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See Terms & Conditions for p&p rates. | |  | Brahms: Lieder
Brahms: | Fruhlingslied, Op. 85, No. 5 Serenade, Op. 70 No. 3 Es schauen die Blumen, Op. 96 No. 3 Regenlied (No. 3 from Acht Lieder und Gesänge, Op. 59) Nachklang (No. 4 from Acht Lieder und Gesänge, Op. 59) Liebesklage des Mädchens, Op. 48, No. 3 Gold überwiegt die Liebe, Op. 48, No. 4 Ein Sonett, Op. 14 No. 4 (Herder) Ständchen, Op. 14 No. 7 Sehnsucht 'Mein Schatz ist nicht da', Op. 14 No. 8 Bitteres zu sagen denkst du, Op. 32 No. 7 Frühlingstrost, Op. 63 No. 1 Erinnerung, Op. 63 No. 2 Wenn um den Hollunder, Op. 63 No. 6 Heimweh I, Op. 63 No. 7 Nachtigall, Op. 97 No. 1 Dort in den Weiden, Op. 97 No. 4 Trennung, Op. 97, No. 6 Spanisches Lied, Op. 6 No. 1 Juchhe! (No. 4 from Sechs Gesänge, Op. 6) Nachtigallen schwingen, Op. 6 No. 6 Am Sonntag Morgen Op. 49 No. 1 Das Mädchen (No. 1 from Sieben Lieder, Op. 95) Beim Abschied (No. 3 from Sieben Lieder, Op. 95) Vorschneller Schwur (No. 5 from Sieben Lieder, Op. 95) Mädchenlied (No. 6 from Sieben Lieder, Op. 95) Maienkätzchen, Op. 107 No. 4 |
Lenneke Ruiten (soprano) & Hans Adolfsen (piano) Lenneke Ruiten is quickly establishing herself as one of the leading sopranos of her generation. She started her tuition with Maria Rondel en Meinard Kraak in The Hague, and subsequently took lessons with Elle Ameling, Robert Holl, Hans Hotter, Walter Berry and Robert Tear. Her breakthrough came with winning the International Vocalist Competition of ¡¥s Hertogenbosch. She sang in all the important opera houses of Europe, and with conductors like Gardiner, Bruggen, Biondi, Koopman, Dantone. In 2011 she made her Salzburger Festspiele debut in Die Frau ohne Schatten conducted by Christian Thielemann. This well chosen selection of Brahms songs shows her warm timbre, her wide range of colours and her complete understanding of the text. | 
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| |  | Brahms: The Complete Songs Volume 3 (Simon Bode)
Brahms: | Wach auf, mein Herzensschöne, WoO33 No. 16 Erlaube mir, fein's Mädchen (No. 2 from Deutsche Volkslieder WoO 33) Mein Mädel hat einen Rosenmund (No. 25 from Deutsche Volkslieder, WoO 33) Ein Sonett, Op. 14 No. 4 (Herder) Ständchen, Op. 14 No. 7 Der Kuss, Op. 19, No. 1 An eine Äolsharfe, Op. 19 No. 5 Magyarisch, Op. 46, No. 2 Die Schale der Vergessenheit, Op. 46, No. 3 Lieder (5), Op. 49 Mein wundes Herz verlangt, Op, 59, No. 7 Im Garten, Op. 70 No. 1 Lerchengesang Op. 70 No. 2 Serenade, Op. 70 No. 3 An den Mond, Op. 71 No. 2 (Text: K. Simrock) In Waldeseinsamkeit, Op. 85 No. 6 Auf dem Schiffe, Op. 97, No. 2 Es hing der Reif, Op. 106 No. 3 Ein Wanderer, Op. 106 No. 5 Die Sonne scheint nicht mehr (No. 5 from Deutsche Volkslieder, WoO 33) Wo gehst du hin, du Stolze? WoO33, No. 22 Es steht ein Lind (No. 41 from Deutsche Volkslieder, WoO 33) |
Following the iconic series of the complete songs of Schubert and Schumann, Graham Johnson further demonstrates the phenomenal depth of his knowledge in the expert programming of this recital. Each disc in the series represents a different journey through the repertoire, and thus through Brahms’s life. This new volume is sensitively balanced, the opening and closing folksong transcriptions possessing beguiling charm and the five songs of Op 49 being performed in their entirety. Hyperion is thrilled to welcome the young German tenor Simon Bode to the label. At home in the opera house and the recital hall, Bode possesses a controlled voice of great beauty, and gives performances of immediacy and conviction. Johnson, as accompanist, is immaculate and his usual scholarly notes are of course included. “Bode sings [Sehnsucht and the Wiegenlied] with a fine sense of artistry and wonderment. Johnson takes care over his placing of Brahms's many folksong settings within this series, inserting a few at a time. Here, they frame the recital, with Bode's instinctive musicality making an irresistably friendly greeting of 'Wach auf, mein Herzensschone.'” BBC Music Magazine, January 2012 **** “His tone is sweet and gently rounded, his diction crystal-clear, his phrasing always thoughtful. Spinning a rapt, sustained lined, he movingly catches the Brahmsian twilit melancholy of 'Abenddammerung'...'Wiegenlied', too, is as dulcet as you could wish, with singer and pianist vindicating a provocatively slumbrous [sic] tempo.” Gramophone Magazine, February 2012 “Bode has an unquestionably beautiful voice, his line is exquisitely controlled and his care over words and meaning were already evident in the folksong settings...There are marvellous things, such as a wondrously sustained “Es hing der Reif”. Indeed, according to their own lights, all the performances are marvellous...Every Brahmsian quality you could want is here except fullness of heart” MusicWeb International, March 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Goethe-LiederZelter, Reichardt, Beethoven, Schubert, Schumann, Brahms, Schoeck, Wolf
Beethoven: | Maigesang, Op. 52 No. 4 Neue Liebe, Neues Leben, Op. 75, 2 Mephistos Flohlied, Op. 75, 3 | Brahms: | Serenade, Op. 70 No. 3 Unüberwindlich, Op. 72 No. 5 | Busoni: | Hexenlied | Reger: | Einsamkeit, Op. 75 No. 18 | Reichardt, J F: | Beherzigung | Sachsen-Weimar-Eisenach: | Auf dem Land und in der Stadt | Schoeck: | Dämmrung senkte sich von oben, Op. 19 No. 2 | Schubert: | An den Mond, D259 (Goethe) An Schwager Kronos, D369 Meeres Stille, D216, Op. 3 No. 2 (Goethe) Erlkönig, D328 Geheimes, D719 (Goethe) Der Musensohn, D764 (Goethe) | Schumann: | Freisinn, Op. 25 No. 2 Aus dem Schenkenbuch im Divan I, Op. 25 No. 5 Aus dem Schenkenbuch im Divan II, Op. 25 No. 6 | Strauss, R: | Gefunden Op. 56 No. 1 | Wolf, H: | Wanderers Nachtlied Frühling übers Jahr (No. 28 from Goethe-Lieder) Anakreons Grab (No. 29 from Goethe-Lieder) Cophtisches Lied II (No. 15 from Goethe-Lieder) Der Rattenfänger (No. 11 from Goethe-Lieder) Phänomen (No. 32 from Goethe-Lieder) Genialisch Treiben (No. 21 from Goethe-Lieder) Ob de Koran von Ewigkeit sei? (No. 34 from Goethe-Lieder) | Zelter: | Gleich und gleich |
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