Schumann, Clara: Sechs Lieder Op. 13

SFZ MUSIC, the independent label for HIS MAJESTYS SAGBUTTS & CORNETTS, are pleased to announce their latest release, a recording of rare German Lieder performed by an exciting young soprano and pianist.

Jessica Leshnikoff is a bright young star in the UK lieder world who brings an exceptional range of expression and depth of understanding to all her projects. She is accompanied by Daniel Grimwood, whose previous recordings with SFZ have achieved considerable critical acclaim: here he proves that he is as sensitive as an accompanist as a soloist, and once again plays the beautifully-restored Erard piano from 1851 that has featured on his Liszt and Chopin discs.

This programme is centred round three cycles by the tragic couple, Robert Schumann and Clara Wieck, the wife showing that as a composer she was every bit the equal of her husband. The ecstasy of their early love and marriage is beautifully exposed in these joyful works. Alongside is a rare recording of Wagner’s 'Wesendonck-Lieder', whose rapturous imagery drawn from the 'Tristan und Isolde' story is the perfect complement. The recording is accompanied by an eloquent essay by Malcolm Hayes.

German soprano Jörg Waschinski is one of the most sought after male sopranos in Europe for opera and oratorio performances. His extraordinary voice predestines Waschinski in particular for the presumably lost parts of the legendary Baroque castratos, as well as works of the early classical period up to Mozart.

Previous recordings have earned him numerous prizes including the "Echo-Klassik-Preis" and many other prestigious German awards.

For this new addition to the Phoenix Edition catalogue he sings a beautiful selection of songs by Clara Schumann. He has arranged the songs for Soprano and String Quartet.

Clara Schumann the composer often worked in her husband’s shadow, many of her songs being mistaken for his although those best loved by the public flowed from her pen.

Some were composed and performed before their marriage, others set texts which he had suggested. “There is really nothing better than composing for oneself,” Clara noted in her diary in 1853, yet after Robert’s death three year later she composed no more, making these the fruits of mutual love all the more precious.

The accompaniment is here performed on Clara Schumann’s fortepiano.