All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Schubert Lieder Volume 7: Erlkönig
Schubert: | Im Abendrot, D799 Der Wanderer, D493 Nachtviolen D752 (Mayrhofer) Im Walde D834 Normans Gesang D846 (Scott, Storck) Der Geistertanz D116 (Matthisson) Schatzgräbers Begehr D761 (Schober) An den Mond, D259 (Goethe) Erlkönig, D328 Am See, D746 (Bruchmann) Alinde, D904 Widerschein, D949 Die Forelle, D550 Der Fluss, D693 Abendröte, D690 Klage D415 (Matthisson) Der Strom, D565 (poet unknown) Fischerweise, D881 (Schlechta) Auf der Bruck, D853 |
Matthias Goerne presents the seventh volume of his hm Schubert survey, which has confirmed him as one of the most gifted exponents of lieder repertoire and programming. Andreas Haefliger joins Matthias in music he has been singing for most of his career. “Sometimes in the more agitated reveries Goerne seems to be musing with himself rather than singing to an audience. However, cloudy intonation usually vanishes when the songs are calm and gentle. The prayerful ecstasy of Im Abendrot is an absolute wonder. Klage, another nature song, isn’t far behind, each word shaped and pitched with the sort of delicacy” The Times, 8th February 2013 **** “This is a most interesting and instructive Schubert recital, performed throughout with tact and great musical intelligence” International Record Review, February 2013 “Goerne’s latest Schubert recital, mostly comprised of little-known songs, is one of the baritone’s most accomplished...German baritone animates [Erlkönig] with a wonderful range of voices and inflections: his timbre has lost none of its wraparound warmth and depth but is equally capable of tenurial lightness.” Financial Times, 15th February 2013 **** “With his dark, nutty baritone and powers of characterisation, he is a near-ideal interpreter of Erlkönig; with the sublime Haefliger as his pianist, he revels in the gentler panoramas, too.” Sunday Times, 24th February 2013 “Though often idiosyncratic, his readings are never less than thoughtful – and his original takes on well-known (and less well-known) songs frequently offer intelligent and bold new insight...Goerne and Haefliger rarely seem to break a sweat, an attitude that can sometimes come over as lack of effort...But their refined style demonstrates its own supreme skill, and there is no shortage of illumination and pleasure to be had” Graham Rogers, bbc.co.uk, 13th February 2013 “His darkly mellow baritone, soft-grained yet with reserves of power, is a perfect instrument for the pantheistic reveries and barcarolles on this new disc...even doubters might have to concede that no singer cares more than Goerne for the beauty and eloquence of Schubert's melodies” Gramophone Magazine, March 2013 “The narrative songs are perhaps the most convincing of all. Erlkönig crackles with excitement: the thrill of the chase rumbles through the piano while Goerne imbues the narrative with passion and intensity, depicting the three characters with admirably individualistic sound colours...It’s a joy that Goerne and Haefliger have given us a recital that shows off so many facets of his artistry in such an admirably skilful way.” MusicWeb International, March 2013 “This is a wonderful recital, in almost all respects. The first thing to grab my attention was the mesmerisinly lovely playing Andreas Haefliger, one of the greatest living pianists...[in Erlkönig] Haefliger's accompaniment is so vivid that I'd enjoy it by itself; Goerne doesn't characterise the three persons as much as many singers, but he still packs a stunning punch...I would rank this among the finest discs I have ever heard.” BBC Music Magazine, April 2013 ***** | 
| | | In stock - usually despatched within 1 working day. |
|
|
| |  | Schubert: 21 Lieder
Schubert: | An die Entfernte, D765 (Goethe) Auf dem Wasser zu singen, D774 Das Heimweh, D456 (Winkler) Das Lied im Grünen, D917 Das Zugenglocklein D871 (Seidl) Der Jüngling an der Quelle, D300 (Salis-Seewis) Der Jungling und der Tod, D545 (Spaun) Der Schiffer, D536 (Mayrhofer) Der Strom, D565 (poet unknown) Der Tod und das Mädchen, D531 Der Wanderer, D649 (Friedrich von Schlegel) Der Winterabend (Es ist so still), D938 Der zürnende Barde D785 (Bruchmann) Die Forelle, D550 Du bist die Ruh D776 (Rückert) Erlkönig, D328 Heidenröslein, D257 Litanei auf das Fest Allerseelen, D343 Nachtgesang D314 (Kosegarten) Sei mir gegrüsst! D741 (Rückert) Ständchen 'Horch! Horch! die Lerch!', D889 |
| | | In stock - usually despatched within 1 working day. |
|
|
| |  | Schubert: Partsongs, Auf dem Strom & Der Hirt auf dem Felsen
Schubert: | Gebet (Du Urquell aller güte) D815 (Fouqué) Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Nachthelle, D892 (Seidl) Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Gott in der Natur D757 (Kleist) Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Jünglingswonne, D983 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Ständchen 'Zögernd leise', D920/921 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Der Gondelfahrer, D809 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Psalm 23 'Gott ist mein Hirt', D706 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Gott im Ungewitter, D985 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Chor der Engel, D440 Viola Tunnard (piano) Elizabethan Singers, Louis Halsey Auf dem Strom, D943, Op. post. 119 Robert Tear (tenor), Neill Sanders (horn) & Lamar Crowson (piano) Der Hirt auf dem Felsen, D965 (Von Chezy / Muller) Suzanne Danco (soprano), Gervase de Peyer (clarinet) & Guido Agosti (piano) Die Forelle, D550 Suzanne Danco (soprano), Gervase de Peyer (clarinet) & Guido Agosti (piano) Gretchen am Spinnrade, D118 Suzanne Danco (soprano), Gervase de Peyer (clarinet) & Guido Agosti (piano) Der Musensohn, D764 (Goethe) Suzanne Danco (soprano), Gervase de Peyer (clarinet) & Guido Agosti (piano) Du bist die Ruh D776 (Rückert) Suzanne Danco (soprano), Gervase de Peyer (clarinet) & Guido Agosti (piano) |
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. “Schubert's secular choruses are among his least-known works, so a warm welcome for these charismatic performances of music beautiful enough to make you cry.” BBC Music Magazine, November 2012 ***** “This disc most delightfully extends the small number of Schubert's part-songs that has been recorded and these beautifully sung performances, very well recorded, capture the intimate spirit of music written primarily for friendly gatherings […] Robert Tear sings his part with lovely tone […] A contralto solo part woven into Ständchen is beautifully sung by Helen Watts […] this lovely disc gave me intense pleasure” Gramophone Magazine (Partsongs) “Der Hirt auf dem Felsen is marvellously clean and instrumental in execution” Gramophone Magazine (Danco) | | | (Sorry, download not available in your country) | In stock - usually despatched within 1 working day. |
|
|
| |  | Liederreise
Brahms: | Wiegenlied, Op. 49 No. 4 (Lullaby) Vergebliches Ständchen, Op. 84 No. 4 Sandmännchen, WoO 31 No. 4 Nachtgesang, WoO 32 No. 14 Och Moder, ich well en Ding han! (No. 33 from Deutsche Volkslieder, WoO. 33) Da unten im Tale (No. 6 from Deutsche Volkslieder, WoO 33) Mein Mädel hat einen Rosenmund (No. 25 from Deutsche Volkslieder, WoO 33) | Liszt: | Es muss ein Wunderbares sein, S. 314 | Mahler: | Selbstgefühl (Lieder und Gesänge aus der Jugendzeit) Rheinlegendchen (Des Knaben Wunderhorn) Aus! Aus! (Lieder und Gesänge aus der Jugendzeit) | Schubert: | Das Wandern (No. 1 from Die schöne Müllerin, D795) Der Lindenbaum (No. 5 from Winterreise, D911) Die Forelle, D550 Gretchen am Spinnrade, D118 Seligkeit D433 (Holty) Wiegenlied, D498 Erlkönig, D328 Ständchen 'Leise flehen meine Lieder', D957 No. 4 Heidenröslein, D257 | Schumann: | Widmung, Op. 25 No. 1 | Strauss, R: | Zueignung, Op. 10 No. 1 | Wolf, H: | Gebet (No. 28 from Mörike-Lieder) |
Kirchschlager amd Lehrbaumer take us on a “lieder journey” across Austria. They have included the songs which they feel particularly close to in this collection. Their survey of Austro-German Song also includes works by Schumann, Liszt and Richard Strauss. | | | In stock - usually despatched within 1 working day. |
|
|
| |  | A Romantic Songbook
Loewe, C: | Odins Meeresritt "Meister Oluf, der Schmied auf Helgoland", Op. 118 Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2 Tom der Reimer "Der Reimer Thomas lag am Bach", Op. 135a | Mendelssohn: | Frühlingsglaube Op. 9/8 Auf Flügeln des Gesanges, Op. 34 No. 2 | Schubert: | Frühlingsglaube, D686 Heidenröslein, D257 Die Forelle, D550 Im Frühling, D882 Auf der Bruck, D853 Im Abendrot, D799 Ungeduld (No. 7 from Die schöne Müllerin, D795) | Schumann: | Belsazar, Op. 57 Du bist wie eine Blume, Op. 25 No. 24 Widmung, Op. 25 No. 1 Freisinn, Op. 25 No. 2 | Strauss, R: | Zueignung, Op. 10 No. 1 Allerseelen, Op. 10 No. 8 Heimliche Aufforderung, Op. 27 No. 3 Morgen, Op. 27 No. 4 | trad.: | Londonderry Air | Wolf, H: | Auf einer Wanderung (No. 15 from Mörike-Lieder) Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder) Storchenbotschaft (No. 48 from Mörike-Lieder) |
| | | (Sorry, download not available in your country) | In stock - usually despatched within 1 working day. |
|
|
| |  | The Best of Elisabeth Schwarzkopf
anon.: | S'Schatzli Gerald Moore (piano) | Dvorak: | Songs My Mother Taught Me, Op. 55 No. 4 Gerald Moore (piano) | Humperdinck: | Abendsegen 'Abends will ich schlafen gehn' (Hänsel und Gretel) Elisabeth Grummer (Hansel) Philharmonia Orchestra, Herbert von Karajan | Lehár: | Meine Lippen sie Kussen so heiss (from Giuditta) Philharmonia Orchestra, Otto Ackermann Viljalied (from Die lustige Witwe) Philharmonia Orchestra, Otto Ackermann | Mozart: | Porgi amor (from Le nozze di Figaro) Vienna Philharmonic Orchestra, Herbert von Karajan Dove sono i bei momenti (from Le nozze di Figaro) Vienna Philharmonic Orchestra, Herbert von Karajan Come scoglio (from Così fan tutte) Philharmonia Orchestra, Herbert von Karajan In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni) Philharmonia Orchestra, Carlo Maria Giulini | Quilter: | Drink to me only Gerald Moore (piano) | Schubert: | Der Musensohn, D764 (Goethe) Edwin Fischer (piano) Gretchen am Spinnrade, D118 Edwin Fischer (piano) Die Forelle, D550 Edwin Fischer (piano) | Schumann: | Der Nussbaum, Op. 25 No. 3 Gerald Moore (piano) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) Philharmonia Orchestra, Herbert von Karajan | Strauss, R: | Wiegenlied, Op. 41 No. 1 Gerald Moore (piano)
12. Viljalied (Die Lustige Witwe:Lehár) 5:13 Da geht er hin (from Der Rosenkavalier, Op. 59) Philharmonia Orchestra, Herbert von Karajan | Zeller: | Der Obersteiger: Sei nicht bös’ from Der Vogelhändler Philharmonia Orchestra, Otto Ackermann |
| | | In stock - usually despatched within 1 working day. |
|
|
| |  | Schubert: Die Forelle - Trout Variations
“Behind impressive technical accomplishment is a mastery of letter and spirit that cogently demonstrates the depth of their understanding and supremacy in ensemble playing. Instrumental balance is always carefully adjusted, the double bass offering a distinct but not intrusive lower line...the music moves with an airy fleetness and meticulously controlled dynamics.” Gramophone Magazine, February 2012 | | | In stock - usually despatched within 1 working day. |
|
|
| |  | The Very Best of Janet Baker
Bach, J S: | Christmas Oratorio, BWV248: Bereite dich, Zion Academy of St Martin-In-The-Fields, Sir Neville Marriner | Brahms: | Alto Rhapsody, Op. 53 Sir Adrian Boult, London Philharmonic Orchestra Geistliches Wiegenlied, Op. 91 No. 2 Cecil Aronowitz (viola), André Previn | Britten: | Corpus Christi Carol Gerald Moore (piano) | Duparc: | L'Invitation au voyage London Symphony Orchestra, André Previn | Duruflé: | Requiem, Op. 9: Pie Jesu Choir of King's College Cambridge, Sir Philip Ledger | Elgar: | Sea Pictures, Op. 37 London Symphony Orchestra, Sir John Barbirolli Softly and gently, dearly-ransomed soul 'Angel's Farewell' (from The Dream of Gerontius) Sir John Barbirolli | Fauré: | Two Songs, Op. 83 Gerald Moore (piano) Clair de Lune, Op. 46 No. 2 Gerald Moore (piano) | Handel: | Messiah: He was despised English Chamber Orchestra, Sir Charles Mackerras | Mahler: | Ich bin der Welt abhanden gekommen (Rückert-Lieder) Hallé Orchestra, Sir John Barbirolli | Mendelssohn: | Elijah: O rest in the Lord New Philharmonia, Rafael Frühbeck De Burgos Auf Flügeln des Gesanges, Op. 34 No. 2 Geoffrey Parsons (piano) | Schubert: | Ave Maria, D839 Gerald Moore (piano) Gretchen am Spinnrade, D118 Gerald Moore (piano) Wiegenlied, D498 Gerald Moore (piano) Die Forelle, D550 Geoffrey Parsons (piano) Auf dem Wasser zu singen, D774 Geoffrey Parsons (piano) An die Musik D547 Geoffrey Parsons (piano) An Sylvia, D891 Geoffrey Parsons (piano) Nacht und Träume, D827 Geoffrey Parsons (piano) Heidenröslein, D257 Geoffrey Parsons (piano) Du bist die Ruh D776 (Rückert) Geoffrey Parsons (piano) | Schumann: | Mondnacht (No. 5 from Liederkreis, Op. 39) Daniel Barenboim (piano) Du Ring an meinem Finger (No. 4 from Frauenliebe und Leben, Op. 42) Daniel Barenboim (piano) | Strauss, R: | Befreit, Op. 39 No. 4 Gerald Moore (piano) Morgen, Op. 27 No. 4 Gerald Moore (piano) | Vaughan Williams: | Linden Lea Gerald Moore (piano) | Warlock: | Pretty Ring Time Gerald Moore (piano) |
Compelling for her intensity and integrity as much as for her unmistakeable voice, Dame Janet Baker struck a distinctive path as a performer, primarily on the concert and recital stage. Among her most celebrated recordings are her interpretations of Elgar with Sir John Barbirolli, here complemented by songs and oratorio arias by composers such as Bach, Handel, Schubert, Schumann, Brahms, Mahler, Strauss, Fauré, Vaughan Williams and Britten. | | | In stock - usually despatched within 1 working day. |
|
|
| |  | Schubert: Lieder
Schubert: | Ave Maria, D839 Ganymed, D544 (Goethe) Kennst du das Land (Mignons Gesang), D321 Heiss mich nicht reden, D877/2 So lasst mich scheinen, D877 No. 3 Nur wer die Sehnsucht kennt, D877/4 Liebhaber in allen Gestalten, D558 Heidenröslein, D257 Nähe des Geliebten, D162 Die Forelle, D550 Auf dem Wasser zu singen, D774 Im Abendrot, D799 Ständchen 'Horch! Horch! die Lerch!', D889 Du bist die Ruh D776 (Rückert) Gretchen am Spinnrade, D118 Gretchens Bitte D564 (Goethe) Der Hirt auf dem Felsen, D965 (Von Chezy / Muller) (with clarinet) Sharon Kam (clarinet) |
“Barbara Bonney’s Schubert recital is clear-eyed, simple and eloquent” BBC Music Magazine | | | In stock - usually despatched within 1 working day. |
|
|
| |  | Schubert: Lieder
Schubert: | Gretchen am Spinnrade, D118 Heidenröslein, D257 Lieb Minna, D222 (Stadler) Ganymed, D544 (Goethe) Geheimes, D719 (Goethe) Auf dem See, D543 (Goethe) Der Musensohn, D764 (Goethe) Suleika I, D720 Suleika II, D717 Dass sie hier gewesen! D775 (Rückert) Sei mir gegrüsst! D741 (Rückert) Du bist die Ruh D776 (Rückert) Lachen und Weinen, D777 Schlachtgesang D443 (Klopstock) An die Nachtigall, D497 Wiegenlied, D498 Am Grabe Anselmo's D504 An die Musik D547 Die Forelle, D550 Auf dem Wasser zu singen, D774 Die junge Nonne, D828 An Sylvia, D891 Ständchen 'Horch! Horch! die Lerch!', D889 |
The Lied is at the heart of Schubert’s output. Throughout his short life, and right up to the weeks immediately before his death, he took a keen interest in every aspect of this genre, which constituted the most intimate expression of the German psyche, of which Schubert was from very early on well placed to act as a vehicle for its sentiments and its torments (love, friendship, pain, loneliness), ranging widely across its joys and its sorrows in all their subtle shadings. Schubert composed quickly, occasionally writing as many as nine or ten Lieder in a single day, with a prodigious fluency that won the admiration of Schumann. A born song-writer, he loved to perform his own Lieder, accompanying himself on the piano; he admitted that he could get carried away by singing for hours on end. In Schubert’s songs, the voice is always the focus of attention, while the piano accompaniment provides a psychological backdrop. Less discriminating in his choice of poems than Schumann or Wolf, Schubert was more interested in verbal colouring and the emotional content of a text than in its literary value, and although his some six hundred Lieder are in a wide range of forms – from simple strophic songs to dramatic scenas – they are still characterised by their exceptional simplicity, freshness and spontaneity of utterance. “Arleen Auger brings her special quality of chaste intimacy to gentle, small-scale performances of 23 of Schubert's most popular songs” BBC Music Magazine, October 2010 *** | | | In stock - usually despatched within 1 working day. |
|
|
| |
|
Gramophone Magazine