Schreker: Sommerfäden, Op. 2, No. 1

This page lists our only recording of Sommerfäden, Op. 2, No. 1, by Franz Schreker (1878-1934) on CD.

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Franz Schreker - Songs

Label:

Bridge

Catalogue No:

BRIDGE9259

Discs:

1

Release date:

30th June 2008

Barcode:

0090404925924

Medium:

CD
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Franz Schreker - Songs


Schreker:

Mutterlieder

Zwei Lieder auf den Tod eines Kindes, Op. 5

Nel giardin’ sotto il tiglio (Im Garten unter der Linde)

Das hungernde Kind

Überwunden

In alten Tagen, Op. 3, No. 1

Umsonst Op. 3, No. 5

Sommerfäden, Op. 2, No. 1

Stimmen des Tages, Op. 2, No. 2

Die Rosen und der Flieder

Ein Rosenblatt

Rosengruß

Rosentod Op. 7 No. 5

Ach, noch so jung

Unendliche Liebe

Spuk

Die Liebe als Recensentin

Wiegenliedchen

Zu späte Reue

Traum

Und wie mag die Liebe (Rainer Maria Rilke)

Entführung (Stefan Geroge)

Das feurige Mänlein (Alfons Petzold)

Die Dunkelheit sinkt schwer wie Blei (No. 3 from Gesänge für tiefe Stimme)

Sie Sind so schön (No. 4 from Gesänge für tiefe Stimme)

Einst gibt ein Tag (No. 5 from Gesänge für tiefe Stimme)


Hermine Haselböck (mezzo-soprano), Wolfgang Holzmair (baritone) & Russell Ryan (piano)

CD

$17.50

In stock - usually despatched within 1 working day.

Franz Schreker is best known as an opera composer but his songs offer significant insights into the particular nature of his dramatic gift. The heart of Schreker's vocal expressiveness is in the elasticity of his phrasing, a quality that encourages interpretive flexibility on the part of the singers. The superb Austrian artists, baritone Wolfgang Holzmair and mezzo-soprano Hermine Haselböck, bring that and more to this outstanding recital of rarely heard songs

The Times

9th August 2008

***

“Schreker wrote most of these beautiful, often heartbreaking songs as a Vienna Conservatory student between 1898 and 1900. Haselboeck sings the Mutterlieder cycle with a sob in her resonant low notes and an unnerving touch of hysteria at the top. Holzmair is more dispassionate, characterising wittily in Hungernde Kind, Spuk and the comic Liebe als Recensentin, but he occasionally clouds Schreker's elegant melodies. Even so, Wiegenliedchen's lilt will linger for days. Russell Ryan is the co-equal pianist setting independent scenes in the harmony.”

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