Schubert: Auf dem Strom, D943, Op. post. 119

The eighteen songs included in this recording of Schwanengesang all belong to the last three years of Schubert’s life. The earliest of them, Am Fenster, was written in March 1826, while the last, Die Taubenpost, was finished only a few weeks before his death on 19 November 1828. Fourteen of them, seven by Ludwig Rellstab, six by Heinrich Heine and one by the Vienna government official and journalist J.G. Seidl, were published by Tobias Haslinger in May 1829 under the umbrella title Schwanengesang (‘Swan Song’) and are often performed as a complete cycle. Of these, Am Fenster, Der Wanderer an den Mond (both Seidl) and Herbst (Rellstab), were not included in the original publication of Schwanengesang.

Auf dem Strom, with obbligato horn, dates from the previous year, 1827, but was first performed on 26 March 1828, marking the first anniversary of Beethoven’s death. The horn plays a significant melodic role in the setting, opening the piece, providing interludes between the verses, and duetting with the solo tenor voice. It was recorded in 1991 by Peter Schreier and András Schiff, with Radovan Vlatković, at the Decca Winterreise sessions, but owing to the playing time of the CD, Auf dem Strom did not appear. This is the recording’s first release.

Two distinguished soloists – soprano Suzanne Danco and tenor Robert Tear – contribute to this disc of Schubert songs. Both of the composer’s ‘obbligato’ songs (Der Hirt auf dem Felsen and Auf dem Strom) are included, as are five of Schubert’s most popular Lieder in recordings by Danco previously unreleased on CD. But at the centre of this recital is a selection of Schubert’s Partsongs. Their origins lie in the vital demand for this kind of music in the context of the social life of Vienna during the composer’s lifetime. The male-voice quartet was a staple feature in the city’s concert halls, but even more so in the homes of the cultured middle-classes. Much of Schubert’s writing for this medium is in an ‘unbuttoned’ mood, providing material for friendly gatherings. Even so, we find among these partsongs for men’s or mixed voices, many which carry the unmistakable stamp of his genius – the gorgeous Ständchen, or the tranquil, other-worldly Nachthelle.

Tenor Mark Padmore and pianist Paul Lewis conclude their acclaimed Schubert triptych with this revelatory account of Schwanengesang, the third and last of the great Schubert cycles, collected and published after the composer’s death.

Auf dem Strom for tenor, horn & piano, and the gently hopeful song Die Sterne complete the programme.

Soprano Marianne Fiset is one of Canada’s most talented young singers. In 2009 she was one of the artists awarded the title “Révélation Radio-Canada Musique”. From Franz Schubert to Canadian composer Denis Gougeon, the music on this CD invites us into a poetic world of heartfelt fervour and natural beauty. The CD includes works by Gounod, Berlioz, Donizetti and Richard Strauss.

Two musical titans in the classical world, British tenor Ian Bostridge and Norwegian pianist Leif Ove Andsnes, both major EMI Classics artists, are brought together once again in a 2CD compilation celebrating their great contribution and commitment to Schubert for the label. As well as featuring specially selected lieder and piano fragments from their critically acclaimed Bostridge / Andsnes Schubert Sonata and Lieder series, the album also includes five newly recorded lieder never previously released by Bostridge. Their partnership was described by The Times as "one of the most inspired of record-company matchmakings: the two musicians really do test and try each other at every turn, as well as being mutually supportive…” Firmly established in the opera house, concert hall and recital room, and much sought after internationally as one of the finest of his generation of tenors, Ian Bostridge is today one of the leading Schubert lieder interpreters, repertoire that he openly states as his first love. Ian’s passion for lieder dates back to early studies at his school in England. Ian explains: ‘I had a wonderful German teacher at my school who got me into German lieder and that has been the thing that has really made me a musician – the lieder.’

Jana Büchner’s selection of lieder traces the evolution of the song from Mozart and Schubert all the way through to Hensel and Mendelssohn.

The works deal with the joys and sufferings of love, hence “Thoughts of Love”. Included are lieder with horn obligato and Lewy’s song (1802 - 1881) is thought to be a premiere recording.

On this CD, the young tenor Daniel Behle interprets some of the best known Lied repertoire. “Behle surprises with a force and energy that puts him far ahead of many fellow tenors and makes them seem bloodless by comparison – and he doesn’t lack nuances.” MusicWeb-International

A party of outstanding musicians joins Luc Bergé, the acclaimed horn soloist of the l'Orchestre des Champs Elysées, on this record to celebrate the beauties of the classic and romantic horn. A specific instrument is used for each work of this gourmet menu.The main course is definitely the lesser known work, Reinecke's delightful trio.

Composers develop their own voice and personality; singers develop their own vocal character and colour. This beautiful and unusual recital disc by Bill Barnewitz, principal horn of the Milwaukee Symphony Orchestra, explores the voice of a special instrument and of a particular musician. Bill offers chamber works which feature the horn either as a solo personality or integrated into an ensemble. There are songs in which the horn is included, in its own right, as a partner to the voice. Bill also performs two of his own transcriptions in which the horn replaces the singer, taking on both the original voice part and the text. Throughout, Bill, like an operatic interpreter, assumes a variety of roles and uses the full expressive resources of his instrument to bring a variety of personalities to life.

Long Road Home is a passionate and personal project for Bill Barnewitz. In 2001, he was diagnosed with Parkinson’s Disease, not, in his own words, “a welcome event in my life.” As he has adjusted to the permanence of his affliction, he has met others coping with the disease, found many who are working in support capacities such as research, education and cure, and many more who want to help. Long Road Home is a collaboration of those in the latter group, fellow-musicians and friends who have devoted themselves to this project, to make an enjoyable recording that also raises money to support a worthy cause.