6

Sechs Lieder, Op. 17

Wozu noch, Mädchen Op. 19 No. 1

Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3

Hoffen und wieder verzagen Op. 19 No. 5

Ach weh mir unglückhaftem Mann, Op. 21 No. 4

Die Frauen sind oft fromm und still Op. 21 No. 5

Heimliche Aufforderung, Op. 27 No. 3

Fünf Lieder, Op. 32

Für fünfzehn Pfennige Op. 36 No. 2

Anbetung, Op. 36 No. 4

Winterweihe, Op. 48 No. 4

Winterliebe Op. 48 No. 5

Freundliche Vision, Op. 48 No. 1


Andrew Kennedy (tenor) & Roger Vignoles (piano)

“Andrew Kennedy is an eager, bright-eyed lover: the bloom and the tenderness of the middle range of his voice, in particular, knows just how to bring a luxuriant Straussian intimacy to a song such as 'Seitdem dein Aug' in meines Schaute.” BBC Music Magazine, May 2008 ***

“Vignoles's playing continues to achieve a maximum of freshness and invention… Kennedy's voice is young, sweet, fluent and has what some commentators call "sap". A lot of work and study has gone into this disc and the readings attain a consistently high standard of beautiful music-making.” Gramophone Magazine, July 2008

“Hyperion is an old hand at programming attractively playable discs that make up complete Lied editions. Kennedy's selection has the earlier material, with the Opp 17 and 32 groups given complete. Strauss's choice of poets at this stage in his Lied career may not have been as sophisticated as it became but he never chose a text that didn't inspire a clear musical portrait. Especially well pointed are two Des Knaben Wunderhorn songs ('Himmelsboten' and the droll love-onthe- cheap story of 'Für fünfzehn Pfennige') and the dark, serious 'Sehnsucht'. The better-known 'Ständchen' and what Roger Vignoles's notes call the 'ebullient barnstormer' 'Heimliche Aufforderung' are placed cunningly within the recital order.
Vignoles's playing continues to achieve a maximum of freshness and invention and a chameleon- like closeness to his singer's tone and line. Kennedy's voice is young, sweet, fluent and has what some commentators call 'sap'. Greater naturalness (and especially inwardness) will come in his live and later performances of this repertoire. In the meantime, a lot of work and study has gone into this disc and the readings attain a consistently high standard of beautiful music-making.”
Gramophone Classical Music Guide, 2010

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Hyperion Richard Strauss Complete Songs - CDA67602

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Richard Strauss: The Complete Songs 4

Richard Strauss: The Complete Songs 4


Strauss, R:

Stiller Gang, Op. 31/4

Funf Lieder, Op. 15

Der Arbeitsmann, Op. 39, No. 3

Lied an meinen Sohn, Op. 39, No. 5

Leise Lieder, Op. 41a No. 5

Des Dichters Abendgang, Op. 47 No. 2

Das Lied des Steinklopfers, Op. 49 No. 4

Gefunden Op. 56 No. 1

Mit deinen blauen Augen, Op. 56 No. 4

Im Spätboot, Op. 56, No. 3

Alastair Miles (bass)

Vom kunftigen Alter, Op. 87 No. 1

Alastair Miles (bass)

Erschaffen und Beleben, Op. 87, No. 2

Alastair Miles (bass)

Und dann nicht mehr, Op. 87 No. 3

Alastair Miles (bass)

Im Sonnenschein, Op. 87 No. 4

Alastair Miles (bass)


Christopher Maltman (baritone) & Roger Vignoles (piano)

Hyperion’s Strauss Lieder series is fast becoming a worthy successor to the seminal Schubert and Schumann Lieder sets on the label. This fourth volume features a veteran of these recordings, the great British bass-baritone Christopher Maltman.

Contrary to a commonly held perception of Strauss as a Lieder composer, what most of the songs in the present volume show is that he was not shy of addressing serious themes. Settings of Rückert, Dehmel, Goethe and others are tinged with a dark regret which is enhanced by their bass tessitura. Strauss the opera composer is evident in the epic scale of the lieder written post-Salome. Roger Vignoles provides his famous extensive booklet notes, with commentary about each individual song and scholarly discourse on the poetry.

“This fourth volume of songs in the Hyperion series matches Strauss's masterpieces to weaker offerings, all given equal shrift by the pianist Roger Vignoles and his singers. Maltman has the lion's share, his molasses-rich lower range and walnut-polished upper melting into the ethereal Am Ufer and finding gruff humour in Das Lied des Steinklopfers. Alastair Miles's robust, sensitive bass excels in Im Spätboot, perfectly capturing the eerie, dark atmosphere of Strauss's weary boat passenger.” The Times, 14th February 2009 ****

“Maltman and Vignoles strike the right note of hard-won simplicity for Goethe's 'Gefunden' and Heine's 'Mit deinen blauen Augen'. Miles then signs in with the wonderful night-boat meditation of Op. 56 No. 4, underlining the need for a true bass with the last low D flat. ...his imposing timbre fits the operatic scope of the three Rückert settings.” BBC Music Magazine, May 2009 ****

“With one possible exception, these are all among Strauss's more rarely performed songs, and quite undeservedly so. Most are highly characteristic and clearly written with affection, while those that may not immediately proclaim the composer's identity ('Das Lied des Stein- klopfers' for instance) are among the most interesting.
Perhaps that sense of a structured improvisation may (as in the Rückert setting 'Und dann nicht mehr') call for a restraining hand, but more often it is such an appealing personal quality that complaint would be sourly puritanical.
Indeed some of the joy arises in just those moments, such as the inspired passage between verses in 'Des Dichters Abendgang', when Strauss the pianist takes over and claims his composer's freedom.
Roger Vignoles captures well the expansiveness and generosity of the writing for piano. He is also a sensitive accompanist in songs where the piano part is relatively simple. “Heimkehr”, the last song of Op 15, is one of these, and this is also the exception to the songs' general unfamiliarity.
It is well sung, with finely controlled high pianissimi, by Christopher Maltman, who has all but the last five songs (mostly Op 81), which are written specifically for bass. It must be said that with the first sound of Alastair Miles, one is immediately aware of a change, not merely in the quality and nature of the voice, but in its production too. Maltman is a valuable artist in many respects, but recording exposes an unevenness of emission which his art is usually able to render inconspicuous 'in the flesh'. Miles impresses deeply, down indeed to the depths of his low D flat.”
Gramophone Classical Music Guide, 2010

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Hyperion Richard Strauss Complete Songs - CDA67667

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Richard Strauss: The Complete Songs 5

Richard Strauss: The Complete Songs 5


Strauss, R:

Mädchenblumen (4 songs), Op. 22

Fruhlingsgedrange, Op. 26 No. 1

Morgen, Op. 27 No. 4

Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3

Meinem Kinde, Op. 37 No. 3

Mein Auge Op. 37 No. 4

Herr Lenz Op. 37 No. 5

Junghexenlied, Op. 39 No. 2

Muttertändelei, Op. 43 No. 2

Einkehr, Op. 47 No. 4

Ich Schwebe, Op. 48 No. 2

Kling! Op. 48 No. 3

Brentano Lieder (6) Op. 68


Kiera Duffy (soprano) & Roger Vignoles (piano)

A further instalment of this major Hyperion project introduces the American soprano Kiera Duffy, whose performances in the concert hall and on the opera stage have received the highest praise.

This series, skilfully masterminded by the accompanist Roger Vignoles, is carefully shaped around the talents of each singer and strives to serve the cause of both neglected treasures and essential Strauss masterworks. The majority of the music in this beautifully shaped recital was composed between 1888 and 1900, with the exception of the glorious and virtuosic Op 68 Brentano-Lieder, which owes its richness and fluency to the composer’s experience of opera composition.

Duffy gives an impeccable performance, revealing a deep understanding of the complexity of the music, and tackles the final expansive Lied der Frauen with unwavering stamina and faultless intonation. Perceptive booklet notes from Vignoles, and full texts and translations are also included.

“Duffy's is a light, bright soprano with a stylish sense of phrasing and some rapturous top Bs in her armoury...Two stand out: the harmonically wayward 'Junghexenlied', where Duffy has the right abrasive edge and hint of witchy malice, and the radiant 'Als mir dein Lied erklang'” BBC Music Magazine, December 2011 ***

“The main work here is the Brentano Lieder of 1918, and it is often said that no single soprano can perform the whole cycle adequately. Duffy manages better than most, partly because there is a cutting edge in her tone...Vignoles, the Strauss pianist par excellence, is infinitely supportive and keeps the volume down to a sensible level.” The Guardian, 10th November 2011 ****

“The technically accomplished and conscientious American Kiera Duffy has the clean, bright tone required for the more upbeat numbers such as Kling, but her Morgen doesn’t float through the ether and elsewhere she can sound a little hard-edged.” The Telegraph, 11th November 2011 ***

“She certainly gives a strong interpretation of the six Brentano Lieder, Op. 68, with Vignoles's powerful closing 'Lied der Frauen' a highlight...and both artists are equally impressive in the strongly characterised 'Junghexenlied'...Duffy is also appealing in the gentler songs, such as the tender 'Meinem Kinde', but elsewhere at times one wishes for more varied tonal colour and less climactic passion.” Gramophone Magazine, January 2012

“If the songs of Op. 68 are the most immediately compelling Lieder here, there are other treasures too...after an impeccable entry [in 'Morgen!'], Duffy embraces one of Strauss's most heartfelt melodies before darkening her silvery tone to huge effect in the final lines.” International Record Review, January 2012

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Hyperion Richard Strauss Complete Songs - CDA67746

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Richard Strauss: The Complete Songs 6

Richard Strauss: The Complete Songs 6


Strauss, R:

Einerlei, Op. 69 No. 3

Waldesfahrt, Op. 69 No. 4

Schlechtes Wetter, Op. 69 No. 5

Rote Rosen, AV76

Die erwachte Rose, TrV 90, AV 66

Der Stern, Op. 69 No. 1

Begegnung (Meeting), AV 72

Wir beide wollen springen, AV 90

Das Bächlein, Op. 88 No. 1

Blick vom oberen Belvedere, Op. 88 No. 2

Der Krämerspiegel (12 songs), Op. 66 (texts: Alfred Kerr)

Wer hat’s getan Op. 10 No. 6 bis

Malven, AV 304


Elizabeth Watts (soprano) & Roger Vignoles (piano)

Hyperion’s Strauss Lieder series continues to demonstrate that the composer’s achievements in this genre are among the most fascinating and accomplished of his works. This latest volume includes, for instance, the delicious Schlechtes Wetter from Op 69, and the lovely—and unknown—Waldesfahrt from the same group. The delicately beautiful Malven (never published in Strauss’s lifetime, and first performed by Kiri Te Kanawa in 1985), with which the recital ends, is known as Strauss’s ‘Fifth Last Song’.

The central work recorded here, Krämerspiegel, owes its genesis to Strauss’s long-lasting and bitter dispute with the German music publishing industry. A Berlin literary critic, Alfred Kerr, wrote him a witty set of satirical verses lampooning music publishers, mentioning many of Strauss’s principal enemies by name. Strauss set all twelve poems to music, and this practical joke finally saw the light of day in 1921. It is easy to understand why the cycle is now rarely performed, given that the texts consist entirely of in-jokes, and that the lion’s share of the music is given to the pianist. But Strauss’s music is well worth savouring, not least for its humorous references to Strauss’s own works, such as Der Rosenkavalier and Ein Heldenleben, and especially for the beautiful prelude to the eighth song and its reprise as the final extended postlude—used by the composer nearly a quarter of a century later, in his opera Capriccio.

Roger Vignoles is the curator and pianist of this series, and also writes the informative booklet notes. Making her Hyperion debut is soprano Elizabeth Watts, of whom The Guardian commented at a recent Strauss Lieder recital: ‘Watts, winner of the Lieder prize at Cardiff Singer of the World in 2007, is already a major artist, but this struck me as making a transformation into a great one, as well as allowing us to hear her in music she seems to have been born to sing. Watts has the right tonal glamour for Strauss along with that tricky combination of vocal ease and immaculate control that his work requires.’

“Vignoles was and is very impressive indeed, here readily catching the extraordinary variety of mood in each song...My pleasure in this latest volume is without any reservations. Elizabeth Watts sings gloriously, rising fluently to the high tessitura of Strauss's melodic lines...Her beautiful voice, sensitive phrasing and response to word-meanings are consistently rewarding and her partnership with Roger Vignoles could hardly be more beautifully balanced.” Gramophone Magazine, February 2013

“As well as showing her ability to weave around a wide-ranging phrase, apparent in the first song on the disc, 'Einerlei', and incorporating a useful chest voice, she shows a wicked penchant for donning joke fangs in the song cycle.” BBC Music Magazine, March 2013 ****

GGramophone Magazine

Editor's Choice - February 2013

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Hyperion Richard Strauss Complete Songs - CDA67844

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Richard Strauss: The Complete Songs 7

Richard Strauss: The Complete Songs 7


Strauss, R:

Weihnachtsgefühl, WoO. 94

Weihnachtslied, Op. 2

Einkehr, Op. 47 No. 4

Der müde Wanderer, Op. 13

Husarenlied, AV14 TrV42

Der Fischer, AV33 TrV48

Die Drossel

Lass ruh'n die Toten, WoO. 35

Lust und Qual, AV36 TrV51

Spielmann und Zither, AV40 TrV58

Wiegenlied , TrV59

Abend- und Morgenrot, WoO. 42

Im Walde, AV43 TrV62

Nebel

Soldatenlied, TrV66

Ein Röslein zog ich mir im Garten, Op. 49

Waldesgesang , TrV75

Alphorn, TrV 64 (WoO 29)

Ed Lockwood (French horn)

Sinnspruch, AV105

Durch allen Schall und Klang, AV111

Zugemessne Rhythmen, AV122

Xenion, AV131

Auf ein Kind, Op. 47 No. 1

Rückleben, Op. 47 No. 3

Von den sieben Zechbrüdern, Op. 47 No. 5

Sankt Michael , Op. 88 No. 3

Winterreise, AV4 TrV4


Ruby Hughes (soprano), Ben Johnson (tenor), Günter Haumer (baritone), Roger Vignoles (piano)

Volume 7 of our Complete Strauss Songs cycle focuses on the juvenilia. But the mysterious TrV references obfuscate compositions of a beauty hard to reconcile with the facts behind their genesis (Strauss was just six when he penned the first of them—his mother had to write in the words for him). Three new singers—Ruby Hughes, Ben Johnson and Günter Haumer—join Roger Vignoles in this most unexpected of recitals to relish.

“the pleasures are manifold. Even ardent Straussians won't know many of the songs in this mix of juvenilia...[Hughes] is a delight, pure lyric-soprano transparency for the often folksy simplicity of young Richard...[by Von den sieben Zechbrüdern] Johnson has really come out of his shell to relish the operatic narrative of which we know he's capable.” BBC Music Magazine, Awards Issue 2015 ****

“Ruby Hughes's bright soprano is appealing” Gramophone Magazine, May 2015

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Hyperion Richard Strauss Complete Songs - CDA68074

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