Beethoven: An die ferne Geliebte (To the distant beloved), Op. 98

This page lists all recordings of An die ferne Geliebte (To the distant beloved), Op. 98, by Ludwig van Beethoven (1770-1827) on CD, SACD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Fritz Wunderlich – Immortal Beloved

Fritz Wunderlich – Immortal Beloved


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Heinrich Schmidt (piano)

Haydn:

Ein Wandrer kommt von ferne, Hob.XXXIb:3

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Fließ leise mein Bächlein, Hob.XXXIa/253 A

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Ich stehe auf der Heide, Hob.XXXIb:27

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Es weiden meine Schafe, Hob.XXIa

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Im Schummern, da kam ich einst zu dir, Hob.XXXIb:36

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Mein süßes Liebchen, Hob.XXXIa:194

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Rose weiss Rose rot, Hob.XXXb:10

Heinrich Schmidt (piano), Walter Weller (violin), Ludwig Beinl (cello)

Strauss, R:

Heimliche Aufforderung, Op. 27 No. 3

Symphonieorchester des Bayerischen Rundfunks, Jan Koetsier

Ich trage meine Minne, Op. 32 No. 1

Symphonieorchester des Bayerischen Rundfunks, Jan Koetsier

Ständchen, Op. 17 No. 2

Symphonieorchester des Bayerischen Rundfunks, Jan Koetsier

Morgen, Op. 27 No. 4

Symphonieorchester des Bayerischen Rundfunks, Jan Koetsier

Zueignung, Op. 10 No. 1

Symphonieorchester des Bayerischen Rundfunks, Jan Koetsier


‘It was altogether shocking how absolutely wonderful his voice sounded … so unique, so individual, so clear and authentic – a voice that could be compared to no other.’ Rolando Villazón

‘What he did – there was no one who came close to him. I don’t think he will ever be surpassed.’ Nicolai Gedda

‘The sheer quality of his incredible voice is unique and will always be unique. Fortunately, there is the medium of the gramophone record.’ Peter Schreier

During the eleven years of his career, Wunderlich became a versatile lyric tenor who combined opulence of tone with intellectual weight. After some deliberation he turned to the heavier types of heroic roles before being invited to sing Walther von Stolzing in Wieland Wagner’s production of Die Meistersinger von Nürnberg at Bayreuth. Although his repertoire included Rossini, Donizetti, Strauss, Pfitzner, Stravinsky, Egk, Orff and many oratorio parts, he is chiefly remembered, in the recordings bequeathed to posterity, as a singer of Lieder and an exponent of Mozartian roles (Belmonte, Tamino, Don Ottavio, Ferrando). He breathed fascinating life into these roles with his cultivated tone, refinement, stylistic awareness, intensity and intelligence.

These recordings – partly ‘live’ (Beethoven, Haydn), partly studio (Strauss) – enshrine many of Wunderlich’s quality as a Lieder singer par excellence. Although previously released on Philips CD, for this Eloquence release, the recordings were re-mastered from the original tapes.

“Few performances of An die ferne Geliebte are guilelessly beautiful. Haydn's Scottish and Welsh Folksongs are animated and engaging, with a selection of Strauss Lieder as dessert.” BBC Music Magazine, April 2017 *****

“This [recording] will inform those who come fresh to his singing of his sappy tenor and eager, unaffected, articulate way of using it. These attributes are most apparent in the Beethoven cycle for which he had the almost ideal tone. This is the longing, ardent admirer of the distant beloved to the life. Wunderlich phrases this ever-attractive cycle with a secure legato, a keen feeling for the text and a natural buoyancy that produce the right sense of art concealing art … The charming Haydn settings of Scottish and Welsh folk-songs are just as admirable, especially “Mein süßes Liebchen” where the serenader, out in the frost and snow of winter, begs to be let into his lover's chamber: Wunderlich sings it with just the right brio” Gramophone Magazine, January 1989

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Beethoven: Lieder & Bagatellen

Beethoven: Lieder & Bagatellen


Beethoven:

An die Hoffnung, Op 32

Werner Güra (tenor)

Lied aus der Ferne, WoO 137

Werner Güra (tenor)

Bagatelles (6), Op. 126

Zärtliche Liebe 'Ich liebe dich', WoO 123

Werner Güra (tenor)

An die ferne Geliebte (To the distant beloved), Op. 98

Werner Güra (tenor)

Adelaide, Op. 46

Werner Güra (tenor)

Der Kuss, Op. 128

Werner Güra (tenor)

Wonne der Wehmut, Op. 83 No. 1

Werner Güra (tenor)

Resignation, WoO 149

Werner Güra (tenor)

An die Hoffnung, Op. 94

Werner Güra (tenor)


Christoph Berner (fortepiano J. B. Streicher, 1847)

Beethoven the song composer. The giant of the symphony and the sonata has somewhat overshadowed Beethoven the creator of songs. Yet his lieder are certainly not lacking in appeal or originality, as is shown by this selection that includes the most famous, from 'Adelaide' to the first song cycle in history, 'An die ferne Geliebte'. Christoph Berner plays a Streicher fortepiano of 1847, perfectly suited to both the songs and the wonderful Bagatelles Op.126.

“Playing on an 1847 Streicher fortepiano – a direct descendant of the kind of instrument Beethoven knew – Berner relishes t[the Bagatelles'] quirkiness, explosive energy and rarefied lyricism...Güra’s mellifluous tenor has lost none of the freshness of a decade and more ago. He sings An die ferne Geliebte with a wondering, confiding intimacy, punctuated by surges of excited urgency.” Gramophone Magazine, Awards Issue 2015

“Güra's noble and beautifully enunciated tenor recreates the sheer energy and spiritual struggle within the microcosm of Beethoven's songs…Berner's 1847 Streicher fortepiano captures well the clarity and the tonal depths of Beethoven's keyboard writing. And the artfully placed Bagatelles, fearlessly played, become both responses to and a spiritual fine-tuning for our reception of the songs.” BBC Music Magazine, December 2015

GGramophone Awards 2016

Finalist - Solo Vocal

GGramophone Magazine

Editor's Choice - Awards Issue 2015

BBC Music Magazine

Choral & Song Choice - December 2015

BBC Music Magazine Awards 2016

Vocal Finalist

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Mark Padmore sings Beethoven, Mozart & Haydn

Mark Padmore sings Beethoven, Mozart & Haydn


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Maigesang, Op. 52 No. 4

Neue Liebe, Neues Leben, Op. 75, 2

Mephistos Flohlied, Op. 75, 3

Adelaide, Op. 46

Selbstgesprach, WoO 114

Resignation, WoO 149

An die Hoffnung, Op. 94

Abendlied unter'm gestirten Himmel, WoO 150

Haydn:

She Never Told Her Love, Hob. XXVIa:34

The Spirit's Song, Hob. XXVIa:41

The Boatman, Hob.XXXia:246

Mozart:

Das Veilchen, K476

Abendempfindung an Laura, K523

Die ihr des unermeßlichen Weltfalls - Kantate, K619


Mark Padmore (tenor) & Kristian Bezuidenhout (fortepiano, Rosenberger, c.1820. Tuning: A = 430, unequal temperament)

Following their acclaimed Schumann recording, tenor Mark Padmore and fortepiano phenomenon Kristian Bezuidenhout join forces again for this varied and appealing lieder recital of songs by Haydn, 'An die ferne Geliebte' Op.98 by Beethoven, and the Masonic Cantata K.619 by Mozart.

“highly refined recital by the ever-sensitive Mark Padmore in what appears to be a richly rewarding dialogue with the South African fortepianist Kristian Bezuidenhout: the tenor’s sweet, heady and youthful lucidity of tone is beautifully complemented by the percussive resonance of the accompaniment. One senses two true musicians in deep harmony with each other.” The Telegraph, 5th April 2015 ****

“In his Haydn and Mozart songs Padmore sings with an extra delicacy ... His Beethoven is stronger and more forthright, culminating in a heartfelt performance of the cycle An die ferne Geliebte. Bezuidenhout draws the maximum colour and contrast out of his fortepiano throughout.” Financial Times, April 2015

“Mark Padmore combines an acute intelligence with an unvarnished directness in all he sings. In symbiotic partnership with fortepianist Kristian Bezuidenhout, Padmore 'lives' all of these songs, noticing everything, exaggerating nothing ... Padmore is an eager and touching storyteller ... In An Die Ferne Geliebte Padmore and Bezuidenhout catch naturally, unfussily, the oscillations between stillness and excited anticipation, dream and desire. This is a true dialogue between voice and keyboard, as it should be.” Gramophone Magazine, May 2015

“From urgent declamation to whispered despair, Padmore expresses all with directness, clarity and tonal variety. Bezuidenhout is an equal partner: engaged, lively, with a wonderful brio which never overwhelms the singer.” The Observer, 3rd May 2015 ****

“Padmore’s normal mode, often vibrato-free, is of such an intimacy that he might almost be addressing his beguiling, carefully contoured delivery to you alone. With such detail and depth, you imagine, he could make a telephone directory interesting.” Irish Times, 1st May 2015 *****

“Bezuidenhout's fortepiano sounds for all the world like a harp at the very opening of the Abendlied that ends the disc. Its beautiful, serenade-like quality makes it a great choice for a final track. Padmore finds his groove here, too, transcendent and thoughtful for the opening verses but then rising to a peak of triumph for the "transfigured countenance" of the song's second half.” MusicWeb International, 17th July 2015

“On this astutely chosen program, Mr. Padmore, accompanied by the elegant fortepianist Mr. Bezuidenhout, gives richly expressive, crisp accounts.” New York Times, 11th December 2015

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Beethoven Songs

Beethoven Songs


Beethoven:

An die Hoffnung, Op. 94

Maigesang, Op. 52 No. 4

Adelaide, Op. 46

Der Liebende, WoO 139

Klage, WoO 113

Neue Liebe, Neues Leben, Op. 75, 2

Lieder von Gellert (6), Op. 48

Aus Goethes Faust

Wonne der Wehmut, Op. 83 No. 1

Sehnsucht, Op. 83, 2

Das Liedchen von der Ruhe, Op. 52 No. 3

An die Geliebte, WoO 140

An die ferne Geliebte (To the distant beloved), Op. 98


Stephan Genz (baritone), Roger Vignoles (piano)

GGramophone Awards 1999

Winner - Solo Vocal

Building a Library

First Choice - September 2005

Hyperion - CDA67055

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$14.25

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Beethoven: Songs

Beethoven: Songs


Beethoven:

Adelaide, Op. 46

An die ferne Geliebte (To the distant beloved), Op. 98

In questa tomba oscura, WoO.133

Sunset, Op. 108 No. 2

Oh! Sweet were the hours, Op. 108 No. 3

The Sweetest Lad was Jamie, Op. 108 No. 5

Could this ill world, Op. 108 No. 16

Faithfu' Johnie, Op. 108 No. 20

Come fill, fill, my good fellow!, Op. 108 No. 13

The Soldier's Dream

The Deserter

On the Massacre of Glencoe, WoO 152 No. 5

The brainspinnings Swans, WoO 152/15

Polly Stewart, WoO 156 No. 7

The pulse of an Irishman, WoO 154 No. 4

Since greybeards inform us

Morning a cruel turmoiler is, WoO 152/21

all works arr. for voice & piano trio


André Schuen (baritone)

Boulanger Trio

Art song had blossomed into a multifaceted genre by 1800, and the debate whether to favour recurrent stanza structures or through-composed form was well underway. Lieder, as the lyrical genre per se, marked out the territory in which musicians could express the most profound emotions. The best composers therefore increasingly chose to through-compose their songs – a logical step, thanks to which they were able to closely follow the content and the speech of the poems they were setting to music. Beethoven already took that very step in his earliest Lieder. The emotional value of a song such as Adelaide op. 46 (1795/96) even managed to convince a late-19th-century Vienna music critic otherwise well known for his harshness – Eduard Hanslick, who wrote in 1886: “No depiction of a youth’s enthusiastic love could be more faithful and exemplary than this Adelaide by Beethoven. What sweet, secret bliss shivers in every note of this golden melody! Perhaps the young man is not even ‘blushingly following her footsteps’ like Schiller’s suitor [in The Song of the Bell ]. Instead, this lover seems to be content to inebriate himself with his beloved’s mere name, to which he renders such profuse homage.”

Beethoven originally called his setting of Matthisson’s poem a “cantata”, and Adelaide introduced a theme that would play a major role in the composer’s subsequent Lieder output: his yearning for the unattainable. No other work conveys that same subject more impressively than the one Beethoven wrote in 1816: To the Distant Beloved, op. 98, a setting of a “romantic-pastoral text” (Maynard Solomon, 1977) by Alois Jeitteles, and the first truly through-composed song cycle in music history. The songs in this cycle cannot be singled out for individual performance, since they are connected by transitions in the piano accompaniment. Schubert never took up the same idea, but it served all the more so as a model for Robert Schumann and for subsequent generations of Lied composers. Beethoven would later apply the same cyclic concept, displayed in such exemplary fashion in To the Distant Beloved, in several of his late chamber music works...

His contribution can be described as new arrangements and harmonizations of pre-existing melodies. These were true “songs without words”, since considerations of language could not be taken into account. Beethoven’s correspondence with Thomson shows, however, that he was quite pleased with this modus operandi (although the Irish Songs WoO 152-154, conversely, did allow for a closer association between text and music).

Released or re-released in last 6 months

Avi Music - AVI8553649

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Songs Of Yearning: Sehnsuchtslieder

Songs Of Yearning: Sehnsuchtslieder


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Schubert:

Schwanengesang, D957


Giorgos Kanaris (baritone), Thomas Wise (piano)

Ludwig van Beethoven (1770–1827) wrote his opus 98 in 1816; musicologists commonly describe An die ferne Geliebte (To the Distant Beloved) as the first ever song cycle. Franz Schubert (1797–1828) wrote his Schwanengesang (Swan Song) in 1828, the year of his death; the songs were posthumously made into a collection.

In terms of its musicological and sociological development, the Lied, having long been considered “inferior”, underwent a kind of emancipation process throughout the early modern period up until the start of the 19th century, when the emergence of the educated middleclass, particularly in the German-speaking world, allowed the new genre to take root. Such songs were performed at small venues too: in salons, small halls and before audiences that were not necessarily aristocratic or courtly. Dynamically versatile and affordable, the piano was now a common keyboard instrument and was often used to accompany the vocalist with supportive harmonies and melodic counterpoint.

Internationally renowned lieder singer Greek baritone Giorgos Kanaris is accompanied in these two song cycles of art-songs by American pianist Thomas Wise, who is also a wellrespected pedagogue, vocal coach and conductor.

Released or re-released in last 6 months

Hänssler - HC16080

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An die Geliebte: Julian Prégardien

An die Geliebte: Julian Prégardien


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Resignation, WoO 149

Strauss, R:

Mädchenblumen (4 songs), Op. 22

Weber:

Die Temperamente bei dem Verluste der Geliebten

Wolf, H:

Mörike-Lieder


Julian Prégardien (tenor) & Christoph Schnackertz (piano)

Unrequited love was the wellspring of countless songs and poems in the Romantic era. Young tenor Julian Prégardien presents his first solo lied album with a diverse programme of 19th century art songs. Certain moments are full of heartbreak, others more tongue-in cheek; Julian Prégardien invites us to join him on his exploration of the Romantic era in a quest for the (distant) beloved, from the very first song cycles by Beethoven and Weber to the height of the genre in the lieder of Wolf and Strauss.

The young German tenor Julai Prégardien has recently received a lot of attention on the operatic stage, concert platform,

as well as in chamber music. From 2009-2012 he was a permanent member of the Frankfurt Opera. In concerts he has gained an excellent reputation mainly as a Bach interpreter. This was demonstrated in the first instance in 2010 with the release of a recording of the St. Johnˆ Passion, in which he sang the Evangelist: a role he has since repeated elsewhere.

“his voice [is] sweeter and silker than his father's, but characterised by that same delectable enunciation and high intelligence...It's a painstakingly researched and meticulously prepared recital...Both Pregardien and his excellent pianist Christoph Schnackertz, exquisitely capture the quicksilver, volatile spirit of Wolf's responses.” BBC Music Magazine, September 2014 *****

“Beethoven's exquisite song-cycle immediately proclaims the 30-year-old tenor's Lieder credentials: a gentle, lyrical timbre, plus an unforced sensitivity to text (a chip off the old block here) and the cycle's oscillations between reverie and excited urgency...a notable debut from a young tenor to watch.” Gramophone Magazine, Awards Issue 2014

BBC Music Magazine

Choral & Song Choice - September 2014

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The Art of Noel Mewton-Wood

The Art of Noel Mewton-Wood


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Peter Pears (tenor)

Chopin:

Tarantella in A flat major, Op. 43

Schubert:

Auf dem Strom, D943, Op. post. 119

with Peter Pears (tenor), Dennis Brain (horn)

Weber:

Piano Sonata No. 1 in C major, Op. 24

Piano Sonata No. 2 in A flat major, Op. 39


Noel Mewton-Wood (piano)

That the Australian Mewton-Wood was one of the greatest of all pianists was an almost universal opinion of his Protean genius. He died, tragically, in 1953, at the early age of 35. His recorded legacy is desperately small; these rare wartime solo recordings appear on CD for the first time. The works by Schubert and Beethoven feature two of Mewton-

Wood’s frequent collaborators, Peter Pears and Dennis Brain, and are taken from a BBC recital broadcast in his final year.

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Thomas Michael Allen: Far Away

Thomas Michael Allen: Far Away


Barber:

Mélodies passagères (5), Op. 27

Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Britten:

Seven Sonnets of Michelangelo, Op. 22

Eisler:

Hollywood Liederbuch

Fauré:

Cinq Melodies 'de Venise', Op. 58

Weill, K:

Lonely House from Street Scene

My ship

Love Life: Here I'll Stay

Zemlinsky:

Walzergesänge nach toskanischen Liedern, Op. 6


Thomas Michael Allen (tenor) & Charles Spencer (piano)

Capriccio - C5194

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Christian Gerhaher - The Art of Song

Christian Gerhaher - The Art of Song


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Adelaide, Op. 46

Brahms:

Vor dem Fenster Op. 14 No. 1

Der Gang Zum Liebchen, Op. 31 No. 3

O Tod, wie bitter bist du Op. 121 No. 3

Glück , F:

In einem kühlen Grunde

Haydn:

Trost unglucklicher Liebe, Hob. XXVIa:9

Mahler:

Rheinlegendchen (Des Knaben Wunderhorn)

Ablösung im Sommer (Lieder und Gesänge aus der Jugendzeit)

Wenn mein Schatz Hochzeit macht (No. 1 from Lieder eines fahrenden Gesellen)

Liebst Du um Schönheit (Rückert-Lieder)

Schubert:

Im Frühling, D882

Nachtstück, D672 (Mayrhofer)

An den Mond, D193

Die Gotter Griechenlands D677 (Schiller)

Das Wandern (No. 1 from Die schöne Müllerin, D795)

Wohin? (No. 2 from Die schöne Müllerin, D795)

Ungeduld (No. 7 from Die schöne Müllerin, D795)

Trockne Blumen (No. 18 from Die schöne Müllerin, D795)

Gute Nacht (No. 1 from Winterreise, D911)

Die Wetterfahne (No. 2 from Winterreise, D911)

Erstarrung (No. 4 from Winterreise, D911)

Der Lindenbaum (No. 5 from Winterreise, D911)

Frühlingstraum (No. 11 from Winterreise, D911)

Der Leiermann (No. 24 from Winterreise, D911)

Im Abendrot, D799

Der Musensohn, D764 (Goethe)

Du bist die Ruh D776 (Rückert)

Der Jungling und der Tod, D545 (Spaun)

Der Tod und das Mädchen, D531

Totengräbers Heimwehe D842 (Craigher)

Schumann:

Dichterliebe, Op. 48

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

Waldesgesprach (No. 3 from Liederkreis, Op. 39)

Die Stille (No. 4 from Liederkreis, Op. 39)

Mondnacht (No. 5 from Liederkreis, Op. 39)

Frühlingsnacht (No. 12 from Liederkreis, Op. 39)

Ständchen, Op. 36 No. 2

Wolf, H:

Gebet; Nun lass uns Frieden schliessen

Nicht länger kann ich singen (No. 42 from Italienisches Liederbuch)


Christian Gerhaher (baritone), Gerold Huber (piano)

Sony - G010003002155J

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