Schubert: Auflösung, D807

This page lists all recordings of Auflösung, D807, by Franz Peter Schubert (1797-1828) 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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Songs by Schubert 1

Songs by Schubert 1

Recorded live at Wigmore Hall, London, on 13 September 2013


Schubert:

Der Strom, D565 (poet unknown)

Auf der Donau, D553 (Mayrhofer)

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Nachtstück, D672 (Mayrhofer)

Viola, D786 (Schober)

Abendstern, D806

Gondelfahrer, D808

Auflösung, D807

Widerschein, D949

Alinde, D904

Rastlose Liebe, D138

Geheimes, D719 (Goethe)

Versunken D715 (Goethe)

Der Winterabend (Es ist so still), D938

Die Sterne, D939 (Leitner)

Strophe aus Die Gotter Greichenlands D677

An den Mond, D259 (Goethe)

encore

An den Mond, D296

encore


Ian Bostridge (tenor) & Julius Drake (piano)

From the wild energy of ‘Der Strom’ to the rapt contemplation of the sublime ‘Die Sterne’, this varied and sensitively crafted programme explores a great range of psychological insights in the composer’s Lieder. Ian Bostridge's eloquent feeling for words and music in Schubert, developed and refined over more than two decades, runs deep. His acclaimed interpretations strike a balance between the formal craft and concision of Schubert’s writing and its parallel qualities of spiritual vision and philosophical reflection. Bostridge's Wigmore Hall Schubert series will continue in May 2014 and Season 2014/15.

“Bostridge will always be a controversial singer...Yet there is equally no gainsaying his interpretative skills, finely deployed...Drake is in every way a superb partner...The two are at their best in the sad, reflective Der Winterabend, but the disc as a whole is a fine achievement.” BBC Music Magazine, July 2014 ****

“Of course, one must be willing to enter Bostridge's world, which is now a highly familiar network of interpretative techniques...He's in excellent voice here and never so heedless as to be mannered...And then there's Julius Drake, who so clearly charts the progression of Schubert's musical thoughts.” Gramophone Magazine, August 2014

Wigmore Hall Live - WHLIVE0067

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Schubert Lieder Volume 2: An Mein Herz

Schubert Lieder Volume 2: An Mein Herz


Schubert:

Der Jungling und der Tod, D545 (Spaun)

Das Lied im Grünen, D917

Die Herbstnacht (Wehmut) D404 (Salis-Seewis)

Ins stille Land, D403

Abschied von der Harfe D406 (Salis-Seewis)

Drang in die Ferne, D770

An Mein Herz D860

Der Wanderer, D649 (Friedrich von Schlegel)

Über Wildemann D884 (Ernst Schulze)

Klage D371

Am Bach im Fruhling, D361

An die Laute D905

Des Fräuleins Liebeslauschen, D698

Augenlied, D297 (Mayrhofer)

Du bist die Ruh D776 (Rückert)

An die Musik D547

An eine Quelle D530 (Claudius)

Der Sänger am Felsen, D482

Abschied von der Harfe D406 (Salis-Seewis)

Liedesend, D473 (Mayrhofer)

Das Heimweh, D456 (Winkler)

Auf der Donau, D553 (Mayrhofer)

Wie Ulfru fischt, D525 (Mayrhofer)

Die Sternennacht D670 (Mayrhofer)

Ruckweg, D476 (Mayrhofer)

Geheimnis, D491 (Mayrhofer)

Gondelfahrer, D808

Abendstern, D806

Der Sieg D805 (Mayrhofer)

Nachtstück, D672 (Mayrhofer)

Auflösung, D807

Heiss mich nicht reden, D877/2

Nur wer die Sehnsucht kennt, D877/4

An Mignon D161

Harfenspieler I 'Wer sich der Einsamkeit ergibt', D478

Am Flusse D160 (Goethe)

Nähe des Geliebten, D162

Der Fischer, D225 (Goethe)

Auf dem See, D543 (Goethe)

Wonne der Wehmut D260 (Goethe)

Willkommen und Abschied, D767


Matthias Goerne (baritone), Eric Schneider (piano) and Helmut Deutsch (piano)

Matthias Goerne has received worldwide praise for his warm, fluid baritone and his profound interpretations. Highly respected as a Lieder singer, he is a frequent guest at renowned festivals and prestigious venues like the Carnegie and Wigmore Halls. From 2008 to 2011, Matthias Goerne will perform and record Schubert on 11 CDs for harmonia mundi and important venues all over the world will present the complete series of Schubert recitals with Matthias Goerne in their coming seasons. This second volume speaks of death, of the 'Wanderer', and of the relationship between Schubert and his poets .

. . For this occasion the singer has called on two travelling companions who have left a lasting artistic impression on the world of lieder: Eric Schneider and Helmut Deutsch.

Helmut Deutsch's career as a song accompanist began with Irmgard Seefried; he spent twelve years in an intensive collaboration with Hermann Prey, and has been the partner of many other celebrated singers. Eric Schneider has appeared notably with Christine Schäfer, Matthias Goerne, Christiane Oelze and Stephan Genz. He is a regular guest with these partners at the Schwarzenberg Schubertiade, Salzburg Festival and the Tanglewood Summer Music Festival.

“Goerne… and Schneider offer grave and solemn performances of Goethe's Mignon and Harper songs, before ending on a higher note, celebrating the eternal joy of love in 'Willkommen and Abschied'.” BBC Music Magazine, February 2009 ****

“Battered by Bryn Terfel dramatics, the ears cried out for a pure dose of lieder from a master of the craft. Matthias Goerne… seems to own a different shade of baritonal colour for every syllable Schubert wrote. The voice is sweet and serene, even at fff, and the shifts that Goerne applies to the changing of seasons and the fickleness of love are done with enviable delicacy. More reticent than Fischer-Dieskau or Thomas Quasthoff to bend a line for expressive emphasis, when Goerne takes a liberty the effect is breath stopping… T his is not an album to gorge at one go. Take it two songs a night before bedtime, and it might see you through to the end of recession.” Norman Lebrecht, Evening Standard CD of the Week

“Here elegy, fatalism and death-longing predominate and in such repertoire Goerne's mellow, darkly rounded timbre, expressive diction and care – rare in Lieder singers today – for a true, 'bound' line are well nigh ideal. Even at the most anguished fortissimo, his tone never grows harsh or hectoring. Perfectionism like Goerne's has inevitably provoked charges of over-calculation.
Some might protest at the ultra-slow tempo for Du bist die Ruh. Yet Goerne's beauty of tone and phrasing (founded on seemingly superhuman reserves of breath), and a rapt intensity that rises to spiritual radiance in the final verse are mesmerising. At a more conventional tempo, he sings An die Musik as a simple, sincere confession of faith, with affectionate touches of rubato (and how eloquently Helmut Deutsch's left hand duets with the voice). Elsewhere Goerne's unsentimental tenderness can illuminate little-known songs that seem ordinary on the printed page – Abschied von der Harfe, say, or the quasi-operatic lament Der Sänger amFelsen. He even appropriates, successfully, two of Mignon's songs, giving one of the most desolate and – in the central section – disturbed performances of Nur wer die Sehnsucht kennt you will hear.
True to form, Goerne makes an uncommonly melancholy serenader in An die Laute and DesMädchens Liebeslauschen, which never smiles. Yet he can lighten up, as in the story-telling of DerFischer and Wie Ulfru fischt. Like Deutsch on the first disc, Eric Schneider fully matches Goerne in acumen and command of colour, not least in a performance of Nachtstück of mingled grandeur, mystery and compassionate gentleness.”
Gramophone Classical Music Guide, 2010

“Goerne used to record for Decca, but it apparently had no interest in his 12-volume Schubert compendium, so the less ruthlessly commercial Harmonia Mundi comes to the rescue, for which the France-based company deserves the highest praise. From a vocal point of view, few male singers, even Fischer-Dieskau, command such a rich palette of colours as Goerne does here…he goes where Dieskau never ventured: he includes two of Mignon's songs, Heiss' mich nicht reden and Nur wer die Sehnsucht kennt, as well as the Harper trilogy… In the middle Harper song, Mayrhofer's Nachtstück and Nähe des Geliebten (Nearness of the Beloved), Goerne approaches the sublime and captures perfectly the wry wit of Goethe's sly dig at water-nymphery, Der Fischer, in which the surprise encounter of an angler with a "moist woman" is wryly underlined by Schubert. Luxury support from Deutsch and Schneider sets the seal on an outstanding issue.” Sunday Times Classical CD of the Week

“Goerne's virtuoso vocal sculpting draws you into the inner landscape of each song, his warm, expressive baritone shaping detail often understated by lesser artists. This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Guardian, 12th October 2008

“This promises to be a landmark series, up there with Hans Hotter and Fischer-Dieskau.” The Observer

GGramophone Magazine

Editor's Choice - December 2008

Harmonia Mundi Matthias Goerne Schubert Edition - HMC902004/05

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Christianne Stotijn - Debut

Christianne Stotijn - Debut


Berg:

Vier Lieder, Op. 2

Schubert:

Im Walde D708

An den Mond, D193

Nachtstück, D672 (Mayrhofer)

Der Zwerg, D771 (Collin)

Abendstern, D806

Auflösung, D807

Nacht und Träume, D827

Erlkönig, D328

Wolf, H:

Die Geister am Mummelsee (No. 47 from Mörike-Lieder)

Gesang Weylas (No. 46 from Mörike-Lieder)

Elfenlied (No. 16 from Mörike-Lieder)

Um Mitternacht (No. 19 from Mörike-Lieder)

Auf eine Christblume I (No. 20 from Mörike-Lieder)

Lied vom Winde (No. 38 from Mörike-Lieder)


Christianne Stotijn (mezzo-soprano) & Joseph Breinl (piano)

“a really exciting event” Gramophone Magazine

“The most impressive debut disc since Bryn Terfel was a lad” Classic FM Magazine *****

“…a riveting solo debut recital from the young Dutch mezzo Christianne Stotijn… A gust of wind blows this recital in, and blows it out: Stotijn and her robustly proactive accompanist Joseph Breinl start with the raging storms of Schubert's 'Im Walde', and end with Wolf's setting of Mörike's 'Lied vom Winde'. In the Schubert, in particular, Stotijn achieves a rare fusion: she evokes simultaneously both the physical scene and the inner soul-state, which responds to it.” BBC Music Magazine, April 2006 *****

CD Review

Critics Disc of the Year - December 2006

BBC Music Magazine

Choral & Song Choice - April 2006

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Schubert: Lieder

Schubert: Lieder


Schubert:

Gretchen am Spinnrade, D118

Suleika I, D720

Suleika II, D717

Schwestergruss, D762 (Bruchmann)

Schlaflied D527 (Mayrhofer)

An die untergehende Sonne, D457

Heiss mich nicht reden, D877/2

So lasst mich scheinen, D877 No. 3

Nur wer die Sehnsucht kennt, D877/4

Kennst du das Land (Mignons Gesang), D321

Berthas Lied in der Nacht, D653

An Herrn Josef von Spaun, Assessor in Linz (Epistel), D749 (Collin)

Raste Krieger, Krieg ist aus (Ellens Gesang I), D837

Jäger, ruhe von der Jagd (Ellens Gesang II), D838

Ave Maria, D839

Hin und wieder fliegen Pfeile, D239 No. 3 (Goethe)

Liebe schwarmt auf allen Wegen, D239 No. 6 (Goethe)

An die Nachtigall, D497

Wiegenlied, D498

Lied der Delphine, D857 No. 1

Wiegenlied D867 (Seidl)

Die Männer sind méchant, D866 No. 3

Iphigenia, D573 (Mayrhofer)

Das Mädchen D652 (Schlegel)

Die junge Nonne, D828

Am Grabe Anselmos D504

Abendstern, D806

Die Gotter Griechenlands D677 (Schiller)

Gondelfahrer, D808

Auflösung, D807

Die Forelle, D550

Rastlose Liebe, D138

Auf dem Wasser zu singen, D774

Der Tod und das Mädchen, D531

An die Musik D547

Frühlingsglaube, D686

Der Musensohn, D764 (Goethe)

An Sylvia, D891

Litanei auf das Fest Allerseelen, D343

Heidenröslein, D257

Nacht und Träume, D827

Du bist die Ruh D776 (Rückert)


“With Gerald Moore (who returned to the studio out of retirement especially for the occasion) still at this finest, this is a hugely satisfying collection...There are no texts, but this remains an unmissable reissue.” Penguin Guide, 2011 edition ****

Penguin Guide

Rosette Winner

Warner Classics Gemini - 5862512

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Volume 12 - Mayrhofer Volume 2

Volume 12 - Mayrhofer Volume 2


Schubert:

Am See, D124 (Mayrhofer)

Augenlied, D297 (Mayrhofer)

Liane, D298 (Mayrhofer)

Abendlied der Fürstin D495

Sehnsucht D516 (Mayrhofer)

Schlaflied D527 (Mayrhofer)

Am Strome, D539 (Mayrhofer)

Uraniens Flucht D554 (Mayrhofer)

Iphigenia, D573 (Mayrhofer)

Atys D585

Erlafsee D586 (Mayrhofer)

Beim Winde D669 (Mayrhofer)

Die Sternennacht D670 (Mayrhofer)

Abendstern, D806

Auflösung, D807


Christine Iven (mezzo-soprano), Burkhard Kehring (piano)

15 poems of Johann Mayrhofer

Naxos Schubert Lied Edition - 8554739

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Decades: A Century of Song Vol. 2 1820 - 1830

Decades: A Century of Song Vol. 2 1820 - 1830


Bellini:

Malinconia, ninfa gentile

Ma rendi pur contento

Vanne, o rosa fortunata

Glinka:

Skazhi, zachem

Ne iskushay menya bez nuzhdi

Moya harfa

Loewe, C:

Der Erlkönig, Op. 1 No. 3 (Goethe)

Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2

Mendelssohn:

Minnelied im Mai 'Holder klingt der Vogelsang', Op. 8 No. 1

Niedermeyer:

Le lac

Schubert:

Auf der Bruck, D853

Im Frühling, D882

Aus 'Heliopolis' - I D753 (Mayrhofer)

Gondelfahrer, D808

Auflösung, D807

Ellen 1-3, Op. 52

Der Winterabend (Es ist so still), D938

Die Taubenpost, D965A (D957 No. 14)

Schumann:

Sehnsucht


John Mark Ainsley (tenor), Luis Gomes (tenor), Robin Tritschler (tenor), Anush Hovhanissyan (soprano), Sarah Connolly (mezzo), Christopher Maltman (baritone), Malcolm Martineau (piano)

The second volume in this major recording series, across which a host of world-renowned singers draw listeners, decade by decade, through a century of song, from 1810 to 1910. Each volume features a carefully planned, varied programme performed by household names, whilst the series overall creates a comprehensive survey of song right through the nineteenth century – an invaluable teaching asset, as well as a joy for listeners.

Includes songs from Austria, France, Germany, Italy and Russia, by Vincenzo Bellini, Mikhail Glinka, Carl Loewe, Felix Mendelssohn, Louis Niedermeyer, Franz Schubert and Robert Schumann.

The three principal singers for this second volume are mezzo Sarah Connolly, tenor John Mark Ainsley and baritone Christopher Maltman, who are joined by tenors Robin Tritschler and Luis Gomes, and Armenian soprano Anush Hovhannisyan, accompanied by the series’ creator, pianist Malcolm Martineau

Of special note is Sarah Connolly’s performance of Schubert’s three ‘Ellen Songs’, including a glorious rendition of the classic ‘Ave Maria’, Christopher Maltman’s vivid portrayal of Goethe’s ‘Erlkönig’ in Loewe’s setting, and John Mark Ainsley’s beautifully crafted renditions of songs by Schubert, Schumann and Mendelssohn

Extensive presentation includes 64 page booklet with authoritative liner note in three languages by renowned song expert and series consultant Prof Susan Youens, with full texts and translations.

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Vivat - VIVAT114

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The Very Best of Jessye Norman

The Very Best of Jessye Norman


Berlioz:

Roméo et Juliette, Op. 17: Premiers transports que nul n'oublie

Brahms:

Ihr habt nun Traurigkeit (Ein Deutsches Requiem, Op. 45)

Offenbach:

Les Contes d'Hoffmann (highlights)

Amours divins (from La Belle Helène)

On me nomme Hélène la blonde … dis-moi Vénus

Là vrai, je ne suis pas coupable (from La Belle Hélène)

Elle vient, c'est elle (from La Belle Hélène)

Poulenc:

Miroirs brûlants

La Fraîcheur et le feu

Ravel:

Trois chansons madécasses

Chanson du rouet

Si morne!

Schubert:

Dem Unendlichen, D291 (Klopstock)

Der Winterabend (Es ist so still), D938

Auflösung, D807

Wagner:

Wesendonck-Lieder (5)

Dich, teure Halle (from Tannhauser)

Allmächt’ge Jungfrau! (from Tannhäuser)

Johohoe! Traft ihr das Schiff im Meere an 'Senta's Ballad' (from Der fliegende Holländer)

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)


Jessye Norman (soprano)

If anyone may lay claim to the title of prima donna assoluta of the late 20th century, it is surely Jessye Norman. She is one of the great communicators. Whether in the intimate setting of the Wigmore Hall in London, or the huge space of the Metropolitan Opera House, New York, she can give each listener the sense that her song is directed straight at them. Jessye Norman was born in Augusta, Georgia, in 1945. She studied at Howard University, the Peabody Conservatory and the University of Michigan. In 1968 she won the Munich International Music Competition, and this led to an invitation to sing in Berlin at the Deutsche Oper, where she made her debut as Elisabeth in Wagner's Tannhäuser. After that her career blossomed and she went on to conquer the world’s greatest opera houses including La Scala in Milan and the Metropolitan in New York. One of her greatest triumphs in New York was in 1982, in Robert Wilson's Great Day in the Morning, and in 1989 she was invited to sing the Marseillaise for the 14 July celebrations in the Place de la Concorde.

The music on these CDs presents a cross-section of Jessye Norman's repertory, in German and French opera, in Lieder and mélodie, in oratorio and even operetta. Since Wagner's Tannhäuser provided Jessye Norman with her first stage role, it is appropriate to begin with two arias from that opera. Senta's ballad from Der fliegende Holländer tells the story of the Flying Dutchman, who is condemned to sail the seas for eternity unless he can find a woman who will remain faithful unto death. The Wesendonck- Lieder were composed by Wagner in 1857–8 as a tribute to Mathilde Wesendonck, the wife of his friend Otto; particularly in 'Im Treibhaus' and 'Träume', they look forward to Tristan und Isolde. The three Schubert songs, and the solo from Brahms's German Requiem, bring the German part of the programme to a rapturous conclusion.

From Offenbach’s Les Contes d’Hoffmann Jessye Norman sings the role of Giulietta, a Venetian courtesan, who ruins the hero, Hoffmann, by urging him to take part in a duel, and then in a symbolic gesture demands from him the ultimate sacrifice – the gift of his reflection. 'The face that launched a thousand ships' – Helen of Troy in La Belle Hélène – is another kind of temptress, and shows the full extent of Norman's comic gifts. In the song cycles by Ravel and Poulenc we glimpse a different side of the artist. La Fraîcheur et le feu was composed in 1950 for the baritone Pierre Bernac, Poulenc's greatest interpreter; in the 1960s, Bernac gave many master-classes covering the whole world of French song, and Jessye Norman was one of his students. The poems set are entitled Vue donne vie (‘Sight gives life'), but Poulenc asked the author, Paul Eluard, to give him a new title for the song-cycle. 'Unis la fraîcheur et le feu' is the opening line of the fifth song: 'Unite the coolness and the fire'. That is exactly what Jessye Norman has always done, and – in Bernac's words – she has done it with 'profound humanity'.

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Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy

Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy


Debussy:

Le promenoir des deux amants

Duparc:

Chanson triste

Lamento

Le Manoir de Rosemonde

Extase

Soupir

Phidylé

Ravel:

Trois chansons madécasses

Eberhard Finke (cello) & Karlheinz Zoeller (flute)

Schubert:

Der Winterabend (Es ist so still), D938

Herbst, D945

Dass sie hier gewesen! D775 (Rückert)

Der Einsame, D800

Fahrt zum Hades, D526 (Mayrhofer)

Der Jungling und der Tod, D545 (Spaun)

Sprache der Liebe D410 (A W von Schlegel)

Fischerweise, D881 (Schlechta)

Über Wildemann D884 (Ernst Schulze)

Auflösung, D807

Schumann:

Gedichte (6) und Requiem, Op. 90

Nachtlied, Op. 96 No. 1

Der Spielmann, Op. 40, No. 4

Zigeunerliedchen I & II

Verratene Liebe, Op. 40, No. 5

Provencalisches Lied, Op. 139 No. 4

Mein Schöner Stern! Op. 101 No. 4

Aus den hebräischen Gesängen, Op. 25 No. 15

Ihre Stimme Op. 96 No. 3 (August von Platen)

Wolf, H:

An eine Æolsharfe (No. 11 from Mörike-Lieder)

Heimweh (No. 37 from Mörike-Lieder)

Lebe wohl (No. 36 from Mörike-Lieder)

Nimmersatte Liebe (No. 9 from Mörike-Lieder)

Der Tambour (No. 5 from Mörike-Lieder)

Abschied (No. 53 from Mörike-Lieder)


Barry McDaniel (baritone), Hertha Klust (piano) & Aribert Reimann (piano)

The American baritone Barry McDaniel was one of the outstanding singers of the post-war era. As a successful opera singer and Lieder interpreter, he enjoyed a long and eventful career, both in Germany and abroad. Despite numerous performances and many recordings for radio and television, he nonetheless remained largely unnoticed by the media, partly because his name almost vanished in the shadow of Dietrich Fischer-Dieskau, who was five years his senior. Unjustly so, since the two singers were equals as artists, albeit with different characters. Today, Barry McDaniel is hardly mentioned in specialist literature and one searches in vain for CDs since, until now, recordings from radio archives have not been phonographically processed. However, Audite now presents a première double CD of Lieder sung by Barry McDaniel. These studio recordings from the archives of Radio Berlin-Brandenburg (formally Sender Freies Berlin) were made between 1963 and 1974 with Hertha Klust and Aribert Reimann as accompanists.

This selection of songs by Schubert, Schumann, Wolf, Duparc, Ravel and Debussy reveals diverse facets of McDaniel’s artistic personality. His interpretations are characterised by an interleaving of knowledge and naivety, feeling and craftsmanship, expression and impeccable singing. Apart from his immaculate technique, his accent-free German is particularly remarkable.

Barry McDaniel moved from the USA to Germany in 1953 in order to further his studies. He then gave his first song recitals, together with Hermann Reutter, and later began a career as an opera singer. In 1961 he was engaged at the newly re-opened Deutsche Oper Berlin, where he remained for thirty-seven years. At the same time, he gave guest performances at the Vienna Staatsoper, the Metropolitan Opera New York, the Frankfurt Opera and the Munich Opera Festival, as well as broadcasting for radio and television. In addition, Barry McDaniel gave numerous song recitals, for example in Stuttgart, Karlsruhe, Hanover, Brunswick and Berlin, including, in the latter city, the first ever song recital at the newly built Philharmonie in 1963. Today, the 81-year-old baritone declares: “Whatever I sing, I have to believe in it.” That is exactly how these recordings sound.

“The American Barry McDaniel inevitably sang in the shadow of Fischer-Dieskau; but this double CD reveals his deeply thoughtful baritone, in superbly accompanied Lieder and melodie.” BBC Music Magazine, June 2012 ****

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Between Life and Death - Songs & Arias

Between Life and Death - Songs & Arias


Bach, J S:

Komm süsser Tod, BWV478

Brahms:

Feldeinsamkeit, Op. 86 No. 2

Wie rafft' ich mich auf Op. 32,1 (v.Platen)

Loewe, C:

Edward, Op. 1 No. 1 (Herder)

Der Erlkönig, Op. 1 No. 3 (Goethe)

Mahler:

Urlicht (from Symphony No. 2)

Revelge (Des Knaben Wunderhorn)

Ich bin der Welt abhanden gekommen (Rückert-Lieder)

Mendelssohn:

Neue Liebe, Op. 19a No. 4

Mozart:

Abendempfindung an Laura, K523

Schubert:

Schwanengesang D744 (Senn)

Auflösung, D807

Der Jungling und der Tod, D545 (Spaun)

Der Tod und das Mädchen, D531

Kriegers Ahnung D 957, No. 2

Schumann:

Stirb, Lieb’ und Freud! Op.35, No. 2

Tchaikovsky:

Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin)

Weber:

Nein! länger trag' ich nicht die Qualen…Durch die Wälder (from Der Freischütz)

Wolf, H:

Denk es, o Seele! (No. 39 from Mörike-Lieder)

Anakreons Grab (No. 29 from Goethe-Lieder)

Ein Ständchen Euch zu bringen kam ich her (No. 22 from Italienisches Liederbuch)

Dereinst, Gedanke mein (No. 22 from Spanisches Liederbuch: Weltliche Lieder)


Christoph Prégardien (tenor) & Michael Gees (piano)

The selection of songs and arias on this double SACD set reflect on the fundamental question of life and death and cover a period of almost two centuries, the composers featured ranging from Bach through to Tchaikovsky. They are performed by one of the great lyric tenors of our age Christophe Prégardien, accompanied by the pianist Michael Gees. The common theme in the music of this recording is the most fundamental of all, existence itself, life and death. The composers represented are Bach, Mahler, Schubert, Schumann, Mozart, Brahms, Loewe, Wolf, Mendelssohn, and Tchaikovsky. The songs and arias performed here range over almost two centuries with eleven compositions and many musical forms, the simple song with piano accompaniment, the narrative, expansive ballad, the great opera aria and more.

Christoph Prégardien is widely regarded as among the foremost lyric tenors of our time and frequently collaborates with conductors such as Ricardo Chailly, John Elliot Gardiner, Nicolaus Harnoncourt, and Phillipe Herreweghe. He is represented on disc with more than a hundred and twenty titles, including most of his current repertoire. His recordings of German Romantic Lied repertory, particularly his recent releases on Challenge Classics of Schubert’s Die Schöne Müllerin, (CC72292), and Schwanengesang, (CC72302), have been highly acclaimed by the public and press and have received many major international awards.

“…far from being depressing, the programming here, both thoughtful and vividly imaginative, serves to stimulate the senses and lift the spirit. A fresh and unmannered introductory performance of Bach's 'Komm, süsser Tod' leads with both tonal and spiritual ease into an equally direct rendering of 'Urlicht' from Mahler's Second Symphony - artfully and beautifully accompanied by Gees. with a quietly impassioned and sensitively paced performance of Mahler's valedictory 'Ich bin der Welt abhanden gekommen', the final track fades into thin air, concluding an anthology to savour slowly, and return to many times.” BBC Music Magazine, February 2010 ****

“Such a programme demands exceptional resources in its singer, and there is probably no one presently more suited than Christoph Prégardien. His tenor, always centred as a high baritone, extends into the bass range right down to the low D of "Der Tod und das Mädchen". He can also call upon a silvery spiritual quality which serves well in songs such as Brahms's "Feldeinsamkeit" and as a final blessing over the whole recital in that last phrase of Mahler's "Ich bin der Welt abhanden gekommen". Michael Gees is one with the singer in the dedication of his own skills and in the imaginative sympathy that informs his touch.” Gramophone Magazine, March 2010

Super Audio CD

Format:

Hybrid Multi-channel

Challenge Classics - CC72324

(SACD - 2 discs)

$23.25

(also available to download from $20.00)

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Schubert: Lieder

Schubert: Lieder


Schubert:

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Nachtstück, D672 (Mayrhofer)

Auf der Donau, D553 (Mayrhofer)

Abendstern, D806

Auflösung, D807

Geheimes, D719 (Goethe)

Versunken D715 (Goethe)

Schäfers Klagelied, D121 (Goethe)

An die Entfernte, D765 (Goethe)

Am Flusse, D766

Willkommen und Abschied, D767

Die Gotter Griechenlands D677 (Schiller)

An die Leier, D737 (Bruchmann)

Am See, D746 (Bruchmann)

Alinde, D904

Wehmut, D772 (Collin)

Über Wildemann D884 (Ernst Schulze)

Auf der Riesenkoppe, D611

Sei mir gegrüsst! D741 (Rückert)

Dass sie hier gewesen! D775 (Rückert)

Der Geistertanz D494 (Matthisson)


Ian Bostridge (tenor), Julius Drake (piano)

“Bostridge reveals his expanding mastery in the widest variety of expression, with the subtlest range of tone, and with a deliberate hardening of the characteristically sweet voice in some of the more dramatic songs...In all this Drake is the perfect partner, ranging wide in his tonal palette too” Penguin Guide, 2010 edition ****

Warner Classics Recommends - 5034242

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