Schubert: Über Wildemann D884 (Ernst Schulze)

This page lists all recordings of Über Wildemann D884 (Ernst Schulze), by Franz Peter Schubert (1797-1828) 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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Schubert: An den Mond & Lieder

Schubert: An den Mond & Lieder


Schubert:

An den Mond in einer Herbstnacht, D614 (Schreiber)

An die Apfelbaume D197 (Holty)

Auf dem Wasser zu singen, D774

Auf der Bruck, D853

Das Zugenglocklein D871 (Seidl)

Der Schiffer, D536 (Mayrhofer)

Der Wanderer an den Mond D870 (Seidl)

Der Wanderer, D649 (Friedrich von Schlegel)

Der Zwerg, D771 (Collin)

Im Freien D880

Lebensmut D883 (Ernst Schulze)

Liebesrausch, D179 (Korner)

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Meeres Stille, D216, Op. 3 No. 2 (Goethe)

Nachtstück, D672 (Mayrhofer)

Sehnsucht D879

Totengräbers Heimwehe D842 (Craigher)

Totengräberweise D869 (Schlechta)

Über Wildemann D884 (Ernst Schulze)

Wehmut, D772 (Collin)


Dietrich Henschel (baritone) & Helmut Deutsch (piano)

Dietrich Henschel invites us to follow in the footsteps of Schubert at his most intimate, his most deeply moving: the Schubert whose songs deal with the themes of death, wandering and night.

“Schubert's recurring themes of death, night and wandering shape a thoughtful, expressive and beautiful recital by this baritone and accompanist.” BBC Music Magazine, September 2014 ****

Harmonia Mundi - HMGold - HMG501822

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Schubert Lieder Volume 2: An Mein Herz

Schubert Lieder Volume 2: An Mein Herz


Schubert:

Der Jungling und der Tod, D545 (Spaun)

Das Lied im Grünen, D917

Die Herbstnacht (Wehmut) D404 (Salis-Seewis)

Ins stille Land, D403

Abschied von der Harfe D406 (Salis-Seewis)

Drang in die Ferne, D770

An Mein Herz D860

Der Wanderer, D649 (Friedrich von Schlegel)

Über Wildemann D884 (Ernst Schulze)

Klage D371

Am Bach im Fruhling, D361

An die Laute D905

Des Fräuleins Liebeslauschen, D698

Augenlied, D297 (Mayrhofer)

Du bist die Ruh D776 (Rückert)

An die Musik D547

An eine Quelle D530 (Claudius)

Der Sänger am Felsen, D482

Abschied von der Harfe D406 (Salis-Seewis)

Liedesend, D473 (Mayrhofer)

Das Heimweh, D456 (Winkler)

Auf der Donau, D553 (Mayrhofer)

Wie Ulfru fischt, D525 (Mayrhofer)

Die Sternennacht D670 (Mayrhofer)

Ruckweg, D476 (Mayrhofer)

Geheimnis, D491 (Mayrhofer)

Gondelfahrer, D808

Abendstern, D806

Der Sieg D805 (Mayrhofer)

Nachtstück, D672 (Mayrhofer)

Auflösung, D807

Heiss mich nicht reden, D877/2

Nur wer die Sehnsucht kennt, D877/4

An Mignon D161

Harfenspieler I 'Wer sich der Einsamkeit ergibt', D478

Am Flusse D160 (Goethe)

Nähe des Geliebten, D162

Der Fischer, D225 (Goethe)

Auf dem See, D543 (Goethe)

Wonne der Wehmut D260 (Goethe)

Willkommen und Abschied, D767


Matthias Goerne (baritone), Eric Schneider (piano) and Helmut Deutsch (piano)

Matthias Goerne has received worldwide praise for his warm, fluid baritone and his profound interpretations. Highly respected as a Lieder singer, he is a frequent guest at renowned festivals and prestigious venues like the Carnegie and Wigmore Halls. From 2008 to 2011, Matthias Goerne will perform and record Schubert on 11 CDs for harmonia mundi and important venues all over the world will present the complete series of Schubert recitals with Matthias Goerne in their coming seasons. This second volume speaks of death, of the 'Wanderer', and of the relationship between Schubert and his poets .

. . For this occasion the singer has called on two travelling companions who have left a lasting artistic impression on the world of lieder: Eric Schneider and Helmut Deutsch.

Helmut Deutsch's career as a song accompanist began with Irmgard Seefried; he spent twelve years in an intensive collaboration with Hermann Prey, and has been the partner of many other celebrated singers. Eric Schneider has appeared notably with Christine Schäfer, Matthias Goerne, Christiane Oelze and Stephan Genz. He is a regular guest with these partners at the Schwarzenberg Schubertiade, Salzburg Festival and the Tanglewood Summer Music Festival.

“Goerne… and Schneider offer grave and solemn performances of Goethe's Mignon and Harper songs, before ending on a higher note, celebrating the eternal joy of love in 'Willkommen and Abschied'.” BBC Music Magazine, February 2009 ****

“Battered by Bryn Terfel dramatics, the ears cried out for a pure dose of lieder from a master of the craft. Matthias Goerne… seems to own a different shade of baritonal colour for every syllable Schubert wrote. The voice is sweet and serene, even at fff, and the shifts that Goerne applies to the changing of seasons and the fickleness of love are done with enviable delicacy. More reticent than Fischer-Dieskau or Thomas Quasthoff to bend a line for expressive emphasis, when Goerne takes a liberty the effect is breath stopping… T his is not an album to gorge at one go. Take it two songs a night before bedtime, and it might see you through to the end of recession.” Norman Lebrecht, Evening Standard CD of the Week

“Goerne used to record for Decca, but it apparently had no interest in his 12-volume Schubert compendium, so the less ruthlessly commercial Harmonia Mundi comes to the rescue, for which the France-based company deserves the highest praise. From a vocal point of view, few male singers, even Fischer-Dieskau, command such a rich palette of colours as Goerne does here…he goes where Dieskau never ventured: he includes two of Mignon's songs, Heiss' mich nicht reden and Nur wer die Sehnsucht kennt, as well as the Harper trilogy… In the middle Harper song, Mayrhofer's Nachtstück and Nähe des Geliebten (Nearness of the Beloved), Goerne approaches the sublime and captures perfectly the wry wit of Goethe's sly dig at water-nymphery, Der Fischer, in which the surprise encounter of an angler with a "moist woman" is wryly underlined by Schubert. Luxury support from Deutsch and Schneider sets the seal on an outstanding issue.” Sunday Times Classical CD of the Week

“This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Observer

“Here elegy, fatalism and death-longing predominate and in such repertoire Goerne's mellow, darkly rounded timbre, expressive diction and care – rare in Lieder singers today – for a true, 'bound' line are well nigh ideal. Even at the most anguished fortissimo, his tone never grows harsh or hectoring. Perfectionism like Goerne's has inevitably provoked charges of over-calculation.
Some might protest at the ultra-slow tempo for Du bist die Ruh. Yet Goerne's beauty of tone and phrasing (founded on seemingly superhuman reserves of breath), and a rapt intensity that rises to spiritual radiance in the final verse are mesmerising. At a more conventional tempo, he sings An die Musik as a simple, sincere confession of faith, with affectionate touches of rubato (and how eloquently Helmut Deutsch's left hand duets with the voice). Elsewhere Goerne's unsentimental tenderness can illuminate little-known songs that seem ordinary on the printed page – Abschied von der Harfe, say, or the quasi-operatic lament Der Sänger amFelsen. He even appropriates, successfully, two of Mignon's songs, giving one of the most desolate and – in the central section – disturbed performances of Nur wer die Sehnsucht kennt you will hear.
True to form, Goerne makes an uncommonly melancholy serenader in An die Laute and DesMädchens Liebeslauschen, which never smiles. Yet he can lighten up, as in the story-telling of DerFischer and Wie Ulfru fischt. Like Deutsch on the first disc, Eric Schneider fully matches Goerne in acumen and command of colour, not least in a performance of Nachtstück of mingled grandeur, mystery and compassionate gentleness.”
Gramophone Classical Music Guide, 2010

“Goerne's virtuoso vocal sculpting draws you into the inner landscape of each song, his warm, expressive baritone shaping detail often understated by lesser artists. This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Guardian, 12th October 2008

GGramophone Magazine

Editor's Choice - December 2008

Harmonia Mundi Matthias Goerne Schubert Edition - HMC902004/05

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Schubert: Poetisches Tagebuch

Schubert: Poetisches Tagebuch


Schubert:

Auf der Bruck, D853

Der liebliche Stern, D861 (Schulze)

Im Walde D834

Um Mitternacht D862

Lebensmut D883 (Ernst Schulze)

Im Frühling, D882

An Mein Herz D860

Im Janner 1817 (Tiefes Leid) D876

Über Wildemann D884 (Ernst Schulze)

Dass sie hier gewesen! D775 (Rückert)

Greisengesang, D778

Du bist die Ruh D776 (Rückert)

Im Walde D708

Nacht und Träume, D827

Fischerweise, D881 (Schlechta)

Totengräbers Heimwehe D842 (Craigher)

Der Winterabend (Es ist so still), D938


On 'Poetisches Tagebuch', one of today's foremost lyric tenors Christoph Prégardien and his equally illustrious accompanist Julius Drake perform nine songs by Schubert to words by the Saxon poet Ernst Schulze, together with a further eight songs to lyrics by other poets.

These songs of loss, alienation and obsessive longing ('Winterreise' is already glimpsed) are among Schubert's most powerful and poignant, and two of them, 'Im Frühling' and 'Auf Der Bruck', both recital favourites, are among the composer's most popular lieder.

Poet Ernst Schulze (1789-1817) lived in a world in which the boundaries between the real and the imagined were increasingly hazy. As a student he shared Don Giovanni's 'mille tre' attitude to women, notching up a string of casual conquests. When his campaign to seduce Cäcilie Tychsen failed, and she died of tuberculosis, she became idealised as his lost bride-to-be, saviour and muse. Conveniently for the fantasising poet, Cäcilie had a sister, Adelheid, to whom he quickly transferred his affections. From 1813 until his own early death, likewise of tuberculosis, Schulze embroidered this fragmentary, largely one-sided relationship in the 100 poems that make up his Poetisches Tagebuch ('Verse Journal').

Schubert first seems to have alighted on Schulze's work in 1824, when he flirted with the idea of making an opera from the narrative poem Die bezauberte Rose. Then in March 1825 he set 'Im Walde' from the Poetisches Tagebuch, initiating a sequence of Schulze songs composed over the following year.

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Songs by Schubert 2

Songs by Schubert 2

Recorded live at Wigmore Hall, London, on 22 May 2014


Schubert:

Im Frühling, D882

Über Wildemann D884 (Ernst Schulze)

Der liebliche Stern, D861 (Schulze)

Im Janner 1817 (Tiefes Leid) D876

Auf der Bruck, D853

Aus 'Heliopolis' - I D753 (Mayrhofer)

Aus 'Heliopolis' - II D754 (Mayrhofer)

Abendbilder, D650

Ins stille Land, D403

Totengräbers Heimwehe D842 (Craigher)

Auf der Riesenkoppe, D611

Sei mir gegrüsst! D741 (Rückert)

Dass sie hier gewesen! D775 (Rückert)

Die Forelle, D550

Des Fischers Liebesgluck, D933 (Leitner)

Fischerweise, D881 (Schlechta)

Atys D585

Nachtviolen D752 (Mayrhofer)

Geheimnis, D491 (Mayrhofer)

Im Walde D834


Ian Bostridge (tenor) & Julius Drake (piano)

Widely regarded as one of today’s finest interpreters of Schubert, Ian Bostridge is joined once again by Julius Drake in a partnership that brings eloquence, intensity and maturity to a carefully selected programme.

From the dramatic ‘Auf der Brücke’ to the charming favourite ‘Die Forelle’, the musicians delve deep into the music and poetry of each and every song, as they unveil touching personal reflections through their performance. This release, the second volume of Bostridge’s Wigmore Hall Live series, captures the enchanting recital in the clarity and warmth of the Hall’s acoustic.

“Drake is a calm and authoritative presence, seeking out and highlighting niceties of Schubert's piano writing. Ian Bostridge, meanwhile, shows a careful attention to the text, though sometimes vocal limitations prevent him from entirely realising his artistic intentions...The best things here, however...repay repeated listening.” BBC Music Magazine, October 2015 ***

“as you’d expect from a singer with such well-developed literary instincts, this is a superbly planned and executed Schubert recital.” CD Review, 23rd May 2015

“performances have the right nexus of intelligence, deep study and ion-performance inspiration...[Bostridge] supplies textual articulation and emotional heat but leaves more specific characterisation up to Drake at the piano.” Gramophone Magazine, September 2015

“Bostridge’s highly personal style is both intimate and intense, the feelings sometimes bursting out as if they were impossible to contain … Julius Drake at the piano is a full partner, imbued in and developing the moods of the voice.” Irish Times, 14th October 2015

“Apart from the instantly distinguishing feature of Ian Bostridge’s crystal clear tenor voice, his signature is ever present in this second volume of Schubert songs, recorded live at the Wigmore Hall, through the sheer intelligence of the programme and the vivid sense of storytelling that brings each song alive.” The Scotsman, 19th June 2015

Wigmore Hall Live - WHLIVE0077

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Nachtviolen

Nachtviolen

Schubert Lieder


Schubert:

An den Mond in einer Herbstnacht, D614 (Schreiber)

Hoffnung, D295

Im Janner 1817 (Tiefes Leid) D876

Abschied D475 (Mayrhofer)

Herbst, D945

Über Wildemann D884 (Ernst Schulze)

Der Wanderer, D649 (Friedrich von Schlegel)

Der Wanderer an den Mond D870 (Seidl)

Der Zwerg, D771 (Collin)

Abendstern, D806

Im Walde D834

Nach einem Gewitter D561 (Mayrhofer)

Der Schiffer D694 (F von Schlegel)

An die Nachtigall, D196 (Holty)

Totengräberweise D869 (Schlechta)

Frühlingsglaube, D686

Nachtviolen D752 (Mayrhofer)

Abendlied fur die Entfernte, D856 (Schlegel)

Wehmut, D772 (Collin)

Der Strom, D565 (poet unknown)

Der Hirt D490 (Mayrhofer)

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Nachtgesang D314 (Kosegarten)

Der Sänger am Felsen, D482


Christian Gerhaher (baritone), Gerold Huber (piano)

This album is a great introduction to the deeply absorbing world of Schubert's songs. It features a very personal collection of Schubert songs chosen by Christian Gerhaher, who has performed these songs for many years and has a profound connection to them. The album includes a detailed booklet text with a separate paragraph detailing each song.

Schubert set the verse of over 100 poets to music, composing approximately 650 songs. He selected biblical texts and poetry from classical Greece, the Renaissance, the Enlightenment and the early Romantic era, the poets including Goethe, Schiller, Shakespeare, Petrarca and Heine as well as his Austrian contemporaries and friends.

About Christian Gerhaher

Christian Gerhaher's exemplary lied interpretations with Gerold Huber set standards – their recordings have repeatedly been highly acclaimed. The lied duo appears on the stages of major international recital venues, for instance at the Wigmore Hall in London, in the Carnegie Hall in New York, the Concertgebouw Amsterdam, the Cologne and Berlin Philharmonie, the Konzerthaus and the Musikverein in Vienna.

Christian Gerhaher is a regular guest at the Schwetzingen Festival, the Rheingau Music Festival, the London Proms, the Edinburgh and Lucerne Festivals, the Salzburg Festival, as well as the Aspen and Tanglewood Festivals in the USA.

After the successful world premiere of Heinz Holliger's cycle Lunea on 23 fragments by Nikolaus Lenau in spring 2013, the season 2013/2014 will see/has seen the premieres of two other new works – both dedicated to him: In the fall a new song cycle by Jörg Widmann with performances in Vienna, Frankfurt, London and Luxembourg (combined with Schumann and Fauré) as well as Goethe's Harzreise im Winter by Wolfgang Rihm – an exciting program juxtaposing settings on Goethe's texts by Wolfgang Rihm and Franz Schubert. The premiere will take place in June 2014 at the Mozart Festival Würzburg followed by concerts at the Rheingau Musik Festival and the Salzburg Festival.

“Beautifully judged playing from pianist Gerold Hubersupports the silky lightness of Gerhaher at his most intimate in these 24 songs; though there are flashes of steel beneath the gossamer that are all the more exciting for their sparse deployment.” The Observer, 13th July 2014 ****

“Gerhaher’s outstanding qualities – a heavenly baritone, crisp diction, intelligent address – once again find an echo in Huber’s pianism.” Financial Times, 26th July 2014 ****

“Gerhaher brings his special qualities, the most beautiful lyric baritone voice of any lieder specialist I know, entirely natural and immaculate German diction, and musical and expressive insights that mark him out as one of the greatest lieder singers of any age...the entire programme is vintage Schubert and vintage Gerhaher.” Sunday Times, 10th August 2014

“gently beautiful and deeply rewarding...Gerhaher simply lets the music flow through him, his voice its unassuming servant. The pitching is immaculate, the breath control so easeful as to be imperceptible. He seems incapable of making an ugly sound.” The Telegraph, 15th September 2014 *****

“With his lyric high baritone at its freest, Gerhaher has the uncommon gift of making everything alive, specific, while always sounding natural...a superlative recital by a singer who for vocal beauty, poetic insight and expressive immediacy is surely unsurpassed in Lieder today.” Gramophone Magazine, Awards Issue 2014

“One of the most symbiotic partnerships in chamber music...Friends since childhood, they have performed lieder since they were teenagers. This recording of works by Schubert is a marvel of the fusion of text and melody, suffused with the beauty of Mr. Gerhaher’s mellow, smooth timbre.” New York Times, 18th December 2014

GGramophone Awards 2015

Winner - Solo Vocal

GGramophone Magazine

Editor's Choice - Awards Issue 2014

Sony - 88883712172

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Schubert: Lieder von Abschied

Schubert: Lieder von Abschied


Schubert:

Willkommen und Abschied, D767

Die Sterne, D939 (Leitner)

Nachtstück, D672 (Mayrhofer)

Das Zugenglocklein D871 (Seidl)

Der Wanderer, D489

Wandrers Nachtlied I 'Der du von dem Himmel bist', D224

Über Wildemann D884 (Ernst Schulze)

Der Geistertanz D116 (Matthisson)

Erlkönig, D328

Wandrers Nachtlied II 'Über allen Gipfeln ist Ruh', D768

Sehnsucht D879

Der Musensohn, D764 (Goethe)

Auf der Bruck, D853

Im Abendrot, D799

Rastlose Liebe, D138

Lied des gefangenen Jägers D843 (1825) (Scott/Storck)

Harfenspieler II 'An die Türen will ich schleichen, D479

Der Wanderer, D649 (Friedrich von Schlegel)

Der Wanderer an den Mond D870 (Seidl)

Der Einsame, D800

Der Schiffer, D536 (Mayrhofer)

An Schwager Kronos, D369

Der Doppelgänger D957 No. 13

Nacht und Träume, D827


Christoph Pregardien (tenor), Michel Gees (piano)

Warner Classics Red Line - 9933432

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Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy

Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy


Debussy:

Le promenoir des deux amants

Duparc:

Chanson triste

Lamento

Le Manoir de Rosemonde

Extase

Soupir

Phidylé

Ravel:

Trois chansons madécasses

Eberhard Finke (cello) & Karlheinz Zoeller (flute)

Schubert:

Der Winterabend (Es ist so still), D938

Herbst, D945

Dass sie hier gewesen! D775 (Rückert)

Der Einsame, D800

Fahrt zum Hades, D526 (Mayrhofer)

Der Jungling und der Tod, D545 (Spaun)

Sprache der Liebe D410 (A W von Schlegel)

Fischerweise, D881 (Schlechta)

Über Wildemann D884 (Ernst Schulze)

Auflösung, D807

Schumann:

Gedichte (6) und Requiem, Op. 90

Nachtlied, Op. 96 No. 1

Der Spielmann, Op. 40, No. 4

Zigeunerliedchen I & II

Verratene Liebe, Op. 40, No. 5

Provencalisches Lied, Op. 139 No. 4

Mein Schöner Stern! Op. 101 No. 4

Aus den hebräischen Gesängen, Op. 25 No. 15

Ihre Stimme Op. 96 No. 3 (August von Platen)

Wolf, H:

An eine Æolsharfe (No. 11 from Mörike-Lieder)

Heimweh (No. 37 from Mörike-Lieder)

Lebe wohl (No. 36 from Mörike-Lieder)

Nimmersatte Liebe (No. 9 from Mörike-Lieder)

Der Tambour (No. 5 from Mörike-Lieder)

Abschied (No. 53 from Mörike-Lieder)


Barry McDaniel (baritone), Hertha Klust (piano) & Aribert Reimann (piano)

The American baritone Barry McDaniel was one of the outstanding singers of the post-war era. As a successful opera singer and Lieder interpreter, he enjoyed a long and eventful career, both in Germany and abroad. Despite numerous performances and many recordings for radio and television, he nonetheless remained largely unnoticed by the media, partly because his name almost vanished in the shadow of Dietrich Fischer-Dieskau, who was five years his senior. Unjustly so, since the two singers were equals as artists, albeit with different characters. Today, Barry McDaniel is hardly mentioned in specialist literature and one searches in vain for CDs since, until now, recordings from radio archives have not been phonographically processed. However, Audite now presents a première double CD of Lieder sung by Barry McDaniel. These studio recordings from the archives of Radio Berlin-Brandenburg (formally Sender Freies Berlin) were made between 1963 and 1974 with Hertha Klust and Aribert Reimann as accompanists.

This selection of songs by Schubert, Schumann, Wolf, Duparc, Ravel and Debussy reveals diverse facets of McDaniel’s artistic personality. His interpretations are characterised by an interleaving of knowledge and naivety, feeling and craftsmanship, expression and impeccable singing. Apart from his immaculate technique, his accent-free German is particularly remarkable.

Barry McDaniel moved from the USA to Germany in 1953 in order to further his studies. He then gave his first song recitals, together with Hermann Reutter, and later began a career as an opera singer. In 1961 he was engaged at the newly re-opened Deutsche Oper Berlin, where he remained for thirty-seven years. At the same time, he gave guest performances at the Vienna Staatsoper, the Metropolitan Opera New York, the Frankfurt Opera and the Munich Opera Festival, as well as broadcasting for radio and television. In addition, Barry McDaniel gave numerous song recitals, for example in Stuttgart, Karlsruhe, Hanover, Brunswick and Berlin, including, in the latter city, the first ever song recital at the newly built Philharmonie in 1963. Today, the 81-year-old baritone declares: “Whatever I sing, I have to believe in it.” That is exactly how these recordings sound.

“The American Barry McDaniel inevitably sang in the shadow of Fischer-Dieskau; but this double CD reveals his deeply thoughtful baritone, in superbly accompanied Lieder and melodie.” BBC Music Magazine, June 2012 ****

Audite - AUDITE23426

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Schubert: Schwanengesang

Schubert: Schwanengesang


Schubert:

Liebesbotschaft, D957 No.1

Kriegers Ahnung D 957, No. 2

Frühlingssehnsucht, D 957 No. 3

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

Im Walde D834

Im Frühling, D882

Über Wildemann D884 (Ernst Schulze)

Schwanengesang, D957


Thomas Oliemans (baritone), Malcolm Martineau (piano)

The highly regarded baritone Thomas Oliemans has been acclaimed for his performances of the works of Schubert; “Oliemans gives an astonishing Schubert-recital. Opera Magazine. ”In a recent interview he said “I’ve never been afraid of the great compositions, because they are the reasons for keeping music alive”. He will be making his Royal Opera House debut in 2011.

“[Oliemans is] an exceptionally fine singer. Some of the performances - "In der Ferne", "Im Frühling" and "Am Meer", for example - rank with the best. Malcolm Martineau's contribution is beyond estimate, so strong and yet sensitive, always a special creation of his own while never losing its true Schubertian identity.” Gramophone Magazine, March 2011

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Schubert: Lieder

Schubert: Lieder


Schubert:

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Nachtstück, D672 (Mayrhofer)

Auf der Donau, D553 (Mayrhofer)

Abendstern, D806

Auflösung, D807

Geheimes, D719 (Goethe)

Versunken D715 (Goethe)

Schäfers Klagelied, D121 (Goethe)

An die Entfernte, D765 (Goethe)

Am Flusse, D766

Willkommen und Abschied, D767

Die Gotter Griechenlands D677 (Schiller)

An die Leier, D737 (Bruchmann)

Am See, D746 (Bruchmann)

Alinde, D904

Wehmut, D772 (Collin)

Über Wildemann D884 (Ernst Schulze)

Auf der Riesenkoppe, D611

Sei mir gegrüsst! D741 (Rückert)

Dass sie hier gewesen! D775 (Rückert)

Der Geistertanz D494 (Matthisson)


Ian Bostridge (tenor), Julius Drake (piano)

“Bostridge reveals his expanding mastery in the widest variety of expression, with the subtlest range of tone, and with a deliberate hardening of the characteristically sweet voice in some of the more dramatic songs...In all this Drake is the perfect partner, ranging wide in his tonal palette too” Penguin Guide, 2010 edition ****

Warner Classics Recommends - 5034242

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Volume 11 - North German Poets

Volume 11 - North German Poets


Schubert:

Auf der Bruck, D853

An Mein Herz D860

Im Janner 1817 (Tiefes Leid) D876

Im Walde D834

Der liebliche Stern, D861 (Schulze)

Um Mitternacht D862

Lebensmut D883 (Ernst Schulze)

Im Frühling, D882

Über Wildemann D884 (Ernst Schulze)

Klaglied D23

An die Laute D905

Alinde, D904

An die Sonne D272 (Tiedge)

Lied (Mutter geht durch ihre Kammern) D373 (Fouque)

Der Schafer und der Reiter D517 (Fouque)

Don Gayseros, D93

Der Einsame, D800

Im Abendrot, D799

Der Wanderer, D493


Hanno Müller-Brachmann (bass-baritone), Ulrich Eisenlohr (piano)

Naxos Schubert Lied Edition - 8555780

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$8.25

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