Schumann: Sologesänge aus Friedrich Rückerts Minnespiel, Op. 101

“They are mostly modest little songs about love and loss, but as these performances – done with just the right light touch – show, the sequences are both touching and charming, and just occasionally find the expressive vein that yielded some of Schumann's greatest songs nine years earlier.” The Guardian, 19th August 2010 ****

“The quartets are an especial delight, unjustly neglected treats for the Schumann bicentenary.” Sunday Times, 29th August 2010 ****

“Christoph Berner and Camillo Radicke animate proceedings with rhythmic guile and point, a refined sense of texture, and, in the more obviously "Spanish" numbers, a palpable sense of enjoyment...the prime recommendation for these delectable, and still undervalued, Liederspiele.” Gramophone Magazine, November 2010

“A real disc of discovery: this is Schumann as he is seldom heard. In this final volume of his revelatory Songs of Robert Schumann series, Graham Johnson perceptively writes about, accompanies and presents still more rarities, in the voices of both loyal colleagues and of younger singers whom he keenly champions.” BBC Music Magazine, February 2009 ****

“Hyperion's Schumann Song Edition ends, as it began 12 years ago, with a recital devoted largely to the problematic late songs of 1849-52.
With the odd exception, these have often been castigated, not least by Eric Sams in The Songs ofRobert Schumann, as the products of a torpid and increasingly sick mind. But though most of the songs on this disc tend to be more understated, less romantically subjective than those of Schumann's great song year, 1840, the best of them are not necessarily inferior to their predecessors, just different.
There are undeniable duds, usually when Schumann is in hearty or heroic vein, alongside touching lyrics like the fragile 'Heimliches Verschwinden', the rapturous 'Liebster, deine Worte stehlen', or 'Provenzalisches Lied', a piquant celebration of courtly love.
The lion's share of the programme, including the six Reinick Songs falls to baritone Hanno Müller-Brachmann, whose singing is more notable for robust directness than subtlety. He exploits his deep bass resonances to good effect in 'Sonntags am Rhein', that quintessential song of pious Biedermeier contentment. In 'Liebesbotschaft, Müller-Brachmann sounds lugubrious, despite the flowing tempo, rather than tenderly devoted. He is at his best in declamatory, dramatic mode, recounting a minstrel's bloody revenge in 'Ballade', or in a powerful and atmospheric performance of another chivalrous ballad, 'Der Handschuh'.
Elsewhere there are welcome cameo appearances from Adrian Thompson (graceful and smiling in 'Provenzalisches Lied'), Geraldine McGreevy and Stella Doufexis, who combine with baritone Stefan Loges in two attractive quartets from the Rückert Minnespiel. Katherine Broderick, a Wagnerian soprano of the future, impresses with her vibrant intensity in the three Op 95 songs, though even she and Johnson cannot disguise the bombastic tawdriness of 'Dem Helden'. Whatever the provisos, this disc goes far to vindicating some of Schumann's leastfavoured late songs, not least due to Graham Johnson's eloquent advocacy, in print and in performance.” Gramophone Classical Music Guide, 2010