Grieg: Seks Sange, Op. 48 (Six Songs)

This page lists all recordings of Seks Sange, Op. 48 (Six Songs), by Edvard Hagerup Grieg (1843-1907) on CD, SACD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Leipziger Schule

Leipziger Schule


Seks Sange, Op. 48


Suleika (Was bedeutet die Bewegung?) Op. 57/3

O Jugend, o schöne Rosenzeit (Rhenish folksong) Op. 57 No. 4

Wanderlied 'Laue Luft kommt blau geflossen', Op. 57 No. 6

Trostung, Op. 71, No. 1

Frühlingslied 'Der Frühling naht mit Brausen', Op. 71 No. 2

Schilflied, Op. 71 No. 4

Nachtlied, Op. 71 No. 6


Widmung, Op. 25 No. 1

Mein Schöner Stern! Op. 101 No. 4

Der Himmel hat eine Träne geweint, Op. 37 No. 1

O ihr Herren, Op. 37 No. 3

Ich hab' in mich gesogen, Op. 37 No. 5

Liebste, was kann denn uns scheiden, Op. 37 No. 6

Flügel! Flügel! um zu fliegen, Op. 37 No. 8

Rose, Meer und Sonne , Op. 37 No. 9

O Sonn', o Meer, o Rose, Op. 37 No. 10

Schumann, Clara:

Er ist gekommen in Sturm und Regen, Op. 12 No. 2 (Text: Friedrich Rückert)

Liebst du um Schönheit, Op. 12 No. 4 (text: Friedrich Rückert)

Warum willst du and're fragen, Op. 12 No. 11 (Text: Friedrich Rückert)

Julia Sophie Wagner (soprano) & Eric Schneider (piano)

When soprano Julia Sophie Wagner was a student at the Leipzig College of Music, she was intrigued by the timetable from 1843 displayed there which listed Dr Robert Schumann and Dr Felix Mendelssohn Bartholdy as teachers at the conservatory. Now songs by Schumann and Mendelssohn are the focus of her recital with piano partner Eric Schneider.

Her special selection of songs, ‘Leipziger Schule’, relates to this common era of the composers in Leipzig and the historically unique situation which arose. It also features songs by Schumann’s wife, Clara, and by Edvard Grieg, who lived in Leipzig as a student from 1858 until 1862.

In 1843, the musical director of the Gewandhaus orchestra, Felix Mendelssohn Bartholdy, founded the first higher education institution for musicians in Germany, the Leipziger Conservatorium der Musik, and brought in renowned teachers such as the pianist Ignaz Moscheles and, for a short period, his friend Robert Schumann. Alongside his many duties, Mendelssohn was able to realise a few small works such as Songs Op.57 and 71, intended for private performance.

Robert and Clara Schumann had lived in Leipzig since their marriage in 1840. Schumann became captivated with songs at this time, composing over 170 within the course of a few months. They both composed the 1841 song cycle ‘Liebesfrühling’ based on poems by Rückert.

The most noteworthy Norwegian student of the Leipzig School was Edvard Grieg. His Opus 48, published in 1889, is the only musical setting of German Lieder which Grieg wrote before ending his studies there.

Since her debut in 2002 in Munich’s Herkulesaal, Julia Sophie Wagner has been a sought-after concert singer. She studied in Weimar and Leipzig as well as at McGill University in Montreal and quickly made he name, mainly as a specialist in the oratorios of J S Bach, soon after finishing her studies. Wagner is especially closely connected to Helmuth Rilling, the distinguished German conductor known for his Bach performances.

Eric Schneider is a renowned accompanist, collaborating with singers such as Matthias Goerne, Christine Schäfer and Anna Prohaska.

Es-Dur - ES2060



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I skogen – Nordic Songs

I skogen – Nordic Songs


Skogen sover, Op. 28 No. 6


Seks Sange, Op. 48

En svane (No. 2 from Seks Digte af Henrik Ibsen, Op. 25)


Norden, Op. 90 No. 1 (Runeberg)

Six Songs, Op. 50

The Wood-Nymph (Skogsrået), Op. 15


I skogen (In the Forest)

Visor och stämningar, Op. 26 (Songs and Moods): Four Songs

Flickan kom ifrån sin älsklings möte (The girl comes from meeting her lover)

Camilla Tilling (soprano) & Paul Rivinius (piano)

Known to opera audiences worldwide, Camilla Tilling is also a dedicated recitalist. On two previous BIS releases, the Swedish soprano and her musical partner Paul Rivinius have interpreted Strauss as well as Schubert, to critical acclaim: 'Tilling takes her place among the leading Strauss sopranos of the day' (Sunday Times); 'a Schubert recital of rare pedigree' (Gramophone). On her present offering she turns northwards, interpreting songs by Grieg, Sibelius and Wilhelm Stenhammar. The disc takes its title from an early song by Stenhammar, I skogen (‘In the forest’), and many of the selected songs are either played out in or depict natural settings, in a manner we are familiar with from Nordic composers. Stenhammar's contributions are all settings of poems in Swedish, but even though Sibelius and Grieg are represented mainly with settings of German texts – with the notable exceptions of Grieg's emblematic En Svane (‘A Swan’) and Sibelius's Norden (‘The North’) and Skogsrået (‘The Wood-Nymph’) – a tendency to give nature a musical leading role is evident. The programme closes with a single song by Hugo Alfvén – Skogen sover (‘The forest sleeps’).

“Camilla Tilling uses her light lyric soprano to trace the echoes and glints of folksong in the melodic shape and harmonic underpinning of many of these songs of the North. Minimal vibrato and long lines of pure and focused cantabile bring high-latitude light to Sibelius's setting of his beloved poet Runeberg, and give voice to both his far from mute swans in Norden, and those of Grieg and Ibsen in En svane.” BBC Music Magazine, December 2015

“Throughout these songs, and in the following mood portraits of Tilling's compatriot Stenhammar, there is fine use of dynamics by a singer and pianist who have clearly worked closely on the texts. As a Lieder singer Tilling thinks through her material - she's compelling story-teller as much as decorative word-painter. She also manages en route a remarkably clean and unhackneyed 'En svane'.” Gramophone Magazine, October 2015

“His Six German Songs Op 50 and Grieg’s Op 48 set – two of which were Schwarzkopf favourites – are the “meat” here, but the rare Swedish songs, gorgeously sung, are welcome.” Sunday Times, 2nd August 2015

Super Audio CD


Hybrid Multi-channel

BIS - BIS2154



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Millom Rosor: Songs of Edvard Grieg

Millom Rosor: Songs of Edvard Grieg


Five Poems to texts by John Paulsen, Op. 26

Romancer (aeldre og nyerer), Op. 39

Three Songs from Peer Gynt, Op. 23

Seks Sange, Op. 48

Hilde Haraldsen Sveen (soprano), Signe Bakke (piano)

LAWO - LWC1006



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Espana en el lied romantico

Espana en el lied romantico


Two songs for contralto with viola obbligato, Op. 91

Neun Gesänge, Op. 69

Gesänge, Op. 6 Nos. 1-6


Seks Sange, Op. 48


Spanische Romanze


Serenade aus Don Juan (Lieder und Gesänge aus der Jugendzeit)

Phantasie aus Don Juan (Lieder und Gesänge aus der Jugendzeit)


Romanze, Op. 8 No. 10


Bedeckt mich mit Blumen

Klinge, klinge mein Pandero


Don Gayseros, D93, No. 1

Nächtens klang die süsse Laute, D.93, No.2

An dem jungen Morgenhimmel, D.93, No.3


Melancholie Op. 74 No. 6 (Francisco Saa de Miranda / Emanuel Geibel)

Tief im Herzen trag' ich Pein, Op. 138 ,No. 2

Romanze (No. 5 from Spanische Liebeslieder, Op. 138)

Wolf, H:

Die ihr schwebet (No. 4 from Spanisches Liederbuch: Geistliche Lieder)

Klinge, klinge, mein Pandero (No. 1 from Spanisches Liederbuch: Weltliche Lieder)

In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder)

Sagt, seid Ihr es, feiner Herr (No. 12 from Spanisches Liederbuch: Weltliche Lieder)

Köpfchen, Köpfchen, nicht gewimmert (No. 14 from Spanisches Liederbuch: Weltliche Lieder)

Alle gingen, Herz, zur Ruh (No. 21 from Spanisches Liederbuch: Weltliche Lieder)

Dereinst, Gedanke mein (No. 22 from Spanisches Liederbuch: Weltliche Lieder)

Tief im Herzen trag ich Pein (No. 23 from Spanisches Liederbuch: Weltliche Lieder)

Komm, O Tod, von Nacht umgeben (No. 24 from Spanisches Liederbuch: Weltliche Lieder)

Bedeckt mich mit Blumen (No. 26 from Spanisches Liederbuch: Weltliche Lieder)

Wer tat deinem Füßlein weh? (No. 30 from Spanisches Liederbuch: Weltliche Lieder)

Sylvia Schwartz (soprano), Julio Munoz (piano), Amalia Rodriguez (viola)

EMEC Records - E-058



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Miah Persson sings Songs by Schubert, Sibelius & Grieg

Miah Persson sings Songs by Schubert, Sibelius & Grieg


Seks Sange, Op. 48

Hjertets Melodier af H. C.Andersen, Op. 5 No. 3 'Jeg elsker Dig'



Suleika I, D720

Ganymed, D544 (Goethe)

Nur wer die Sehnsucht kennt, D877/4

Rastlose Liebe, D138

Du bist die Ruh D776 (Rückert)

Auf dem Wasser zu singen, D774

Gretchen am Spinnrade, D118

Der Hirt auf dem Felsen, D965 (Von Chezy / Muller)

Richard Hosford (clarinet)


Våren flyktar hastigt, Op. 13 No. 4 (Text: Runeberg)

Den första kyssen, Op. 37 No. 1 (Text: J.L. Runeberg)

Var det en dröm? Op. 37 No. 4 (J.J. Wecksell)

Säf, säf, susa, Op. 36 No. 4 (Text: Gustav Fröding)

Flickan kom från sin älsklings möte, Op. 37, No. 5

Miah Persson (soprano) & Roger Vignoles (piano)

Famed for her highly intelligent performances and deep engagement with music, Swedish soprano Miah Persson is in great demand throughout the world. She returned to Wigmore Hall last February with internationally renowned accompanist Roger Vignoles to perform a wonderfully emotive and dramatic programme.

Opening with some of the most celebrated Schubert Lieder, Persson revealed a refined interpretation of each song, searching deep within the texts to convey emotions from agony to ecstasy. With great passion, Persson then entered the Scandinavian sound world to complete her programme with Grieg’s stormy Six Songs and a beautiful collection of Sibelius’s most evocative settings.

“'Gretchen am Spinnrade' is a model of how a middle-weight voice can scale the song's peaks thanks to an inner conviction and trusting how the notes and words can shoulder the dramatic weight...So beautiful is her enunciation in the Swedish-language Sibelius songs that you could take phonetic dictation...The Grieg songs show signs of vocal tiring...In 'Die verschwiegene Nachtigall', though, one can hardly imagine a more alluring nightingale song.” Gramophone Magazine, August 2012

“a lovely, beautifully balanced recital...In an opening Schubert set, Persson, for all the natural brightness of her voice, achieves the right aching heaviness in Lied der Mignon, and a beguiling sense of gentle repose in Du bist die Ruh.” Sunday Times, 15th July 2012

“Persson is beautiful and so is her voice, so she starts with a big advantage. But that is only the start...I did find...that there was a danger of monotony, undercharacterisation and reliance on sheer undeniable vocal beauty. Roger Vignoles is an ideal accompanist, setting the mood with a few notes or chords” BBC Music Magazine, September 2012 ***

“Persson clearly relishes the possibility of characterization particular songs...The voice is light and lyric throughout but there's power too when required, so the final lines of Du bist die Ruh are radiant...However - and this is possibly a subjective caveat - what Persson lacks is the kind of rounded warm tone and inner conviction that makes the best Schubert recitals so warmly satisfying...Hosford is the perfect partner up on the rock” International Record Review, September 2012

Wigmore Hall Live - WHLIVE0052



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Daniel Behle - Lieder

Daniel Behle - Lieder


Der Kuss, Op. 128

Adelaide, Op. 46


Six Hölderlin Fragments, Op. 61


Seks Sange, Op. 48


Der Musensohn, D764 (Goethe)

Ständchen 'Leise flehen meine Lieder', D957 No. 4

Ungeduld (No. 7 from Die schöne Müllerin, D795)


An die Enfernte



Am Flusse

Daniel Behle (tenor) & Oliver Schnyder (piano)

German tenor Daniel Behle has won several prizes at international singing competitions, notably First prize in the International Robert Stolz Competition 2004, First prize in the Queen Sonja Competition 2005 in Oslo and second prize in the International Competition - Cologne 2002.

On his first recording for Phoenix Edition he sings a collection of songs by Schubert, Beethoven, Grieg, Britten and Trojahn, beautifully accompanied by Oliver Schnyder.

Phoenix Edition - 154PHOENIX



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Grieg: Songs

Grieg: Songs


Kjaerlighed (Love) (No. 2 from Romancer, Op. 15)

Waldwanderung (No. 1 from Romances and Songs, Op. 18)

My Darling is as White as Snow (No. 2 from Romances and Songs, Op. 18)

The Poet's Farewell (No. 3 from Romances and songs, Op. 18)

The Cottage (Hytten) (No. 7 from Romances and Songs, Op. 18)

Hjertets melodier, Op. 5 (Texts: Hans Christian Andersen)

Det første møde, Op. 21 No. 1

Jeg giver mit digt våren, Op. 21, No. 3

Dulgt Kjaerlighed, Op. 39 No. 2

Seks Digte af Ibsen, Op. 25 (Texts: Henrik Ibsen)

Lys Nat (Summer Night), Op. 70 No. 3

Ragnhild (No. 3 from Reminiscences from Mountain and Fjord, Op. 44)

Ragna (No. 5 from Reminiscences from Mountain and Fjord, Op. 44)

Nu er Aftnen lys og lang (No. 4 from Seks Digte af Holger Drachmann, Op. 49)

Forårsregn (No. 6 from Seks Digte af Holger Drachmann, Op. 49)

Seks Sange, Op. 48

Den Aergjerridge, Op. 26, No. 3

Med en Primula veris, Op. 26 No. 4

Pa skogstien (No. 5 from Five Poems to texts by John Paulsen, Op. 26)

Til én, Op. 59, No. 3

Til en II, Op. 59 No. 4

Til Norge (To Norway), Op. 58 No. 2

Per Vollestad (baritone), Sigmund Hjelse (piano)

Simax - PSC1089



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Grieg - Songs

Grieg - Songs


Seks Digte af Ibsen, Op. 25 (Texts: Henrik Ibsen)

Seks Sange, Op. 48

Haugtussa, Op. 67

Hjertets melodier, Op. 5 (Texts: Hans Christian Andersen)

The Princess, EG133

Katarina Karnéus (mezzo-soprano) & Julius Drake (piano)

Hyperion is delighted to present a disc of Grieg’s songs. Grieg’s sheer range as a song-writer—from the shortest settings, folk-like and immediate, to the depth of distinctive inspiration that runs through every bar of the major cycle Haugtussa—places him without question among the finest masters of the genre. Arne Garborg’s verse-novel Haugtussa created a deep impression on Grieg. The resulting marriage of poetry and music is one of the miracles of the nineteenth-century song-cycle genre. Many regard this work as Grieg’s masterpiece: it is certainly one of the greatest song-cycles for the female voice ever written, revealing the composer at the very height of his powers.

“Karnéus is a singer of natural warmth and spontaneity who possesses what Grieg called the gift of "reading between the lines" and "interpreting a half-told tale"… A glorious disc.” The Telegraph, 5th July 2008

“Grieg's aim was to invest the Norwegian art song with the status - national, as well as aesthetic - of the German lied. That he succeeded is borne out by every track of this beautifully programmed disc...Karnéus's performances are thrillingly awash with grand passions and high voltage drama. Drake is faultless.” The Guardian, 11th July 2008 ****

“There can never be too many recordings of Grieg's masterpiece, Haugtussa ('The Mountain Maid')… In the mezzo-soprano of Katarina Karnéus, Haugtussa becomes a darkly erotic tale…” BBC Music Magazine, Proms 2008 ****

“The Swedish mezzo has illustrious rivals but delights in Grieg's tuneful songs… in Haugtussa. Karnéus and Julius Drake are all over the imagery, scenery and sexuality of Garborg's verse novel in thrilling and well worked detail.” Gramophone Magazine, October 2008

“Anne Sofie von Otter's Grieg recital for DG (see above) did much to encourage singers outside Scandinavia to bring back to the concert platform – and the public again to listen to – songs which their great-grandparents knew well but their parents had almost forgotten. Now another front-ranking Swedish mezzo-soprano has recorded core components of the Grieg song repertoire. Like her compatriot, Katarina Karnéus includes the Op 67 'Mountain Maid' cycle, the Ibsen settings, the six German lyrics of Op 48 and the early Hans Christian Andersen 'Melodies of the Heart', adding, suitably, the less well known 'The Princess' to words by Bjørnstjerne Bjørnson.
Compare Karnéus, von Otter and Kirsten Flagstad (one of at least three recordings) in Haugtussa.
Karnéus and Julius Drake are all over the imagery, scenery and sexuality of Garborg's verse novel in thrilling and well worked detail. Flagstad may appear at first hearing to be limiting herself to heroic declamation and her pianist (regular collaborator Edwin McArthur) just mapping out the written notes, but her sheer joy in singing her own language, and the subtlety of her pointing of the text (a half-smile, a raised eyebrow) and cunning use of her large voice make their own points.
Von Otter has something of both sides – a weightier tone and more reserve than Karnéus but a much wider colour range than Flagstad chooses to deploy – and Bengt Forsberg is a magician in these accompaniments.
Elsewhere the Karnéus performances are good and lively in the Scandinavian lyrics (a passionate 'Jeg elsker dig', a good range of moods in the Ibsen settings), more formal in the German settings.
All Saints Church in Finchley, north London, sounds especially resonant here, not everywhere an advantage in such text-oriented settings. Lots to enjoy and celebrate then, but don't ignore the competition.”
Gramophone Classical Music Guide, 2010

Hyperion - CDA67670



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Grieg - The Complete Songs Volume 3

Grieg - The Complete Songs Volume 3


Vier Lieder für Altstimme, Op. 2

Fire digte af 'Fiskerjenten'. Op. 21

Songs from 'Haugtussa' (not included in Op. 67)

Seks Sange, Op. 48

Siehst du das Meer, EG 121 (text: Emanuel Geibel)

Der Jäger, EG 157 (text: W. Schulz)

Under Juletraeet, EG 144 (text: Nordahl Rolfsen)

Julens Vuggesang, EG 155 (text: Adolf Langsted)

Monica Groop (mezzo-soprano), Ilmo Ranta (piano)

BIS - Grieg - Complete Songs - BISCD957



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Loewe, C: Findlay, etc.


5 Songs

Franz, R:

3 songs


Seks Sange, Op. 48


Eleven songs

Loewe, C:



Dichterliebe, Op. 48


6 songs

Thomas Hampson (baritone) & Geoffrey Parsons (piano)

Warner Classics - 5751872

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