Peter Schreier & András Schiff

Wigmore Hall Live: WHLIVE0006

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Peter Schreier & András Schiff

Catalogue No:

WHLIVE0006

Discs:

1

Release date:

27th Feb 2006

Barcode:

5065000924058

Medium:

CD
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Peter Schreier & András Schiff


Schubert:

Schwanengesang, D957

Rastlose Liebe, D138

Schäfers Klagelied, D121 (Goethe)

Geheimes, D719 (Goethe)

Ganymed, D544 (Goethe)

Wandrers Nachtlied II 'Über allen Gipfeln ist Ruh', D768

Der Musensohn, D764 (Goethe)

Harfenspieler I 'Wer sich der Einsamkeit ergibt', D478

Harfenspieler II 'An die Türen will ich schleichen, D479

Harfenspieler III 'Wer nie sein Brot mit Tränen ass', D480


Peter Schreier (tenor) & András Schiff (piano)

This programme of Schubert Songs, many of them from the song cycle Schwanengesang, is a wonderful recording from a BBC broadcast concert back in 1991. This was the final concert in the Hall’s 90th anniversary season and includes stunning performances, as expected, by both Schreier and Schiff.

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BBC Music Magazine

May 2006

*****

“…this is one of the darkest, slowest Schwanengesangs on disc: there is a unique menace in the final 'Gute Nacht' of 'Kriegers Ahnung'; and 'In der Ferne' gives full, long weight to those six slow pulses within the last word of each line. Schreier's recital also offers consummate performances of Schubert's Goethe settings...”

Gramophone Classical Music Guide

2010

“The 1991 recital by Peter Schreier and András Schiff is highly desirable, though the sound is not quite on the same level. Schreier was never the most honeyed of tenors; but in the lighter songs of Schwanengesang he compensates for a touch of reediness and a tendency to harden on high notes with the supple grace of his phrasing and his ultra-keen response to the text. Liebesbotschaft is eager and volatile, enhanced by Schiff's wonderfully limpid touch and his care to make the piano's singing left hand match the voice in eloquence (Schubert's original, high, key an advantage, here and elsewhere).
On the downside, Aufenthalt is surely too slow and life-weary, weighed down by recurrent submissive rallentandos. 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. Die Stadt (the swirling, impressionistic arpeggios eerily insubstantial from Schiff) and Der Doppelgänger are as desolate and disturbing as any performances on disc, the suggestion of a whine, even a sneer, in Schreier's timbre extraordinarily apt here.
After this we get a sharply characterised Goethe group that encompasses the bleakness of the three Harper's Songs (done with characteristic intense immediacy) and ends with an impulsive, dancing Der Musensohn that rightly brings the house down.”

Gramophone Magazine

July 2006

“Schreier was never the most honeyed of tenors; but in the lighter songs of Schwanengesang he compensates for a touch of reediness and a tendency to harden on high notes with the supple grace of his phrasing and his ultra-keen response to the text. Liebesbotschaft is eager and volatile, enhanced by Schiff's wonderfully limpid touch and his care to make the piano's singing left hand match the voice in eloquence... Das Fischermädchen has a lilting tenderness, Schiff again singing in dulcet partnership with the voice... Die Stadt (the swirling, impressionistic arpeggios eerily insubstantial from Schiff) and Der Doppelgänger are as desolate and disturbing as any performances on disc...”

Click on any of the works listed above for alternative recordings.

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