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Simon Keenlyside

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Schumann: The Complete Songs

Schumann: The Complete Songs

The Lieder of Robert Schumann in chronological order


Schumann’s songs are among the greatest musical achievements of the nineteeth century, and this is the perfect release with which to mark the composer’s 200th birthday.

This marvellous collection comprises Schumann’s complete songs, presented for the first time in their chronological sequence of composition, with complete song texts, and chronology of Schumann’s life and songs by Graham Johnson.

Johnson is, of course, also the curator and unifying musical force of this series, accompanying his hand-picked selection of singers – some of the greatest lieder performers of today, and indeed of tomorrow – with utter sensitivity.

Includes 304 page booklet of:

Complete song texts

English translations by Richard Stokes & Eric Sams

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Hyperion Schumann Song Edition - CDS44441/50

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Britten - Purcell Realizations

Britten - Purcell Realizations


Britten:

The knotting song

from Orpheus Britannicus

Seven songs

from Orpheus Britannicus

Six songs

from Orpheus Britannicus

O solitude

from Orpheus Britannicus

Five songs

from Orpheus Britannicus

Celemene

from Orpheus Britannicus

Six duets

from Orpheus Britannicus

The Queen's Epicediumcus

from Harmonia Sacraumcus

The Blessed Virgin's Expostulation

from Harmonia Sacraumcus

Saul and the witch at Endor

from Harmonia Sacraumcus

Three divine hymns

from Harmonia Sacraumcus

Job's curse

from Harmonia Sacraumcus

Two divine hymns and Alleluia

from Harmonia Sacraumcus

Dulcibella

from Harmonia Sacraumcus

When Myra sings

from Harmonia Sacraumcus

Let the dreadful engines of eternal will

from Harmonia Sacraumcus


2 discs for the price of one

“Two irresistible discs—typically painstakingly produced and documented—and would deserve four stars if only they were there to give” The Times

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Hyperion Dyads - CDD22058

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The Songs of Robert Schumann - Volume 2

The Songs of Robert Schumann - Volume 2


Schumann:

Vier Husarenlieder Op. 117

Drei Gedichte von Emanuel Geibel, Op. 30

Gedichte (12) von Justinus Kerner Op. 35

Ballade des Harfners, Op. 98a No. 2

Wer nie sein Brot mit Tränen ass, Op. 98a No. 4

Wer sich der Einsamkeit ergibt, Op. 98a No. 6

An die Türen will ich schleichen, Op. 98a No. 8

Die Löwenbraut, Op. 31 No. 1


Simon Keenlyside (baritone) & Graham Johnson (piano)

“In his notes Graham Johnson says that what we have always lacked is a convincing way of performing late Schumann songs, often spare in texture and elusive in style. Well, he and Keenlyside seem to have found one here in their wholly admirable versions of the very different Opp 98a and 117. The Op 98a settings of the Harper's outpourings from Wilhelm Meister have always stood in the shade of those by Schubert and Wolf. This pair show incontrovertibly that there's much to be said for Schumann's versions, capturing the essence of the old man's sad musings, as set by the composer in an imaginative, free way, alert to every nuance in the texts.
The extroverted Lenau Husarenlieder could hardly be more different. Keenlyside identifies in turn with the bravado of the first, the cynicism of the second, and the eerie, death-dominated mood of the fourth. The pair enter into the openhearted mood called for by the Knabenhorn settings, most of all in the irresistible 'Der Hidalgo'.
Keenlyside is just as forthright in Die Löwenbraut and in those of Op 35, the well-known Kerner settings, and he brings impressive control to the Eusebius ones, not least the all-enveloping 'Stille Tränen'. The interpretation of this quasi-cycle is convincing and unerringly paced. The recording and Johnson's persuasive playing are superb.”
Gramophone Classical Music Guide, 2010

Building a Library

First Choice - October 2009

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Hyperion Schumann Song Edition - CDJ33102

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Duruflé: Requiem

Duruflé: Requiem


Duruflé:

Requiem, Op. 9

Quatre Motets sur des thèmes grégoriens, Op. 10

Notre Père, Op. 14

Messe Cum Jubilo, Op. 11


Aaron Webber (treble), Simon Keenlyside (baritone), Ian Simcock (organ), Natalie Clein (cello)

The Choir of Westminster Cathedral, James O'Donnell (The Master of Music)

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Hyperion - CDA66757

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The Hyperion Schubert Edition - Complete Songs Volume 22

The Hyperion Schubert Edition - Complete Songs Volume 22

An 1815 Schubertiad (II)


Schubert:

Trinklied D148 (Castelli)

Morgenlied, D266 (Stolberg)

An Sie D288 (Klopstock)

Das Mädchen aus der Fremde D252 (Schiller)

Der Abend D221 (Kosegarten)

Punschlied D277 (Schiller)

An die Sonne D272 (Tiedge)

Das Leben ist ein Traum D269 (Wannovius)

Die drei Sänger D329 (Bobrik)

completed by Reinhard Van Hoorickx

Die Erscheinung (Erinnerung) D229 (Kosegarten)

Das Abendroth D236 (Kosegarten)

Genügsamkeit D143 (Schober)

An Rosa (I) D315 (Kosegarten)

An Rosa (II) D316 (Kosegarten)

Das Bild D155 (anonymous)

Furcht der Geliebten ('An Cidli') D285 (Klopstock)

Skolie D306 (Deinhardstein)

Cora an die Sonne D263 (Baumberg)

Die Sterne, D313 (Kosegarten)

Lob des Tokayers D248 (Baumberg)

Vaterlandslied D287(Klopstock)

Gebet während der Schlacht D171 (Körner)

Hermann und Thusnelda D322 (Klopstock)

Selma und Selmar D286 (Klopstock)

Lorma D327 ('Ossian')

completed by Reinhard Van Hoorickx

Cronnan D282 ('Ossian')

Hymne an den Unendlichen, D232

Das Grab D330 (Salis-Seewis)


Lorna Anderson (soprano), Catherine Wyn-Rogers (mezzo soprano), Jamie Macdougall (tenor), Simon Keenlyside (baritone), Graham Johnson (piano), Patricia Rozario (soprano), Catherine Denley (alto), John Mark Ainsley (tenor), Michael George (bass)

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Hyperion Schubert Song Edition - CDJ33022

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The Hyperion Schubert Edition - Complete Songs Volume 28

The Hyperion Schubert Edition - Complete Songs Volume 28

An 1822 Schubertiad


Schubert:

Versunken D715 (Goethe)

Im Gegenwärtigen Vergangenes, D710

Mahomets Gesang D721 (Goethe)

completed by Van Hoorickx

Geheimes, D719 (Goethe)

Johanna Sebus D728 (Goethe)

completed by Van Hoorickx

Mignon I (Heiß mich nicht reden) D726

Die Nachtigall, D724

Sei mir gegrüsst! D741 (Rückert)

Frühlingsgesang D740 (Schober)

Der Wachtelschlag D742 (Sauter)

Geist der Liebe D747 (Matthisson)

Die Liebe hat gelogen D751 (Platen)

Du liebst mich nicht D756 (Platen)

Todesmusik, D758 (Schober)

Selige Welt, D743 (Senn)

Ihr Grab D736 (Engelhardt)

Schatzgräbers Begehr D761 (Schober)

Der Musensohn, D764 (Goethe)

Am Flusse, D766

An die Entfernte, D765 (Goethe)

Willkommen und Abschied, D767

Schicksalslenker, blicke nieder, D763


John Mark Ainsley (tenor), Maarten Koningsberger (baritone), Christine Schäfer, Patricia Rozario (sopranos), Catherine Denley (mezzo soprano), Paul Agnew, Ian Bostridge, Jamie Macdougall (tenors), Simon Keenlyside (baritone), Graham Johnson (piano)

The London Schubert Chorale, Stephen Layton

“There are unknown treasures here. Anyone who hasn't invested in this vast enterprise might well begin with this volume” Classic CD

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Hyperion Schubert Song Edition - CDJ33028

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Chabrier: Briséïs

Chabrier: Briséïs

ou Les amants de Corinthe


Mark Padmore (Hylas), Joan Rodgers (Briséïs), Simon Keenlyside (Le Catéchiste), Michael George (Stratoklès), Kathryn Harries (Thanastô), Gillian Taylor (First Maidservant), Ann Hetherington (Second Maidservant), Graeme Danby (Old Sailor), John Prince (Sailor)

Scottish Opera Chorus & BBC Scottish Symphony Orchestra, Jean-Yves Ossonce

Chabrier’s extraordinary, if incomplete, opera is surely a precursor to Salome and approaches even that most lurid work in the gloriously opulent sensuality of its music. Performed at the Edinburgh Festival by some of the greatest singers of the day and recorded live by Hyperion, this thrilling performance stunned critics and public alike. A genuinely wonderful discovery.

“A highlight of last year's Edinburgh Festival … a memorable experience … gorgeous … an extraordinarily voluptuous and erotic affair. Joan Rodgers sings ravishingly … Ossonce brings this exciting rarity to throbbing life” Sunday Telegraph

“The most opulent discographic discovery of the decade” Fanfare

“For those who heard Chabrier's incomplete magnum opus at last year's Festival this recording will need no recommendation … fabulously rewarding” The Scotsman

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Helios - CDH55428

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Purcell: Hail! bright Cecilia

Purcell: Hail! bright Cecilia


Purcell:

Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328

Who can from joy refrain?, Z342


The last, and greatest, of Purcell’s four Odes to St Cecilia, Hail! bright Cecilia was composed to a text by Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. It is a celebratory work comprising of masterful instrumental sections, majestic choruses, and varied solos, duets and trios. Written in 1695, Who can from joy refrain? was composed as an ode celebrating the Duke of Gloucester’s sixth birthday. Both these works reveal the unparalleled richness of the composer’s musical invention and explain why, more than three hundred years later, Henry Purcell is still regarded as one of Britain’s finest composers.

The King’s Consort and a distinguished line-up of soloists perform this glorious music, originally issued as Volume 2 in The Complete Odes & Welcome Songs series, with a high measure of perfection and flawless technique.

“Highly desirable additions to any Purcell collection” The Times

“For those to whom Purcell’s unfailing sensitivity and inventiveness in the setting of English texts is a constant miracle, the problem with this series is knowing where to start” Gramophone Magazine

“Purcell at his most theatrical and most domestic in two celebratory odes. New College Choir's sound is the main draw in a recital that never quite breaks sweat.” BBC Music Magazine, February 2012 ***

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Helios - CDH55327

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The Hyperion Schubert Edition - Complete Songs Volume 32

The Hyperion Schubert Edition - Complete Songs Volume 32

An 1816 Schubertiad


Schubert:

Der Geistertanz D494 (Matthisson)

Des Mädchens Klage D389 (Schiller)

Licht und Liebe D352 (Collin)

Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri D407 (Schubert)

Four songs

Zum Punsche D492 (Mayrhofer)

Ritter Toggenburg D397 (Schiller)

Vedi quanto adoro (Didone abbandonata) D510A (Metastasio)

Naturgenuss D422 (Matthisson)

An die Sonne D439 (Uz)

Entzückung D413 (Matthisson)

Das grosse Halleluja D442 (Klopstock)

Grablied auf einen Soldaten (Schubart) D454

Schlachtgesang D443 (Klopstock)

Das war ich, D174 (Korner)

Die verfehlte Stunde D409 (A W von Schlegel)

Zufriedenheit D501 (Claudius)

Der Entfernten D331 (Salis-Seewis)

Der Wanderer, D493

Gott im Ungewitter, D985

Gott der Weltschöpfer D986 (Uz)


Lynne Dawson, Christine Schäfer (sopranos), Ann Murray (mezzo soprano), John Mark Ainsley, Daniel Norman, Christoph Prégardien, Michael Schade, Toby Spence (tenors), Christopher Maltman, Stephen Varcoe (baritones), Patricia Rozario Soprano, Catherine Wyn-Rogers Mezzo (soprano), Paul Agnew, Jamie Macdougall, Philip Langridge (tenors), Simon Keenlyside, Maarten Koningsberger, Stephan Loges (baritones), Neal Davies, Michael George (basses)

The London Schubert Chorale, Stephen Layton

'As ever, illuminating words complement revelatory music-making' (BBC Music Magazine)

“Like the previous Schubertiads in the Edition, this disc mixes solo songs and partsongs, famil- iar and unfamiliar. The only really famous work here is Der Wanderer, that archetypal expression of romantic alienation whose popularity in Schubert's lifetime was eclipsed only by that of Erlkönig. Some of the partsongs – Zum Punsche, Naturgenuss and Schlachtgesang – cultivate a vein of Biedermeier heartiness that wears a bit thin today. 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. To compensate, though, there are partsongs like the sensual Der Entfernten, with its delicious languid chromaticisms, and the colourful setting of Gott im Ungewitter. 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.
Christine Schäfer is equally charismatic in the unjustly neglected Die verfehlte Stunde (recorded here for the first time), catching perfectly the song's mingled yearning and ecstasy and negotiating the mercilessly high tessitura with ease. Other happy discoveries include Schubert's virtually unknown third setting of Des Mädchens Klage, with its soaring lines, a melancholy tale of courtly love, sung by Christoph Prégardien with as much drama and variety as the music allows, and the surging Entzückung ('music for an infant Lohengrin,' as Graham Johnson puts it), for which Toby Spence has both the flexibility and the necessary touch of metal in the tone. Doubts were fleetingly raised by Lynne Dawson's slight tremulousness in Des Mädchens Klage, and by Christopher Maltman's prominent vibrato at forte and above in an otherwise involving performance of Der Wanderer.
But, these cavils apart, no complaints about the singing or the vivid accompaniments.”
Gramophone Classical Music Guide, 2010

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Hyperion Schubert Song Edition - CDJ33032

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