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See Terms & Conditions for p&p rates. | |  | Schubert: Die Schöne Müllerin & Favourite Goethe Lieder
“here is an ideal equilibrium between experience, diligent study and still undiminished inspiration. The freshness, both vocally and in attitude, is wholly compelling...the transfers are excellent and with almost 78 minutes playing time you get a lot of music for your money. No one will regret buying this disc.” MusicWeb International, April 2013 | | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795
| | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795
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| |  | Schubert: Die schöne Müllerin, D795
Erwin Belakowitsch (baritone) & Stephan Delaney (piano) | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795The legendary 1951 recording
Fischer-Dieskau’s first recording of Die Schone Mullerin with Gerald Moore displays the singer in his youthful prime. He recorded the work several times again but without the same level of spontaneity which is the hallmark of this reading. A ‘must buy’ for lovers of both Fischer Dieskau and lieder singing. Super-budget price. ‘Fischer-Dieskau lives the part of the young miller intensely from the first note he sings to the last… He gives an impression of utter spontaneity, as if not a note had been written down, but as if everyone was being created there and then : a wonderful instance of art concealing art.’ Gramophone “This legendary 1951 recording, one of Fischer-Dieskau's earliest and most spacious of this cycle, reveals painstaking verbal detail, and the unique creative rapport he enjoyed with Gerald Moore.” BBC Music Magazine, April 2012 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795
| | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795
Acclaimed baritone Christopher Maltman will release the complete Schubert song cycles – Die Schöne Müllerin, Winterreise and Schwanengesang, on Wigmore Hall Live during 2011-12. Recorded over a series of live dates, Maltman has collaborated with one of the world’s foremost authorities on lieder repertoire, piano-accompanist Graham Johnson, in a triumphant partnership. The first release, Die Schöne Müllerin, was Schubert’s first complete song cycle, composed at the age of just 26. The work requires the singer to draw upon a range of moods, from raw emotional turmoil and unpredictability, to introspection and ultimately resignation. Maltman states that the work requires a “certain vulnerability” in its portrayal of the lovelorn young miller, and to achieve this, he and Johnson chose to transpose several of the songs back up to the outer reaches of the baritone range, closer to that of the tenor. The duo’s decision to take the voice out of its comfort zone and embrace the tension this produces undeniably adds to the colour and characterisation which Maltman brings to the work: “These musical masterpieces present an endless pursuit and a constant re-examination.” The next release in the cycle will be Winterreise in September 2011, followed by Schwanengesang in 2012, the live performance of which was critically-applauded in the Guardian: “Maltman's pianist was Graham Johnson, whose focused, detailed playing reminded us just how far Schwanengesang redefined the role of the accompanist" Maltman’s decision to undertake these substantial recordings as a live project was a considered choice: “the live recording experience is where the real beauty lies; the little points, the little imperfections, the emotional stress, give the performance an organic feel, a rawness. It dials everything back to the most important element – the live performance.” “This performance...is uncommonly convincing in its combination of vividness and deep introspection...A strong point is Johnson’s piano-playing...but this is very much a partnership. Maltman is a compelling narrator, making you see the pictures and moods described, and imaginatively mixing half-voice and vehement full tone. The Hateful Colour is thrillingly dramatic.” Sunday Times, 1st May 2011 **** “Maltman's journeyman miller is volatile, susceptible, prone to violent swings between elation and self-communing inwardness, but not one who senses his tragic fate virtually from the outset. With its fine bright resonance, his virile baritone initially exudes health and an eagerness to seize life...Maltman's ardent, impulsive, intensely 'lived' performance, partnered and inspired by the ever-illuminating Johnson, should be heard by anyone who loves the cycle.” Gramophone Magazine, June 2011 “Maltman brings a fierce intelligence and a wide range of vocal colour to his performance, and he manages to balance a sense of overarching emotional control from beginning to end with in-the-moment spontaneity...Graham Johnson's accompanying - which now supports, now ironizes the ostensible emotion of the song - adds depth too.” Classic FM Magazine, June 2011 **** “This is an extraordinarily subtle performance of Schubert's first great cycle. Wonderfully recorded, with an ideal balance between soloist and pianist, it leaves you wondering, at times, who is accompanying whom...Maltman, with his gloriously warm light baritone, is born along on the stream of the piano's uncertainties, and the total effect is disturbing and unique...indispensable for anyone wanting to probe beneath its adorable surface.” BBC Music Magazine, June 2011 ***** “After only moments in the opening song, 'Das Wandern', one becomes aware that Maltman's singing will not be vocally monochromic...This is a extremely introspective reading, controlled, collected and sensitive...Johnson brings his own eloquent contributions.” International Record Review, May 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin, D795
“Bostridge’s peculiarly beseeching voice enshrines the vulnerability, tender feeling and obsessive love of the youthful miller … a soulsearching interpretation” Gramophone Magazine “The performance by the young Bostridge is a miracle … he brings the naive, impetuous, jealous, ultimately despairing and suicidal boy vividly to life as no other tenor on record and his youthful vulnerability
is heart-rending. This wonderful disc makes you listen to Schubert’s masterly cycle with refreshed ears” Sunday Times | | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Die schöne Müllerin
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| |  | Schubert: Die schöne Müllerin, D795
After their much lauded recording of Winterreise, Mark Padmore and Paul Lewis turn to Schubert’s first song-cycle, Die schöne Müllerin, which follows a lovelorn young man on a melancholy journey of false hope. Two great artists at the zenith of their careers. “Padmore characteristically plundered each poem for every last ounce of emotion from virile ecstasy to blank sorrow. In the final Des Baches Wiegenlied (The Brook’s Lullaby), singer and pianist perfectly expressed the music’s caressing invitation to sink into the watery sleep of oblivion. It was breathtaking. Schubert couldn’t be better served.” Evening Standard, 20/5/2008 Recorded September 11th-14th, 2009 at Air Studios, Lyndhurst Hall, London “...the performance is always alive, the rhythms have a spring in their step, there is a strong sense of narrative shape, and the dramatic curve from optimism through false hope, disillusionment and rage...to death and peaceful oblivion is beautifully realised.” Sunday Times, 25th July 2010 **** “It is good to see the excesses of some recent versions avoided - "Der Jäger" is not reduced to a venomous scurry or "Die Liebe Farbe" to a numbing slowness. As in the Winterreise, singer and pianist form a sympathetic union of distinct individuals. Lewis establishes absolute confidence from the start” Gramophone Magazine, September 2010 “Singer and pianist are perfectly matched in temperament and musicality, and every note has been lovingly considered...The reflective melancholy of “Die liebe Farbe” is ravishingly painted” The Telegraph, 4th August 2010 **** “This recording of Schubert's first great song cycle is full of good things...Paul Lewis...plays the hyperactive accompaniment...with force, clarity, precision and a reasonable amount of variation of colour and volume in the long strophic songs.” BBC Music Magazine, October 2010 *** “their fine performance of the cycle movingly conveys the naive adolescent vulnerability at the centre of the poems...Padmore's true, clear, unaffected tenor voice is admirably suited to this cycle, and Lewis is both an excellent player of Schubert and an excellent accompanist...This is an exceptional performance...doing full justice not only to the music but also to the simplicity of the cycle” International Record Review, September 2010 | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine