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See Terms & Conditions for p&p rates. | |  | Andreas Scholl: Wanderer
Brahms: | In stiller Nacht (No. 42 from Deutsche Volkslieder, WoO 33) Es ging ein Maidlein zarte (No. 21 from Deutsche Volkslieder, WoO 33) Mein Mädel hat einen Rosenmund (No. 25 from Deutsche Volkslieder, WoO 33) All mein Gedanken, die ich hab (No. 30 from Deutsche Volkslieder, WoO 33) Da unten im Tale (No. 6 from Deutsche Volkslieder, WoO 33) Gut'n Abend, gut'n Abend, mein tausiger Schatz (No. 4 from Deutsche Volkslieder, WoO 33) Intermezzo in A major, Op. 118 No. 2 piano solo | Haydn: | The Wanderer, Hob. XXVIa:32 Recollection, Hob. XXVIa:26 Despair, Hob. XXVIa:28 | Mozart: | Das Veilchen, K476 Abendempfindung an Laura, K523 Rondo in F major K494 piano solo Ridente la calma, K152 | Schubert: | German Dance D145 No. 6 in B minor piano solo Im Haine, D738 Abendstern, D806 An Mignon D161 Der Tod und das Mädchen, D531 Der Jüngling auf dem Hügel, D702 Ave Maria, D839 Du bist die Ruh D776 (Rückert) |
A new and exquisite collection of German songs from counter-tenor Andreas Scholl, providing a perfect balance between text and music. The choice of music reflects Scholl’s belief that music need not be confined in performance to a particular voice type, as long as “the singer’s approach is true.” Scholl pulls off a bravura display in Schubert’s An Mignon, singing in both the counter-tenor and baritone register. The performance of these songs reveals an intuitive understanding between singer and accompanist, Andreas Scholl and Tamar Halperin. “Scholl is seeking out that place in German Lieder where folksong seems to transmute into art song: simplicity is all, and the Brahms songs are performed with virtually no interpretative gloss, allowing words to speak purely through the register and harmonic underlay of their setting.” BBC Music Magazine, January 2013 **** “Scholl brings the same commitment to the Classical and Romantic repertory as he does to Purcell and Dowland. His priorities, as he states on the packaging, are 'simplicity and sincerity'...As a recitalist, Scholl is less a story-teller than a weaver of spells, unleashing a fully conceived emotional state and sustaining it.” Gramophone Magazine, January 2013 “On one level Wanderer gives the listener abundant pleasure...Scholl’s diligent phrasing, purity of tone and lack of tricks bring...rewards...His piano partner, Tamar Halperin, is deft and poetic...Listen a little deeper, though, and limits to this pleasure emerge. Up at the top of Scholl’s register the more the voice seems trapped in a narrow pipe with no room for clear articulation of words or subtle changes of colour and weight.” The Times, 2nd November 2012 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Guitar - Greatest Works
Albéniz: | Córdoba (from Chants d’Espagne Op. 232) Sevilla (from Suite Española, Op. 47) | Beethoven: | Adelaide, Op. 46 | Brahms: | Wiegenlied, Op. 49 No. 4 (Lullaby) | Debussy: | Golliwog's Cakewalk (from Children's Corner) | Falla: | Polo (No. 7 from Siete canciones populares españolas ) Canción (No. 6 from Siete canciones populares españolas) El sombrero de tres picos: Danza del molinero (farruca) | Fürstenau, C: | Pieces (12) for flute & guitar, Op. 34: excerpts | Galilei, V: | Counterpoint for two guitars | Marais, M: | Les Folies d'Espagne, 32 Variations pour flûte seule | Martin, F: | Quatre Pieces Breves | Mendelssohn: | Auf Flügeln des Gesanges, Op. 34 No. 2 | Mozart: | Abendempfindung an Laura, K523 | Narvaez: | Diferencias on Guardame las Vacas Tres diferencias por otra parte Canción del Emperador (sobre "Mille Regretz" de Josquin des Prez) Baxa de contrapunto | Paganini: | Sonata for violin & guitar in A major, Op. 3 No. 1, MS 27/1 Sonata for violin & guitar in A major, Op. 3 No. 5, MS 27/5 Sonata for violin & guitar in E minor, Op. 3 No. 6 | Rodrigo: | Invocación y danza | Schubert: | Ständchen 'Leise flehen meine Lieder', D957 No. 4 Der Unglückliche, D713 | Sor: | L'Encouragement, Op. 34 | Vivaldi: | Trio Sonata for Violin, Lute and Basso Continuo in C major, RV 82 |
Klaus & Rainer Feldman, Monika & Jurgen Rost, Eckart Haupt & Christian Funke 2CDs for price of 1 This comprehensive collection includes works for two guitars, solo guitar, flute and guitar and violin and guitar. | | | In stock - usually despatched within 1 working day. |
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| |  | Lorraine Hunt Lieberson - Recital at Ravinia
Brahms: | Unbewegte laue Luft (No. 8 from Acht Lieder und Gesänge, Op. 57) Ruhe, Süßliebchen (No. 9 from Deutsche Volkslieder, WoO 33) Von ewiger Liebe, Op. 43 No. 1 | Burleigh, H T: | Deep River | Debussy: | Trois chansons de Bilitis | Handel: | La Lucrezia "O Numi eterni", Cantata HWV 145 Son nata a lagrimar (from Giulio Cesare) with Drew Minter | Mozart: | Dans un bois solitaire, K308 Als Luise die Briefe, K520 Abendempfindung an Laura, K523 Die ihr des unermeßlichen Weltfalls - Kantate, K619 | Telson: | Calling You |
Two years before she died, Lorraine Hunt Lieberson gave this recital focusing on the theme of ‘love’ at the Ravinia Festival in Illinois. In this live recording, she displays her own very special sense of drama in a programme ranging over several centuries and covering every facet of this universal emotion, accompanied by an eminent partner, the pianist Peter Serkin. “Peter Serkin brings special qualities to the Brahms group… while his delicacy in Debussy's Trois Chansons de Bilitis is magical. Lorraine Hunt Lieberson equals him in her musical insight and in her complete security of approach to her own instrument. Her huge potential range of dynamics allows her to shape each song individually, while her poised understating of Pierre Louÿ's Debussyan texts makes them infinitely suggestive.” BBC Music Magazine, March 2009 **** “Recorded at the Ravinia Festival two years before her death, this recital of ecstatic, grave and elegant love songs is a testament to the late Lorraine Hunt Lieberson’s interpretive intelligence...Hunt Lieberson’s intoxicating mezzo slides through several centuries of musical styles…” The Independent on Sunday, 22nd February 2009 “She truly was one of the great singers of our time… what we hear now reaffirms it. The performance of the Lucretia cantata alone would be sufficient. …Hunt Lieberson brings nobility to the full range of emotions and … an extraordinary sense of identifications with the suffering woman. The voice itself was a noble instrument: warm, full-bodied and seamless in its passage over the vocal registers.” Gramophone Magazine, July 2009 “This heart-rending recording commemorates one of the few truly great singers of
our time – the American mezzo-soprano Lorraine Hunt Lieberson who died from breast cancer in 2006 at the age of 52. Like Kathleen Ferrier, whose fate she shared, Hunt Lieberson's voice has a distinctive
viola-ish timbre which made it peculiarly suited to the expression of deep and melancholy emotion. In this overwhelmingly intense live recital, sensitively accompanied by Peter Serkin, she sings Brahms and
Mozart lieder, Handel's dramatic cantata Lucrezia, Debussy's Chansons de Bilitis, and an almost unbearably moving account of the spiritual Deep River. It's hard to listen without weeping.” The Telegraph, 7th April 2009 ***** “The American mezzo-soprano Lorraine Hunt Lieberson gave this recital two years before she died in 2006. It shows this revered artist at her ardent and emotional best. She always prized the spontaneity of live performance above all and this CD captures her vitality and warmth, and her audible rapport with an audience.” The Observer, 5th April 2009 | | | In stock - usually despatched within 1 working day. |
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| |  | Mozart - Lieder & Klavierstücke
Mozart: | Die Verschweigung, K518 Das Lied der Trennung, K519 Wie unglücklich bin ich nit K147 Sei du mein Trost, K391 Fantasia in D minor, K397 Lied zur Gesellenreise, K468 Die betrogene Welt, K474 Gigue in G Major, K574 Sehnsucht nach dem Frühlinge, K596 Im Frühlingsanfang, K597 Das Veilchen, K476 Rondo in F major K494 Das Traumbild, K.530 Dans un bois solitaire, K308 Sechs Variationen in G-Dur, K180 ("Mio caro Adone") An Chloë, K524 Die Zufriedenheit, K473 Abendempfindung an Laura, K523 |
Werner Güra (tenor) & Christoph Berner (fortepiano Streicher) After their highly personal exploration of the Romantic lied,Werner Güra and Christoph Berner now turn to a less well-known repertoire with this selection of vocal and instrumental works. Songs for voice and piano occupied Mozart almost throughout his career as a composer. Between the first extant song, An die Freude K53, written in the autumn of 1768, and the last three completed in January 1791, there are around thirty more works in the genre, which are spread irregularly over his different creative periods.A dominant position is occupied by the year 1787, in which nearly a third of his total song output is concentrated. The Rondo in F major K494 of June 1786 is seldom played in its original version, namely as a separate piano piece. Mozart later extended this graceful work by a few bars, changed the tempo marking, and used it in this form as the final movement of his Piano Sonata K533. Scarcely better known is the 'kleine Gigue' in G major K574.While the rondo is typical of the musical fashions of Mozart's time, the gigue harks back to the long-vanished era of Bach and Handel. In this piece Mozart goes so far as to appropriate a theme from one of Handel's harpsichord suites.Traces of Mozart's legendary skill in keyboard improvisation may be found in the Fantasia in D minor K397 (1782), which is now among his most frequently played piano works.The Six Variations in G major K180 are based on a theme from the Act II finale of Antonio Salieri's opera La fiera di Venezia, with which Mozart probably became acquainted in Vienna in the summer of 1773. As a lieder interpreter Werner Güra gives recitals at the Wigmore Hall in London, the Amsterdam Concertgebouw, Lincoln Center in New York, the Barcelona Schubertiade and the Schubertiade Schwarzenberg.Among his successful recordings for harmonia mundi are programmes of Schubert, Schumann and Wolf - all selected as Editor's Choice by Gramophone magazine. “Werner Gürna makes real performance art of the slightest ditty. Christoph Berner, on his sweet-toned Streicher fortepiano, is intimately attuned to every nuance.” BBC Music Magazine, May 2008 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Mozart Lieder
Mozart: | Die kleine Spinnerin, K531 An Chloë, K524 Als Luise die Briefe, K520 Das Lied der Trennung, K519 Wie unglücklich bin ich nit K147 Die Zufriedenheit, KV125 Oiseaux, si tous les ans, K307 Dans un bois solitaire, K308 Die Zufriedenheit, K473 An Die Bescheidenheit K392 Sei du mein Trost, K391 An die Hoffnung, K390 Die betrogene Welt, K474 Die Zufriedenheit,K.349 Komm, liebe Zither, K351 Ridente la calma, K152 Das Veilchen, K476 An die Freude, K53 Abendempfindung an Laura, K523 |
Bente Vist (soprano) & Henrik Metz (piano) Mozart created masterpieces in virtually all the established genres. We know him as symphonist, writer of a great many concertos, especially for piano, and a unique and very productive opera composer. His sublime chamber music was written for numerous ensembles, and he composed dozens of the most beautiful serenades and divertimentos. But as a lied composer he is perhaps rather neglected, perhaps because in the minds of many music lovers the German lied is a phenomenon that came into being with Franz Schubert some decades after Mozart’s death in 1791. In fact, Mozart wrote about thirty lieder, fourteen of which were published during his lifetime. It is hardly too much to say that he was also the most important lied composer of his day. | 
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| |  | Insomnia: A nocturnal voyage in song
Bennett, R R: | Dream-Song | Debussy: | Nuit d'étoiles | Fauré: | Clair de Lune, Op. 46 No. 2 Mandoline, Op. 58 No. 1 (Verlaine) Sérénade toscane Op. 3 No. 2 | Gounod: | Viens! Les gazons sont verts | Liszt: | O quand je dors (Hugo), S282 | Mozart: | Abendempfindung an Laura, K523 | Ravel: | Le Grillon (from Histoires naturelles) | Schubert: | Auf der Bruck, D853 | Schumann, Clara: | Der Mond kommt still gegangen | Strauss, R: | Morgen, Op. 27 No. 4 | Vaughan Williams: | Tired | Warlock: | The Night | Wolf, H: | Um Mitternacht (No. 19 from Mörike-Lieder) Schon streckt' ich aus (No. 27 from Italienisches Liederbuch) Nicht länger kann ich singen (No. 42 from Italienisches Liederbuch) Und steht Ihr früh am Morgen auf (No. 34 from Italienisches Liederbuch) | Yiu: | Sonnet |
For his solo debut on disc, William Berger has devised an ingenious sequence of 17 songs describing a sleepless night experienced by a man who reflects on his love for an unnamed woman. From Viennese classicism to fin-de-siècle Romanticism, shadowy English pastoral to the contemporary worlds of Richard Rodney Bennett and Raymond Yiu, this wide-ranging programme is brought to nuanced life by this outstanding young baritone. The indefatigable Iain Burnside provides lucid and imaginative accompaniment. Together, their performances vividly capture the full gamut of nocturnal emotions. A graduate and Associate of the Royal Academy of Music in London, Berger is a former member of the Young Singers Programme at English National Opera. Recent engagements include singing Aeneas to Susan Graham's Dido, on tour in California, and his recital debut at the Lucerne International Festival. Pianist Iain Burnside has forged a worldwide reputation through his commitment to song repertoire and his collaborations with leading international singers. “[the programme] plays out its chronological narrative – songs depicting specific hours of a sleepless night – with logical and psychological inevitability...Berger sustains a magnetic affection throughout the varied sequence, aided by Iain Burnside’s deft pianism.” The Scotsman, 30th July 2012 **** “Berger is a gem of a singer” Los Angeles Times “Burnside handles everything with aplomb and insight'” Sunday Times “His tone is beautiful, his technique immaculate. He does extraordinary things with breath control in Oh! Quand Je Dors and Wolf's Um Mitternacht, and his sense of line is exceptional...Iain Burnside is wonderfully responsive to his shifts in mood and style. An idiosyncratic disc, but very fine.” The Guardian, 9th August 2012 **** “You’ll be beguiled by Berger’s voice and entranced by the more left-field musical choices...Songs by Wolf and Liszt dominate post-midnight, and after Morgen we get a couple of encores, including a tiny Gounod number sufficiently breezy to banish the introspective mood and leave one feeling invigorated, not depressed.” The Arts Desk, 8th September 2012 “[Burnside] is unfailingly sensitive and powerfully communicative throughout. The dreamy undulations of Mandoline are a knockout, as is the gently suggestive accompaniment to Wolf’s Um Mitternacht, to name but two examples.” MusicWeb International, October 2012 “Berger has a warm, resonant baritone and an hour spent in its company is a pleasurable experience … the partnership between Berger and Iain Burnside yields some fine performances.” Gramophone Magazine, November 2012 “Much in this recital gives satisfaction and pleasure. First of all comes the sound of the voice, warm, full, smoothly emitted and steady. One notes too the use of legato, enabling lines and notes to flow” International Record Review, December 2012 “Berger's grainy baritone is pleasing more than awe-inspiring...But he communicates with keen enthusiasm, and his word-lively Mozart Abendempfindung immediately draws the listener in to this artfully selected and ordered programme. With Iain Burnside as accompanist, there are light-filled starry nights aplenty” BBC Music Magazine, February 2013 *** | | | Usually despatched in 3 - 4 working days. |
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| |  | Mezzo MoonLieder & Songs
Brahms: | Nachtwandler, Op. 86 No. 3 | Mozart: | Abendempfindung an Laura, K523 | Nielsen: | Sænk kun dit Hoved, du Blomst, Op. 21 (FS 42), Book 2 No. 1 | Reger: | Schlichte Weisen, Op. 76 (selection) Des Kindes Gebet, Op. 76 No. 22 | Respighi: | Notte, P. 97 No. 1 | Schubert: | Litanei auf das Fest Allerseelen, D343 Nacht und Träume, D827 Ständchen 'Leise flehen meine Lieder', D957 No. 4 Wiegenlied, D498 | Schumann: | Mondnacht (No. 5 from Liederkreis, Op. 39) Du bist wie eine Blume, Op. 25 No. 24 | Strauss, R: | Die Nacht, Op. 10 No. 3 Morgen, Op. 27 No. 4 | Wagner: | Der Engel (No. 1 from Wesendonck-Lieder) Träume (No. 5 from Wesendonck-Lieder) | Weyse: | Natten er så stille from Prinsesse Isabella | Zemlinsky: | Süße, süße Sommernacht |
Pia Heise - a rare talent nurtured by world leading accompanist, Roger Vignoles, has her first CD released featuring a beautiful selection of music which has a theme of the night running through it. “Heise has an attractive voice and sings with appealing candour. Roger Vignoles is an attentive, vastly experienced accompanist. Yet it is hard to suppress the feeling that this debut recital is premature...In both [Danish] songs she sings with a confidence and a mezzo glow in the tone that can seem inhibited in the familiar German songs...As yet her characterisation is cautious, generalised, with no illumination of individual words and phrases.” Gramophone Magazine, Awards Issue 2012 | | | (also available to download from $10.50) | Usually despatched in 4 - 5 working days. (Available now to download.) |
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| |  | Jana Büchner: Thoughts of Love
Lewy: | Freundschaft oder Liebe, Op. 7 | Mendelssohn: | Neue Liebe, Op. 19a No. 4 Auf Flügeln des Gesanges, Op. 34 No. 2 Andres Maienlied (‘Hexenlied') Op. 8/8 | Mendelssohn, Fanny: | Warum sind denn die Rosen so blass, Op. 1 No. 3 (Text: Heinrich Heine) Dämmrung senkte sich von oben (Text: Johann Wolfgang von Goethe) Nacht ist wie ein stilles Meer | Mozart: | Dans un bois solitaire, K308 Das Traumbild, K.530 Als Luise die Briefe, K520 Das Veilchen, K476 Fragment in E flat major, K. 307b (reconstructed by John Humphries): Allegro Abendempfindung an Laura, K523 | Schubert: | Rastlose Liebe, D138 Du bist die Ruh D776 (Rückert) Lachen und Weinen, D777 Erster Verlust, D226 (Goethe) Nähe des Geliebten, D162 Auf dem Strom, D943, Op. post. 119 Lied der Delphine, D857 No. 1 |
Jana Büchner (soprano), Hans-Pieter Fieber (horn) & Eckhart Sellheim & Britta Wideranders (piano) 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. | | | Usually despatched in 2 - 3 working days. |
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| |  | Mozart: Lieder
Mozart: | Als Luise die Briefe, K520 Abendempfindung an Laura, K523 An die Hoffnung, K390 An Chloë, K524 Rondo in F major K494 Der Zauberer, K472 Das Traumbild, K.530 Die kleine Spinnerin, K531 Das Veilchen, K476 Rondo in D major, K485 Das Kinderspiel, K598 Wiegenlied (attr.), K350 Komm, liebe Zither, K351 Die Zufriedenheit,K.349 Rondo in A minor, K511 Oiseaux, si tous les ans, K307 Dans un bois solitaire, K308 Ridente la calma, K152 Un moto di gioia, K579 Die Alte K517 |
The soprano Gemma Bertagnolli compares the music of Mozart to a country; “I feel welcome in this place of grandeur and miniature, of rigour and frivolity, of love and terror, of truth and jest.” She performs these works with passionate elegance. | | | Usually despatched in 2 - 3 working days. |
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| |  | Mozart: Songs
Mozart: | Abendempfindung an Laura, K523 Oiseaux, si tous les ans, K307 Dans un bois solitaire, K308 An die Freude, K53 Sei du mein Trost, K391 Wie unglücklich bin ich nit K147 Komm, liebe Zither, K351 Der Zauberer, K472 An Chloë, K524 Das Lied der Trennung, K519 Das Veilchen, K476 Ridente la calma, K152 Lobegesang auf die feierliche Johannisloge, K 148 (125h) Die Zufriedenheit, K473 Des kleinen Friedrichs Geburtstag K529 Die kleine Spinnerin, K531 An die Hoffnung, K390 Als Luise die Briefe, K520 Das Traumbild, K.530 Lied der Freiheit, K506 Die Alte K517 Das Kinderspiel, K598 Sehnsucht nach dem Frühlinge, K596 Im Frühlingsanfang, K597 Die ihr des unermeßlichen Weltfalls - Kantate, K619 |
Mozart’s songs are surprisingly varied in many ways. Although there isn’t a great number of them, they date from all periods of the composer’s short life and are widely diverse in character, from simple strophic charmers such as ‘Komm, lieber Mai’ (Sehnsucht nach dem Frühlinge) to extended and intensely serious utterances such as those he wrote for the Freemasons (Die ihr des unermesslichen Weltalls, from Eine kleine deutsche Kantate). They also vary in language: most are in German but he also set French and Italian texts. All are represented here, sung by two of Britain’s most popular and outstanding singers. “Sheer bliss” Sunday Times “This marvellous compilation offers no fewer than 25 Mozart songs which genuinely redress this grossly neglected part of his output. A disc which offers rich rewards” The Independent “[An] irresistible disc” The Times | | | Usually despatched in 2 - 3 working days. |
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