Brahms: Wie Melodien zieht es mir, Op. 105 No. 1

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Lisa Della Casa in Recital

Lisa Della Casa in Recital


Brahms:

Wie Melodien zieht es mir, Op. 105 No. 1

Karl Hudez (piano)

Immer leiser wird mein Schlummer, Op. 105 No. 2

Karl Hudez (piano)

Von ewiger Liebe, Op. 43 No. 1

Karl Hudez (piano)

Ständchen, Op. 106 No. 1

Karl Hudez (piano)

Schubert:

Auf dem Wasser zu singen, D774

Karl Hudez (piano)

Im Frühling, D882

Karl Hudez (piano)

Du bist die Ruh D776 (Rückert)

Karl Hudez (piano)

Gretchen am Spinnrade, D118

Karl Hudez (piano)

Strauss, R:

Einerlei, Op. 69 No. 3

Karl Hudez (piano)

Ich wollt ein Sträusslein binden, Op. 68 No. 2

Karl Hudez (piano)

Schlechtes Wetter, Op. 69 No. 5

Karl Hudez (piano)

Befreit, Op. 39 No. 4

Karl Hudez (piano)

Vier letzte Lieder

Wiener Philharmoniker, Karl Böhm

Wolf, H:

Der Gärtner (No. 17 from Mörike-Lieder)

Karl Hudez (piano)

Begegnung (No. 8 from Mörike-Lieder)

Karl Hudez (piano)

Geh' Geliebter, geh' jetzt (No. 34 from Spanisches Liederbuch: Weltliche Lieder)

Karl Hudez (piano)

Er ist's (No. 6 from Mörike-Lieder)

Karl Hudez (piano)


Lisa Della Casa (soprano)

That Richard Strauss loved and understood the soprano voice is an inescapable fact. He was married to a soprano, Pauline de Ahna, and thus had a living laboratory for his song-writing. Even after Pauline had retired from the stage, he continued to favour sopranos in his operas and other vocal compositions. And sopranos repaid him with wonderful performances. Lisa Della Casa had only fleeting contacts with Strauss but she inherited the great tradition and after his death, she became the pre-eminent singer of his music in the 1950s and 1960s. She made the first recording of his Four Last Songs and, although many versions have jostled for our attention since then, her achievement has not been surpassed. She had the inestimable advantages of the Vienna Philharmonic and an experienced Strauss interpreter, Karl Böhm, as her partners. She and her conductor also came to the songs without preconceptions: they looked at the music and deduced from Strauss’s markings that it should not be performed too slowly. As a result, they brought a freshness to songs.

A rare recital disc recorded for Decca brings immaculate performances of music by Schubert, Brahms, Wolf and Strauss. Her purity of utterance and lack of sentimentality make for a mesmerising experience. Lisa Della Casa was in some respects a throwback to the pre-war Lieder interpreters, who did not feel the necessity to underline every word and trusted their listeners to use some imagination. We even hear her employ some old-fashioned portamento. But her clarity of enunciation and deep understanding of the German texts are models for younger singers.

“Lisa Della Casa brings notable gifts to Lieder singing, a clear and lovely voice, good intonation […] She gives great enjoyment in most of these songs” Gramophone Magazine, March 1957 (Song Recital)

“Although the performances of Strauss and Brahms are very brilliant, the most profound singing is to be found in the songs of Schubert and Wolf. Della Casa seems to be most deeply moved by them, and consequently the listener is moved as well.” Fanfare, September/October 2005 (Song Recital)

“Lisa Della Casa sings most beautifully, with pure tone and most musicianly phrasing, above all in September, which exhales a quiet and most poignant rapture. Beim Schlafengehen is as lovely […] in Im Abendrot everything is perfect. […] This is an important issue and one that no lover of Strauss’s music must miss.” Gramophone Magazine, December 1953 (Strauss: Vier letzte Lieder)

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Brahms & Schumann: Lieder

Brahms & Schumann: Lieder


Brahms:

Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59)

Meine Liebe ist grün, Op. 63 No. 5

Der Schmied Op. 19/4

Ständchen, Op. 106 No. 1

Wir wandelten, wir zwei zusammen Op. 96/2

Wie Melodien zieht es mir, Op. 105 No. 1

Wiegenlied, Op. 49 No. 4 (Lullaby)

Schumann:

Gedichte der Königin Maria Stuart, Op. 135

Lieder und Gesänge aus Goethes Wilhelm Meister, Op. 98a

Ich denke dein, Op. 78, No. 3

Hoch, hoch sind die Berge, Op. 138, No. 8 (from Spanische Liebeslieder)

Familien-Gemälde, Op. 34 No. 4

So wahr die Sonne scheinet, Op. 37, No. 12

Ich bin dein Baum, Op. 101 No. 3


Ann Murray (mezzo-soprano) with Malcolm Martineau, Hester Dickson, Benjamin Appl, John Mark Ainsley & Johnny Langridge

Brahms & Schumann: Lieder sees Dame Ann Murray, one of the great vocal artists of the past decades, return to the recording studio to perform a personal selection of Lieder.

Brahms & Schumann: Lieder, Ann’s first solo album in over a decade, will be her final Lieder recording and a fitting way to draw her long and distinguished recording career to a close.

Still a regular fixture on the opera circuit, Ann’s voice remains impressive. Following a Brahms recital at Wigmore Hall earlier this year, The Times stated: ‘Her still-penetrating mezzo was the highlight of the evening. Murray really sings through Brahms’s cantabile lines while losing nothing in theatrical awareness.’

It is difficult to imagine a singer who inspires greater affection and admiration than Ann Murray DBE. With Malcolm Martineau at the piano, this beautifully balanced programme sees Ann perform some of her favourite works by Schumann and Brahms.

The recording features Malcolm Martineau (piano) Benjamin Appl (baritone), John Mark Ainsley (tenor), Johnny Langridge (tenor & Ann’s son) and Hester Dickson (piano & Malcolm’s mother).

Ann Murray performs regularly with the Glyndebourne Festival, English National Opera, the Royal Opera and the Metropolitan Opera, New York and has been a regular guest at the BBC Proms.

A founding member of Graham Johnson’s organization, The Songmaker’s Almanac and a Jury member for the BBC Cardiff Singer of the World 2009 and Song Prize, Ann Murray is a lover of song and has been acclaimed worldwide for her own performances.

In the 2002 Golden Jubilee Queen's Birthday Honours Murray was appointed an honorary Dame Commander of the Most Excellent Order of the British Empire. She is an Honorary Doctor of Music at the National University of Ireland and an Honorary Fellow of the Royal Academy of Music.

“Murray has announced that this wil be her final Lieder recording. If indeed it proves to be so, she will be going out on a high. Her voice is obviously mature, but still in good trim...her artistic intelligence and commitment are as apparent as her skilful balance between words and notes...[Martineau] accompanies with his usual expertise and authority” BBC Music Magazine, June 2015 ****

“Murray has the art of increasing the tension without raising the volume...And given every encouragement by Malcolm Martineau's deft pianism, she brings a coquettish charm, without winsomeness, to the song of the flighty actress Philine, first cousin to Strauss's Zerbinetta.” Gramophone Magazine, March 2015

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Lisa della Casa sings Handel and Mozart

Lisa della Casa sings Handel and Mozart

Decca Most Wanted Recitals Vol. 12


Brahms:

Wie Melodien zieht es mir, Op. 105 No. 1

Karl Hudez (piano)

Immer leiser wird mein Schlummer, Op. 105 No. 2

Karl Hudez (piano)

Von ewiger Liebe, Op. 43 No. 1

Karl Hudez (piano)

Ständchen, Op. 106 No. 1

Karl Hudez (piano)

Handel:

Giulio Cesare – Arias and scenes

sung in German

Wiener Philharmoniker, Heinrich Hollreiser

Mozart:

Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni)

Wiener Philharmoniker, Heinrich Hollreiser

Schubert:

Auf dem Wasser zu singen, D774

Karl Hudez (piano)

Im Frühling, D882

Karl Hudez (piano)

Du bist die Ruh D776 (Rückert)

Karl Hudez (piano)

Gretchen am Spinnrade, D118

Karl Hudez (piano)

Strauss, R:

Einerlei, Op. 69 No. 3

Karl Hudez (piano)

Ich wollt ein Sträusslein binden, Op. 68 No. 2

Karl Hudez (piano)

Schlechtes Wetter, Op. 69 No. 5

Karl Hudez (piano)

Wolf, H:

Der Gärtner (No. 17 from Mörike-Lieder)

Karl Hudez (piano)

Begegnung (No. 8 from Mörike-Lieder)

Karl Hudez (piano)

Geh' Geliebter, geh' jetzt (No. 34 from Spanisches Liederbuch: Weltliche Lieder)

Karl Hudez (piano)

Er ist's (No. 6 from Mörike-Lieder)

Karl Hudez (piano)


Lisa della Casa (soprano)

“stylistic approaches to Hande's Giulio Cesare may have moved on...but her Lieder singing...remains treasurable in its tonal and textual expertise.” BBC Music Magazine, June 2014 ***

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Brahms: The Complete Songs Volume 4 (Robert Holl)

Brahms: The Complete Songs Volume 4 (Robert Holl)


Brahms:

An die Nachtigall, Op. 46 No. 4 (Text: L.C.H. Hölty)

Schwermut, Op. 58 No. 5

Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59)

Heimweh, Op. 63 No. 8

Heimweh I, Op. 63 No. 7

Heimweh III, Op. 63 No. 9

Alte Liebe, Op. 72 No. 1

Sommerfäden, Op. 72 No. 2

O kühler Wald, Op. 72 No. 3

Verzagen, Op. 72 No. 4

Todessehnen ('Ach, wer nummt von meiner Seele'), Op. 86 No. 6

Lieder (5), Op. 94

Komm bald, Op. 97 No. 5 (Groth)

Wie Melodien zieht es mir, Op. 105 No. 1

Auf Dem See op.106 No.2

Maienkätzchen, Op. 107 No. 4

Vier ernste Gesänge, Op. 121


Robert Holl (bass-baritone) & Graham Johnson (piano)

Graham Johnson’s latest Lieder project for Hyperion reaches its fourth volume. Brahms is of course a giant of the Romantic era but his songs and vocal works are rather less well known than much of his other music. There is so much to discover and enjoy in the beautiful, often elegiac melodies and characteristic piano writing.

In some of these recitals an opus number will be presented in its entirety: here it is the songs of Op 94, as well as the Vier ernste Gesänge of Op 121. The singer is the bass-baritone Robert Holl, acclaimed as simply one of the most profound artists of the genre and recently praised for the ‘unparalleled depth and complexity’ of his live performance (The Independent).

“Holl's true bass register resonates eloquently with this programme of very serious songs...Holl has the ability to draw the listener in...For the Four Serious Songs themselves, Holl brings a deep sense of empathetic humanity to the live, deeply felt and thoughtfully reasoned inner monologues which he makes of them.” BBC Music Magazine, November 2012 ****

“Holl fields a bass-baritone of slightly grizzled nobility, with impressive sonorous depth...he catches all the terrible nihilism and life-weariness of the first two songs and the opening of the third...Johnson's fastidiously textured playing, like his detailed commentaries, is always illuminating...But be prepared for a protracted Brahmsian gloomfest.” Gramophone Magazine, November 2012

“Holl's voice, reminiscent of Fischer-Dieskau's but rather more of a real bass...is rich, true and resonant. He uses it simply, without self-conscious artifice, and the result is some very beautiful singing. Johnson's accompeniment is always skilled and perceptive...This disc, while the whole recital has notable integrity and quality, would be worth having for [the Four Serious Songs] alone.” International Record Review, September 2012

“Holl, here approaching his mid-sixties, is still a flexible and nuanced singer with the ability to lighten the tone when appropriate. In spite of a long operatic career with often heavy roles - he has been a regular at Bayreuth since 1996 - the voice is largely unscathed and the tone noble...[Johnson] is the ever-flexible partner in what is a duo of equal merits.” MusicWeb International, January 2013

“[Holl is] dark-toned, at times to the point of grittiness, and you might find your admiration for the emotional truth of his singing offset by moments of unwieldiness and an occasional pulse in his tone. It works best if you listen selectively...The effect is awesome, but makes for difficult listening.” The Guardian, 13th September 2012 ***

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The Flagstad Recitals Volume 1

The Flagstad Recitals Volume 1

Schubert, Brahms, Schumann, Wolf & Strauss - Lieder


Brahms:

Vier ernste Gesänge, Op. 121

Treue Liebe, Op. 7, No. 1

Am Sonntag Morgen Op. 49 No. 1

Auf dem Kirchhofe, Op. 105 No. 4

Wie Melodien zieht es mir, Op. 105 No. 1

Alte Liebe, Op. 72 No. 1

Bei dir sind meine Gedanken (No. 2 from Sieben Lieder, Op. 95)

Wir wandelten, wir zwei zusammen Op. 96/2

Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59)

Schubert:

Dem Unendlichen, D291 (Klopstock)

Erlkönig, D328

Am Grabe Anselmos D504

Des Mädchens Klage D191b

Ave Maria, D839

Schumann:

Der Nussbaum, Op. 25 No. 3

Die Soldatenbraut Op. 64 No. 1

Meine Rose, Op. 90 No. 2

Liebeslied, Op. 51 No. 5

Die Lotosblume, Op. 25 No. 7

Widmung, Op. 25 No. 1

Lust der Sturmnacht, Op. 35 No. 1

In der Fremde (No. 1 from Liederkreis, Op. 39)

Zum Schluß, Op. 25 No. 26

Previously Unpublished

Sinding:

Leit etter livet og liv det! Op. 55, No. 5

Sylvelin, Op. 55, No. 1

Der skreg en fugl, Op. 18, No. 5

Den Jomfru gik i valmu-Vang? Op. 50, No. 5

Strauss, R:

Befreit, Op. 39 No. 4

Mit deinen blauen Augen, Op. 56 No. 4

Lob des Leidens, Op. 15 No. 3

Ich trage meine Minne, Op. 32 No. 1

Ständchen, Op. 17 No. 2

Geduld Op. 10 No. 5

Wolf, H:

Gesang Weylas (No. 46 from Mörike-Lieder)

Gebet (No. 28 from Mörike-Lieder)

Über Nacht Lieder aus der Jugendzeit

Der Freund (No. 1 from Eichendorff-Lieder)

Heb’ auf dein blondes Haupt (No. 18 from Italienisches Liederbuch)

Anakreons Grab (No. 29 from Goethe-Lieder)

Morgenstimmung

Zur Ruh, zur Ruh!


Kirsten Flagstad (soprano) & Edwin McArthur (piano)

The first of four 2-CD “Flagstad Recitals” features Kirsten Flagstad in Brahms and Schubert on CD1 as well as CD premieres of songs by Schumann (including her previously unpublished “Zum Schluss”), Strauss, Wolf and Sinding on CD2. Her great power and control placed her among those with the natural capacity for success in the ‘big’ songs with its special thrill, but there is no want of gentleness in the quieter ones. The American critic, Virgil Thomson, probably spoke for the whole audience when he wrote on Flagstad’s return to the United States in 1947: ‘Never in this writer’s concert-going lifetime has there been available any other vocal artistry of such sumptuous natural acoustics, such perfect technical control and such sound musicianship’.

"Throughout, one is stirred by the sheer beauty of the sound." Gramophone

“deeply felt … wonderfully radiant tone … very touching” [Brahms] “the operatic drama of Der Erlkönig is as memorable as the gently ravishing cantilena of Am Grabe Anselmos” The Penguin Guide to Bargain Compact Discs

"…worth having for the Wolf group alone." Gramophone

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Alexander Hülshoff plays Shostakovich, Brahms & Bloch

Alexander Hülshoff plays Shostakovich, Brahms & Bloch


Bloch, E:

From Jewish Life

Méditation hébraïque

Nigun (Baal Shem No. 2)

Brahms:

Wie Melodien zieht es mir, Op. 105 No. 1

Shostakovich:

Viola Sonata, Op. 147


Alexander Hülshoff (cello) & Andreas (piano)

Shostakovich’s sonata is the final work of a mortally ill composer, full of enigmatic hints, echoes and reminiscences. In contrast, Bloch’s compositions are examples of self-confident national art with a predilection for a meditative underlying mood.

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Heifetz Transcriptions

Heifetz Transcriptions


Includes:

Albéniz:

Sevilla (from Suite Española, Op. 47)

Bach, J S:

Cello Suite No. 3 in C major, BWV1009: Sarabande

Brahms:

Wie Melodien zieht es mir, Op. 105 No. 1

Castelnuovo-Tedesco:

Tango

Sea Murmurs

Debussy:

Prélude à l'après-midi d'un faune

Gershwin:

Preludes (3)

Khachaturian:

Sabre Dance from Gayane

Medtner:

Skazka (Fairy Tale), Op. 20 No 1 in B flat minor

Mendelssohn:

Song without Words, Op. 19b No. 1 in E major 'Sweet Remembrance'

Milhaud:

Brazileira from Scaramouche

Mozart:

Adagio for Violin and Orchestra in E, K261

Ponce, M:

Estrellita

Prokofiev:

March, Op. 12 No. 1

Rachmaninov:

Daisies, Op. 38 No. 3

Oriental Sketch (1917)

Rimsky Korsakov:

Flight of the Bumble Bee


Ruben Aharonian (violin), Svetlana Safonova (piano)

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Romantic Cello

Romantic Cello


Brahms:

Feldeinsamkeit, Op. 86 No. 2

arr. for cello and piano

Wie Melodien zieht es mir, Op. 105 No. 1

arr. for cello and piano

Sapphische Ode, Op. 94 No. 4

arr. for cello and piano

Wiegenlied, Op. 49 No. 4 (Lullaby)

arr. for cello and piano

Liebestreu, Op. 3 No. 1

arr. for cello and piano

Minnelied Op. 71 No. 5

arr. for cello and piano

Schubert:

Sonata in A minor 'Arpeggione', D821

Schumann:

Fantasiestücke, Op. 73

Stücke im Volkston (5), Op. 102

Strauss, R:

Romance for cello and piano in F Major, AV 75


David Geringas (cello) & Tatjana Geringas (piano)

‘Romantic Cello’ is the title of ES-Dur’s special compilation released for the 70th birthday of the eminent Lithuanian cellist David Geringas. It features works from the early to late romantic periods - by Schubert, Schumann, Brahms and Richard Strauss.

The cellist’s wife, pianist Tatjana Geringas, was an ideal and passionate duet partner for 42 years. Even back in their Moscow Conservatory days - David Geringas with Mstislav Rostropovich, Tatjana Schatz in the master classes of Heinrich and Stanislav Neuhaus - the pair realised their joint destiny. After relocating from the Soviet Union to West Germany in 1975, the duo continued making music together and the composers here formed a major part of their joint repertoire.

Schubert’s Sonata for Arpeggione and Piano was composed in 1824 especially for the then new ‘guitare d’amour’ - a six-stringed instrument designed for playing in quartets. The work is often played on the violin or the viola, but the sound and the tonal range of the cello is evidently more comparable and has a wonderful songlike quality.

In the “most fruitful” year of his life, 1849, Robert Schumann composed two works which feature on the present recording: Fantasy Pieces op. 73 for clarinet (or cello), and the uniquely original Fünf Stücke im Volkston for cello and piano op. 102.

Brahms’s six Song transcriptions for cello and piano were published in 1896, a year before the composer’s death. These selected Lieder encompass the entire output of piano songs from the very first published songs, through to the Lieder of his final years. The 19-year-old Richard Strauss wrote Romance in F major for cello and piano in 1883 for his uncle, the magistrate Anton Ritter von Knözinger, reputedly an accomplished cellist.

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Kuss Quartet, play Brahms & Schoenberg

Kuss Quartet, play Brahms & Schoenberg


Brahms:

String Quartet No. 3 in B flat major, Op. 67

Wie Melodien zieht es mir, Op. 105 No. 1

Mojca Erdmann (soprano)

Sommerabend, Op. 85 No. 1

Mojca Erdmann (soprano)

Mondenschein, Op. 85 No. 2

Mojca Erdmann (soprano)

Schoenberg:

String Quartet No. 2 in F sharp minor, Op. 10


Kuss Quartet

The Kuss Quartet’s fourth ONYX album is a programme of Brahms and Schoenberg, and they are joined by the German soprano Mojca Erdmann in three Brahms Lieder, and the 2nd of Schoenberg’s four string quartets.

After composing his First Chamber Symphony Op.9 in 1907, Schoenberg wrote "Now I have established my style I know now how I have to compose" However his next work showed a great deviation in style, and tonality is tenuous is the extreme – Schoenberg bids tonality farewell in this extraordinary composition. Setting Stefan George’s poems ‘Litanei’ and ‘Entrücking’, the 2nd Quartet caused a scandal. At the first performance "all hell broke loose" wrote the composer "'Stop it! Stop it! We have had enough!' shouted a well known critic. It was then that people forgot their drawing room manners. Part of the audience joined in the riot …not much of the music penetrated the noise" Brahms’s intense concentrated musical thinking heavily influenced Schoenberg. Like the younger composer however, Brahms was very much "a natural continuer of properly understood good old tradition" (Schoenberg’s words describing his own music) and his 3rd Quartet harks back to the classicism of Mozart, especially the ‘Hunt’ Quartet, also in B flat major.

“The players bring enormous finesse to this music, which can change in a moment from cobwebby, dreamlike sounds to an almost orchestral depth and richness. Soprano Mojca Erdmann is best known for singing Mozart, and some might find her too light voiced for Brahms. But her exquisite pearly sound is just right for Schoenberg’s tranced intensity.” The Telegraph, 5th November 2016

“The Kuss Quartet artfully exploits its disruptive mischief and innate asymmetry … Wit lights up this account, every joke perfectly timed, every nuance explored … Mojca Erdmann…is in her element for three Brahms songs, sung with touching simplicity and radiant focus.” BBC Music Magazine, January 2017

“[The Kuss] impart to the [Schoenberg] a persuasive sense of the composer wrestling with his material, struggling to bend it into Brahmsian shames until the music pulls him where he dared not go. Mojca Erdmann is on commanding form and well placed within the body of the quartet as a fifth voice…an ensemble to pay attention to” Gramophone Magazine, January 2017

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Grace Bumbry: Singers of the Century

Grace Bumbry: Singers of the Century

Aria & Song Recital


Bizet:

Près des remparts de Séville (Séguedille) (from Carmen)

Radio Orchestra Berlin, Janos Kulka

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Erik Werba (piano)

En vain pour éviter les réponses amères (from Carmen)

Erik Werba (piano)

Brahms:

Der Tod, das ist die kühle Nacht, Op. 96 No. 1

Erik Werba (piano)

Sapphische Ode, Op. 94 No. 4

Erik Werba (piano)

Vergebliches Ständchen, Op. 84 No. 4

Erik Werba (piano)

Wie Melodien zieht es mir, Op. 105 No. 1

Erik Werba (piano)

Gluck:

Che faro' senza Euridice? (from Orfeo ed Euridice)

Radio Orchestra Berlin, Janos Kulka

Che puro ciel (Orfeo ed Euridice)

Radio Orchestra Berlin, Janos Kulka

Gounod:

Ô ma lyre immortelle (from Sapho)

Radio Orchestra Berlin, Janos Kulka

Liszt:

Es muss ein Wunderbares sein, S. 314

Erik Werba (piano)

Mascagni:

Voi lo sapete o mamma (from Cavalleria rusticana)

Erik Werba (piano)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Radio Orchestra Berlin, Janos Kulka

Schubert:

An die Musik D547

Erik Werba (piano)

Die junge Nonne, D828

Erik Werba (piano)

Litanei auf das Fest Allerseelen, D343

Erik Werba (piano)

Rastlose Liebe, D138

Erik Werba (piano)

Der Doppelgänger D957 No. 13

Erik Werba (piano)

Strauss, R:

Zueignung, Op. 10 No. 1

Erik Werba (piano)

Ständchen, Op. 17 No. 2

Erik Werba (piano)

Die Georgine Op. 10 No. 4

Erik Werba (piano)

Sehnsucht Op. 32 No. 2

Erik Werba (piano)

Tchaikovsky:

Adieu, forêts (from Jeanne d'Arc)

Radio Orchestra Berlin, Janos Kulka

Verdi:

O don fatale (from Don Carlo)

Erik Werba (piano)

Wolf, H:

Anakreons Grab (No. 29 from Goethe-Lieder)

Erik Werba (piano)

Schlafendes Jesuskind (No. 25 from Mörike-Lieder)

Erik Werba (piano)

Verborgenheit (No. 12 from Mörike-Lieder)

Erik Werba (piano)


Grace Bumbry (soprano)

Grace Bumbry is considered one of the leading mezzo-sopranos of her generation, as well as a major soprano for many years. She was a member of a pioneering generation of singers who followed Marian Anderson (including Leontyne Price, Martina Arroyo, Shirley Verrett and Reri Grist) in the world of classical music and paved the way for future African-American opera and classical singers. She was particularly noted for her fiery temperament and dramatic intensity on stage. All titles on this recital of arias and songs show a voice rich and sizable with a wide range, and the capabilty of producing a very distinctive plangent tone. It is Bumbry in her prime of youth equally thrilling in her interpretation of lyrical and dramatic opera scenes and the very different art of interpretring the songs of Richard Strauss, Franz Schubert, Johannes Brahms and Hugo Wolf, with a strikingly clear diction. The portrait of a great singer with many facets! All titles have been digitally remastered in 24 Bit High Definition.

Jube - JUBE1396

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