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Renowned British tenor, James Gilchrist, presents his first recording for Orchid Classics, “Die Schöne Müllerin” (The Beautiful Maid of the Mill”), Schubert’s classic a setting of poems by Wilhelm Müller – generally accepted to be a masterpiece of the song genre.
Gilchrist has performed this cycle many times, to great acclaim, in concert in the UK and abroad – usually in partnership with Anna Tilbrook. He is one of Britain’s most popular and sought after singers. This is the first time he has recorded “t Die Schöne Müllerin “ and will make a wonderful addition to his already extensive discography
The CD booklet contains full German text with English translation, and an essay by Richard Morrison of The Times giving a fascinating insight into both Schubert and Die Schöne Müllerin.
“he is now unsurpassed amongst lyric tenors in sweetness and technical security, and for his musical intelligence” The Independent
Franz Schubert: Die schone Mullerin, Op. 25, D. 795
No. 1. Das Wandern
No. 2. Wohin?
No. 3. Halt!
No. 4. Danksagung an den Bach
No. 5. Am Feierabend
No. 6. Der Neugierige
No. 7. Ungeduld
No. 8. Morgengruss
No. 9. Des Mullers Blumen
No. 10. Tranenregen
No. 11. Mein!
No. 12. Pause
No. 13. Mit dem grunen Lautenbande
No. 14. Der Jager
No. 15. Eifersucht und Stolz
No. 16. Die liebe Farbe
No. 17. Die bose Farbe
No. 18. Trockne Blumen
No. 19. Der Muller und der Bach
No. 20. Des Baches Wiegenlied
“…worthy to stand with the best. Gilchrist's light tenor, with its springing rhythmic life, makes us feel that the young lad is living very much in a wide-eyed emotional present, as elusive and ever-shifting as the delightful chiaroscuro of Anna Tilbrook's piano accompaniment.”
“…in place of the youthful impetuosity of Werner Güra is the anxiety of a man to seize what he can while he can. His jealousy - "Eifersucht and Stolz" - gains thereby a specially manic edge, and leaves him almost shouting at the end of "Die Böse Farbe" before he takes his leave of love and life in both sorrow and anger over the ever-more-painful course of the last triptych. How aptly Anna Tilbrook's pedalling poses the question to the brook at the beginning of "Die Neugierige", and how graciously Gilchrist waits until the last verse before slowing down to ask himself.”
The Independent on Sunday
15th November 2009
“There’s a touching simplicity to Gilchrist’s delivery...“Eifersucht und Stolz” and the “liebe/böse Farbe” songs are riveting…”
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