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See Terms & Conditions for p&p rates. | |  | Brahms: The Complete Songs Volume 4 (Robert Holl)
Brahms: | An die Nachtigall, Op. 46 No. 4 (Text: L.C.H. Hölty) Schwermut, Op. 58 No. 5 Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59) Heimweh, Op. 63 No. 8 Heimweh I, Op. 63 No. 7 Heimweh III, Op. 63 No. 9 Alte Liebe, Op. 72 No. 1 Sommerfäden, Op. 72 No. 2 O kühler Wald, Op. 72 No. 3 Verzagen, Op. 72 No. 4 Todessehnen ('Ach, wer nummt von meiner Seele'), Op. 86 No. 6 Lieder (5), Op. 94 Komm bald, Op. 97 No. 5 (Groth) Wie Melodien zieht es mir, Op. 105 No. 1 Auf Dem See op.106 No.2 Maienkätzchen, Op. 107 No. 4 Vier ernste Gesänge, Op. 121 |
Graham Johnson’s latest Lieder project for Hyperion reaches its fourth volume. Brahms is of course a giant of the Romantic era but his songs and vocal works are rather less well known than much of his other music. There is so much to discover and enjoy in the beautiful, often elegiac melodies and characteristic piano writing. In some of these recitals an opus number will be presented in its entirety: here it is the songs of Op 94, as well as the Vier ernste Gesänge of Op 121. The singer is the bass-baritone Robert Holl, acclaimed as simply one of the most profound artists of the genre and recently praised for the ‘unparalleled depth and complexity’ of his live performance (The Independent). “Holl's true bass register resonates eloquently with this programme of very serious songs...Holl has the ability to draw the listener in...For the Four Serious Songs themselves, Holl brings a deep sense of empathetic humanity to the live, deeply felt and thoughtfully reasoned inner monologues which he makes of them.” BBC Music Magazine, November 2012 **** “Holl fields a bass-baritone of slightly grizzled nobility, with impressive sonorous depth...he catches all the terrible nihilism and life-weariness of the first two songs and the opening of the third...Johnson's fastidiously textured playing, like his detailed commentaries, is always illuminating...But be prepared for a protracted Brahmsian gloomfest.” Gramophone Magazine, November 2012 “Holl's voice, reminiscent of Fischer-Dieskau's but rather more of a real bass...is rich, true and resonant. He uses it simply, without self-conscious artifice, and the result is some very beautiful singing. Johnson's accompeniment is always skilled and perceptive...This disc, while the whole recital has notable integrity and quality, would be worth having for [the Four Serious Songs] alone.” International Record Review, September 2012 “Holl, here approaching his mid-sixties, is still a flexible and nuanced singer with the ability to lighten the tone when appropriate. In spite of a long operatic career with often heavy roles - he has been a regular at Bayreuth since 1996 - the voice is largely unscathed and the tone noble...[Johnson] is the ever-flexible partner in what is a duo of equal merits.” MusicWeb International, January 2013 “[Holl is] dark-toned, at times to the point of grittiness, and you might find your admiration for the emotional truth of his singing offset by moments of unwieldiness and an occasional pulse in his tone. It works best if you listen selectively...The effect is awesome, but makes for difficult listening.” The Guardian, 13th September 2012 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Brigitte Fassbaender sings Lieder by Johannes Brahms
Brahms: | Liebestreu, Op. 3 No. 1 Meine Lieder Op. 106 No. 4 An eine Äolsharfe, Op. 19 No. 5 Auf dem Kirchhofe, Op. 105 No. 4 Über die Heide Op. 86 No. 4 Im Garten, Op. 70 No. 1 Verzagen, Op. 72 No. 4 Es hing der Reif, Op. 106 No. 3 Regenlied (No. 3 from Acht Lieder und Gesänge, Op. 59) O kühler Wald, Op. 72 No. 3 Wehe, so willst du mich wieder, Op. 32 No. 5 Two songs for contralto with viola obbligato, Op. 91 with Thomas Riebl (viola) Mädchenlied, Op. 107 No. 5 Die Mainacht, Op. 43 No. 2 Ständchen, Op. 106 No. 1 In stiller Nacht (No. 42 from Deutsche Volkslieder, WoO 33) Von ewiger Liebe, Op. 43 No. 1 |
This highly regarded recording of a collection of lieder by Brahms was first released in 1982 and features one of the outstanding singers of her generation, the German mezzo-soprano Brigitte Fassbaender. The pianist is Irwin Gage, and they are joined on two of the songs by the viola player Thomas Riebl. Brigitte Fassbaender’s international career took off when she appeared as Octavian in Der Rosenkavalier at the Royal Opera House, Covent Garden in 1971. Since then she has appeared in all of the major opera houses around the world in roles such as as Clairon in Capriccio, the Composer in Ariadne auf Naxos, Fricka in Die Walküre, Carmen in Carmen, Orlovsky in Die Fledermaus, Amneris in Aïda, Maddalena in Rigoletto, Eboli in Don Carlos, and Klytemnestra in Elektra. Brigitte Fassbaender has also been successful as a lieder singer. In 1987, she won a Gramophone Award for her Deutsche Gramophon disc of songs by Franz Liszt and Richard Strauss. Johannes Brahms was a prolific composer of Lieder and wrote around 200 during his lifetime. The first collection appeared in 1853, when Brahms had just turned 20, and the last was published in 1896, just a few months before his death. | | | (also available to download from $10.50) | Usually despatched in 4 - 5 working days. (Available now to download.) |
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| |  | Schumann - Dichterliebe
Brahms: | Nachtigallen schwingen, Op. 6 No. 6 Lerchengesang Op. 70 No. 2 Nicht mehr zu dir zu gehen, Op. 32 No. 2 Über die Heide Op. 86 No. 4 Wie rafft' ich mich auf Op. 32,1 (v.Platen) Auf dem Kirchhofe, Op. 105 No. 4 Von ewiger Liebe, Op. 43 No. 1 O kühler Wald, Op. 72 No. 3 Es schauen die Blumen, Op. 96 No. 3 Feldeinsamkeit, Op. 86 No. 2 Nachtwandler, Op. 86 No. 3 Verzagen, Op. 72 No. 4 An eine Äolsharfe, Op. 19 No. 5 Nachtigall, Op. 97 No. 1 Abenddämmerung, Op. 49 No. 5 An die Nachtigall, Op. 46 No. 4 (Text: L.C.H. Hölty) | Schumann: | Dichterliebe, Op. 48 |
“Here is a singer-actor who has it all…” The Sunday Times “In a league of his own…” The Sunday Telegraph “The king of barnstorming performances…” The Independent Sony Music Entertainment UK is pleased to present the first of three albums by British baritone Simon Keenlyside, who has recently signed a new exclusive recording contract with the Sony UK company. The first recording under this exciting new agreement features Schumann’s Dichterliebe, Op.48, and a selection of Lieder by Brahms, sensitively accompanied by pianist Malcolm Martineau. Simon Keenlyside was born in London and studied zoology at Cambridge before attending the Royal Northern College of Music for vocal studies. One of the world’s most sought-after and charismatic singers, he has appeared at many of the world’s major opera houses and concert halls, and is noted for his versatility and highly charged performances. Highlights of his career so far include his acclaimed performance of Billy Budd at the ENO, Prospero in the world premiere of Thomas Ades' The Tempest, at the Royal Opera House, Covent Garden; Count Almaviva in Milan and Vienna under Muti; Don Giovanni in Ferrara under Abbado and Pelleas in San Francisco, Geneva and Paris. Simon Keenlyside won the 2006 Olivier Award for outstanding achievement in Opera for his performance of Billy Budd at ENO and Winston in the world premiere of 1984 at the Royal Opera House, Covent Garden, and in 2007 he won a Gramophone Award for Tales Of Opera, his album of operatic arias recorded for Sony Music in Germany. “Throughout, the baritone combines a detailed approach with an overview, demonstrating an exceptional ability to seek out the meaning of both text and music, holding them together in one single image. …a great Lieder singer at the peak of his powers. He is well served by his accompanist, who deploys a huge range of tone and colour with an equally firm artistic intent.” BBC Music Magazine, November 2009 ***** | | | Usually despatched in 3 - 4 working days. |
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| |  | Lieder
Berg: | Im Zimmer Liebesode Die Nachtigall Sommertage | Brahms: | Geheimnis, Op. 71 No. 3 Ständchen, Op. 106 No. 1 Sonntag, Op. 47 No. 3 Mädchenlied, Op. 107 No. 5 Wiegenlied, Op. 49 No. 4 (Lullaby) Die Mainacht, Op. 43 No. 2 Salamander, Op. 107 No. 2 Von ewiger Liebe, Op. 43 No. 1 Meine Liebe ist grün, Op. 63 No. 5 O kühler Wald, Op. 72 No. 3 Heimweh, Op. 63 No. 8 Auf dem Kirchhofe, Op. 105 No. 4 Wie rafft' ich mich auf Op. 32,1 (v.Platen) | Eisler: | Die Sünde Vater und Mutter Der Tod |
Ines Moraleda (mezzo soprano) & Barbara Holzl (piano) | | | Usually despatched in 2 - 3 working days. |
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| |  | Janet BakerBrahms - Lieder
Brahms: | Heimweh, Op. 63 No. 8 O kühler Wald, Op. 72 No. 3 Geheimnis, Op. 71 No. 3 Wir wandelten, wir zwei zusammen Op. 96/2 Meerfahrt, Op. 96 No. 4 Ständchen, Op. 106 No. 1 Ein Wanderer, Op. 106 No. 5 Regenlied (No. 3 from Acht Lieder und Gesänge, Op. 59) Das Mädchen spricht, Op. 107 No. 3 Mädchenlied, Op. 107 No. 5 Mondnacht, WoO 21 Auf dem Kirchhofe, Op. 105 No. 4 Feldeinsamkeit, Op. 86 No. 2 Vergebliches Ständchen, Op. 84 No. 4 An die Nachtigall, Op. 46 No. 4 (Text: L.C.H. Hölty) Meine Liebe ist grün, Op. 63 No. 5 Herbstgefühl, Op. 48 No. 7 Abendregen, Op. 70 No. 4 Verzagen, Op. 72 No. 4 Nachtwandler, Op. 86 No. 3 Komm bald, Op. 97 No. 5 (Groth) Der Tod, das ist die kühle Nacht, Op. 96 No. 1 Von ewiger Liebe, Op. 43 No. 1 |
Recorded: BBC Studios, London, 16 September 1960 / 4 January 1968 / 7 February 1961 “Listening to these Brahms songs culled from BBC broadcasts one realises just why Dame Janet's reputation continues to remain so high and why so many of her successors don't quite match her standards. To every song here, familiar or unfamiliar, she brings her special ability of making it her own and reaching to its heart. It's an almost uncanny gift, and not one easy to explain, but it makes every song in this programme momentous. Wondrous is the sustained half-voice with which she invests Nachtwandler with its intimate, sad feeling.
Then there's the outpouring of joy that is Meine Liebe ist grün to which she brings the most lustrous tone and an outgoing manner, and finally the gentle sense of fun, never overdone, which she brings to the very familiar VergeblichesStändchen.
If Brahms had written no other songs than Feldeinsamkeit, Der Tod, das ist die kühle Nacht and Von ewiger Liebe, he would surely be hailed as a great Lieder composer. Baker obviously understands their astonishing high quality. The first is sung, as it should be, with a kind of inner wonder, each amazing line given its full due. In the second, a Liebestod avant la lettre, she sings with the proper impassioned feeling, while the last, a happier statement of eternal love, is sung with the rugged conviction that always showed the singer at her very best.
Lush and Hamburger, especially the latter, are fully cognisant of what to do with Brahms's intricate writing for the piano. The sound is admirable, catching early Baker in full flow.” Gramophone Classical Music Guide, 2010 “This is an important disc and one that will give great pleasure since it contains so much fine and deeply committed singing. It’s certainly a mandatory purchase for all admirers of Brahms’s lieder or of Dame Janet Baker.” MusicWeb International “what singing: what a voice, what beauty of line, variety of colour, incisive diction and unforced mastery of the whole difficult art of Lieder…the disc is a feast.” The Times | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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