Schubert: Herbst, D945

This page lists all recordings of Herbst, D945, 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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Editor's Choice
Awards Issue 2014
Editor's Choice
April 2009

All recordings

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Schubert: Der Wanderer

Schubert: Der Wanderer

and other songs


Schubert:

Der Wanderer, D493

Der Wanderer, D489

Der Wanderer, D649 (Friedrich von Schlegel)

Der Wanderer an den Mond D870 (Seidl)

Aus 'Heliopolis' - I D753 (Mayrhofer)

Aus 'Heliopolis' - II D754 (Mayrhofer)

Auf der Donau, D553 (Mayrhofer)

Auf der Bruck, D853

Der Schiffer, D536 (Mayrhofer)

Das Heimweh, D456 (Winkler)

Der Kreuzzug D932 (Leitner)

Abschied D475 (Mayrhofer)

Wandrers Nachtlied I 'Der du von dem Himmel bist', D224

Wandrers Nachtlied II 'Über allen Gipfeln ist Ruh', D768

Herbst, D945

Meeres Stille, D216, Op. 3 No. 2 (Goethe)

Der Pilgrim, D794 (Schiller)

Die Gotter Griechenlands D677 (Schiller)

Im Walde D708

Die Mutter Erde, D788 (Stolberg)


Florian Boesch (baritone) & Roger Vignoles (piano)

Florian Boesch and Roger Vignoles were shortlisted for a BBC Music Magazine award for their first Hyperion album (Loewe Songs and Ballads). Boesch’s warm, sensuously attractive baritone voice, first-rate diction and remarkable acting ability were enthusiastically praised. Now the duo turn to a selection of Schubert’s Lieder from the dark heart of the repertoire.

“Boesch's singing is faultless: he's in fine voice and marvellously alert to every verbal nuance, without ever fracturing the line for the sake of the text. Vignoles, playing some of Schubert's most taxing accompaniments, tirelessly matches his every emotional shift. Very fine.” The Guardian, 13th February 2014 *****

“[Boesch] has an ideal voice, at once dark and dazzling, and his accompanist...is perfect...If a quest for expressiveness can lead Boesch to disturb the line of a phrase, The Gods of Greece, In the Forest, Autumn and the beautiful Mother Earth are splendid.” Sunday Times, 16th February 2014

“This is a most distinguished recital that confirms the stature of Florian Boesch as one of the leading Lieder singers currently before the public. His partnership with Roger Vignoles is clearly a fruitful one. Vignoles offers insightful and engaging playing throughout.” MusicWeb International, 26th February 2014

“there's plenty of artistry here. For all the conceptual orientation of the disc, Boesch isn't the sort of singer who tells you what to think or feel in this music. He lays it out with hugely attractive (and protracted) clarity and then lets you enter the music a fuller participant.” Gramophone Magazine, March 2014

“We are never far from the solitude of the forlorn wanderer, but there is much variety...This fine disc, pervaded with sadness though it is, has a great deal to offer those who love Schubert's songs.” International Record Review, March 2014

Hyperion - CDA68010

(CD)

$14.25

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Schubert: Willkommen und Abschied

Schubert: Willkommen und Abschied


Schubert:

Heidenröslein, D257

Schlaflied D527 (Mayrhofer)

Wiegenlied D867 (Seidl)

Geheimes, D719 (Goethe)

Ganymed, D544 (Goethe)

Auf der Bruck, D853

Der Fischer, D225 (Goethe)

Dass sie hier gewesen! D775 (Rückert)

Bei dir allein, D866/2

Der Schiffer, D536 (Mayrhofer)

Willkommen und Abschied, D767

Der Wanderer, D493

Im Walde D834

Wandrers Nachtlied I 'Der du von dem Himmel bist', D224

Der Einsame, D800

Der Winterabend (Es ist so still), D938

Herbst, D945

Rosamunde, D797: Romance 'Der Vollmond Strahlt auf Bergeshöh'n'

Nachtstück, D672 (Mayrhofer)


Werner Güra (tenor) & Christoph Berner (fortepiano Rönisch)

Born in Munich, Werner Güra has a reputation especially as an interpreter of lieder. His recordings for harmonia mundi, including the great cycles of Schubert, Schumann and Wolf and vocal ensembles by Brahms and Schumann, have all been widely acclaimed.

“It comprises 19 songs, all stylishly and beautifully sung by the tenor Werner Güra. The six Goethe settings include such familiar contrasts as Heidenröslein and Ganymed, while Willkommen und Abschied itself, more of a rarity, is heroically sung. The strength of Güra’s tone without any loss of quality has always been his strong point.” Sunday Telegraph, 29th January 2012

“His fresh lyric tenor combines well with Berner’s bright yet warm-toned fortepiano — he twinkles at Goethe’s ironic description of a water nymph as “eine feuchtes Weib”, literally a “damp woman” — while Berner brings drama to the piano parts of Auf der Bruck, Willkommen und Abschied and the haunting, yearning Herbst.” Sunday Times, 12th February 2012

“Berner, playing an 1872 Rönisch fortepiano, shows keen attention to every detail. Güra, outstanding in his unfussy, intense delivery, is a formidable, rousing guide.” The Observer, 26th February 2012

“Gura's strong, unaffected tenor voice is a pleasure to listen to, and Berner, who has an impressive keyboard freedom grounded in reliable technical skill, is a responsive accompanist: they perform as one, although too often their approach to a song somehow misses an essential quality of that particular piece of music.” International Record Review, March 2012 ****

“Gura and his fortepianist, Christoph Berner, have mapped out a trajectory of the Romantic view of human emotional life...At each stage, both musicians show perfect sympathy with Schubert's own engagement, ideal empathy with each other, and a shrewd sensitivity to musical and expressive scale.” BBC Music Magazine, May 2012 *****

“Gura is never dull. 'Der Wanderer' is intensely 'lived', the opening bleak and desiccated...One of the most eloquent performances of all is the last song, 'Nachtstuck'...Here, singer and pianist show an acute sensitivity to harmonic colour that characterises this whole rewarding recital.” Gramophone Magazine, May 2012

Harmonia Mundi - HMC902112

(CD)

$13.25

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Ohne Worte

Ohne Worte


Mendelssohn:

Song without Words, Op. 38 No. 6 in A flat major 'Duetto'

Im Grünen (wds. Voss)

Suleika (Goethe/von Willemer) Op. 34 No. 4

Schilflied, Op. 71 No. 4

Hexenlied, Op. 8 No. 8

Schubert:

Sonata in A minor 'Arpeggione', D821

Herbst, D945

Der Jüngling an der Quelle, D300 (Salis-Seewis)

Ständchen 'Leise flehen meine Lieder', D957 No. 4

Auf dem Wasser zu singen, D774

Du bist die Ruh D776 (Rückert)

Schumann:

Du bist wie eine Blume, Op. 25 No. 24

Ich will meine Seele tauchen (No. 5 from Dichterliebe, Op. 48)

Widmung, Op. 25 No. 1

Mein Schöner Stern! Op. 101 No. 4

Venetianische Lied, Op. 25 No. 18

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


Nils Mönkemeyer (viola), Nicholas Rimmer (piano)

Sony - 88697386212

(CD)

$9.00

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Schubert - Schwanengesang

Schubert - Schwanengesang


Schubert:

Schwanengesang, D957

Herbst, D945

Der Winterabend (Es ist so still), D938


Robert Holl (bass-baritone) & Roger Vignoles (piano)

The Dutch bass-baritone Robert Holl is one of the great Lieder singers of our time. A recent review of a recital from The Times illustrates his extroardinary technique and mesmerising power: ’Dutch baritone Robert Holl delivered a Schubert programme with such natural force and passion that resistance was impossible … Holl’s huge presence, and huge, dark voice can transform itself at will into the lightest breath of spring, rising into a hushed head-voice with total ease, or fining itself down to recreate the vision of a wakeful gondolier and a sleeping Serenissima.’

In Holl’s first recording for Hyperion, he brings his tremendous artistry to Schubert’s last song-cycle.

The songs in Schwanengesang were described by Schubert’s publisher Haslinger as ‘the final blooms of Schubert’s creative muse’. Schwanengesang contains some of Schubert’s greatest works. It tells no particular story, but the two sets of songs are linked by their poetic themes—nature, love and separation in the case of the settings of Rellstab, bitterness, loss and despair in the case of Heine.

This recording includes two further songs. The first, Herbst, though also to a text by by Rellstab, did not appear in Schwanengesang, and the manuscript was not discovered until the 1890s. A highly atmospheric nature-piece, its texture anticipates Mendelssohn’s songs on a similar theme, with its tremolando right hand and sinuous, fateful left-hand melody. The other extra is Der Winterabend from 1828. The poem by Leitner creates the image of a contented man, contemplating not just the winter evening, but by implication also his approaching death (the silvery moonlight is a symbolic pall cast over the objects of his life). In his extensive booklet notes, Roger Vignoles writes that ‘If one wants to know how Schubert felt about his own mortality, it is worth noting the loving care he bestowed on this song. Every turn of phrase, every modulation is perfectly judged, as in the hushed sidestep (through a major third, his favourite interval) that announces the entry of the moonlight into the poet’s chamber’.

“…Holl's interpretation really does stand alone in its musical truthfulness and depth of insight.” BBC Music Magazine, October 2008 ****

“Part of what makes Holl such a wonderful artist is the obvious relish he has for the simple act of singing. The words emerge with a wonderful fruity weight, the tone burgeoning through the note's length.Being so firmly rooted in the body, the singing carries an immense natural conviction.” The Telegraph, 26th October 2006 (on the Wigmore Hall performance of Schwanengesang))

Hyperion - CDA67657

(CD)

$14.25

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Christiane Karg - Arias and Lieder

Christiane Karg - Arias and Lieder


Gluck:

Adieu, conservez dans votre âme (from Iphigénie en Aulide)

Sacre piante (from Il Parnaso Confuso)

Gretry:

Il va venir...Pardonne, o mon juge (from Silvain)

Mendelssohn:

Infelice - concert aria for soprano and orchestra, Op. 94

Mozart:

Amoretti, che ascosi qui siete (from La Finta Semplice)

Schreker:

Sommerfäden, Op. 2, No. 1

Schubert:

Herbst, D945

Schumann:

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

Schumann, Clara:

Er ist gekommen in Sturm und Regen, Op. 12 No. 2 (Text: Friedrich Rückert)

Strauss, R:

Heimliche Aufforderung, Op. 27 No. 3

Befreit, Op. 39 No. 4

Morgen, Op. 27 No. 4

Allerseelen, Op. 10 No. 8

Wolf, H:

Auf eine Christblume II (No. 21 from Mörike-Lieder)


Christiane Karg (soprano)

Christiane Karg is one of the most-sought-after lyric sopranos of the present day, acclaimed for her embodiment of operatic roles and as a lieder, concert and oratorio singer. She can be seen and heard all around the world: at lieder recitals in New York’s Carnegie Hall and in the Vienna Konzerthaus, at La Scala in Milan with her 2016 debut in “Der Rosenkavalier”, at regular guest appearances at the Munich State Opera and the Dresden Semperoper, at the Salzburg Festival and at Glyndebourne. By a wise selection of roles and repertoire, the soprano has continued to develop her voice and strike out in new directions.

Christiane Karg proves her versatility and her ability on her CDs, which always present an adventurous blend of familiar repertoire and new discoveries. She delights her listeners as much with an all-Richard-Strauss lieder album as she does with her latest CD “SCENE!”, which brings together arias by Beethoven, Mozart, Haydn and Mendelssohn.

The exclusive coupling of lieder and arias on her current “Portrait” CD provides us for the first time with an all-round view of what she has achieved in the last few years. Sensitively, with intelligence and imaginative use of her voice, she presents Beethoven’s concert aria “Ah, perfido” as convincingly as Richard Strauss’s “Heimliche Aufforderung”. This is the portrait of a many-faceted artist who can keep her audience literally on the edge of their seats.

“All of the recordings I have borrowed from, whether they be pure lieder programmes with Burkhard Kehring and Malcolm Martineau, or those with Jonathan Cohen and his ensemble Arcangelo, are the fruit of longstanding ideas, the outcome of hours of sifting through material in libraries and archives, and the result of discussions with artistic colleagues. All of these pieces provide some form of insight into my inner thoughts, my very soul.” Christiane Karg

Berlin Classics Portrait - 0300788BC

(CD)

$8.75

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Nachtviolen

Nachtviolen

Schubert Lieder


Schubert:

An den Mond in einer Herbstnacht, D614 (Schreiber)

Hoffnung, D295

Im Janner 1817 (Tiefes Leid) D876

Abschied D475 (Mayrhofer)

Herbst, D945

Über Wildemann D884 (Ernst Schulze)

Der Wanderer, D649 (Friedrich von Schlegel)

Der Wanderer an den Mond D870 (Seidl)

Der Zwerg, D771 (Collin)

Abendstern, D806

Im Walde D834

Nach einem Gewitter D561 (Mayrhofer)

Der Schiffer D694 (F von Schlegel)

An die Nachtigall, D196 (Holty)

Totengräberweise D869 (Schlechta)

Frühlingsglaube, D686

Nachtviolen D752 (Mayrhofer)

Abendlied fur die Entfernte, D856 (Schlegel)

Wehmut, D772 (Collin)

Der Strom, D565 (poet unknown)

Der Hirt D490 (Mayrhofer)

Lied eines Schiffers an die Dioskuren D360 (Mayrhofer)

Nachtgesang D314 (Kosegarten)

Der Sänger am Felsen, D482


Christian Gerhaher (baritone), Gerold Huber (piano)

This album is a great introduction to the deeply absorbing world of Schubert's songs. It features a very personal collection of Schubert songs chosen by Christian Gerhaher, who has performed these songs for many years and has a profound connection to them. The album includes a detailed booklet text with a separate paragraph detailing each song.

Schubert set the verse of over 100 poets to music, composing approximately 650 songs. He selected biblical texts and poetry from classical Greece, the Renaissance, the Enlightenment and the early Romantic era, the poets including Goethe, Schiller, Shakespeare, Petrarca and Heine as well as his Austrian contemporaries and friends.

About Christian Gerhaher

Christian Gerhaher's exemplary lied interpretations with Gerold Huber set standards – their recordings have repeatedly been highly acclaimed. The lied duo appears on the stages of major international recital venues, for instance at the Wigmore Hall in London, in the Carnegie Hall in New York, the Concertgebouw Amsterdam, the Cologne and Berlin Philharmonie, the Konzerthaus and the Musikverein in Vienna.

Christian Gerhaher is a regular guest at the Schwetzingen Festival, the Rheingau Music Festival, the London Proms, the Edinburgh and Lucerne Festivals, the Salzburg Festival, as well as the Aspen and Tanglewood Festivals in the USA.

After the successful world premiere of Heinz Holliger's cycle Lunea on 23 fragments by Nikolaus Lenau in spring 2013, the season 2013/2014 will see/has seen the premieres of two other new works – both dedicated to him: In the fall a new song cycle by Jörg Widmann with performances in Vienna, Frankfurt, London and Luxembourg (combined with Schumann and Fauré) as well as Goethe's Harzreise im Winter by Wolfgang Rihm – an exciting program juxtaposing settings on Goethe's texts by Wolfgang Rihm and Franz Schubert. The premiere will take place in June 2014 at the Mozart Festival Würzburg followed by concerts at the Rheingau Musik Festival and the Salzburg Festival.

“Beautifully judged playing from pianist Gerold Hubersupports the silky lightness of Gerhaher at his most intimate in these 24 songs; though there are flashes of steel beneath the gossamer that are all the more exciting for their sparse deployment.” The Observer, 13th July 2014 ****

“Gerhaher’s outstanding qualities – a heavenly baritone, crisp diction, intelligent address – once again find an echo in Huber’s pianism.” Financial Times, 26th July 2014 ****

“Gerhaher brings his special qualities, the most beautiful lyric baritone voice of any lieder specialist I know, entirely natural and immaculate German diction, and musical and expressive insights that mark him out as one of the greatest lieder singers of any age...the entire programme is vintage Schubert and vintage Gerhaher.” Sunday Times, 10th August 2014

“gently beautiful and deeply rewarding...Gerhaher simply lets the music flow through him, his voice its unassuming servant. The pitching is immaculate, the breath control so easeful as to be imperceptible. He seems incapable of making an ugly sound.” The Telegraph, 15th September 2014 *****

“With his lyric high baritone at its freest, Gerhaher has the uncommon gift of making everything alive, specific, while always sounding natural...a superlative recital by a singer who for vocal beauty, poetic insight and expressive immediacy is surely unsurpassed in Lieder today.” Gramophone Magazine, Awards Issue 2014

“One of the most symbiotic partnerships in chamber music...Friends since childhood, they have performed lieder since they were teenagers. This recording of works by Schubert is a marvel of the fusion of text and melody, suffused with the beauty of Mr. Gerhaher’s mellow, smooth timbre.” New York Times, 18th December 2014

GGramophone Awards 2015

Winner - Solo Vocal

GGramophone Magazine

Editor's Choice - Awards Issue 2014

Sony - 88883712172

(CD)

$13.25

(also available to download from $11.00)

Usually despatched in 3 - 4 working days. (Available now to download.)

Schubert: Jahreszeiten

Schubert: Jahreszeiten


Schubert:

An die Natur, D372

Morgenlied, D685

Lilla an die Morgenröte, D273

Blumenlied, D431 (Holty)

Der Schmetterling D633

Heidenröslein, D257

Die Rose, D745

Die Sommernacht, D289 (Klopstock)

Herbstlied D502 (Salis-Seewis)

Erntelied D434 (Holty)

Herbst, D945

Erntelied D434 (Holty)

Herbst, D945

Der Herbstabend D405 (Salis-Seewis)

An den Mond in einer Herbstnacht, D614 (Schreiber)

Der stürmische Morgen (No. 18 from Winterreise)

Winterlied D401 (Holty)

Das Lied vom Reifen D532 (Claudius)

Der Winterabend (Es ist so still), D938

Viola, D786 (Schober)

Frühlingsglaube, D686


Michelle Breedt (mezzo-soprano), Nina Schumann (piano)

Two Pianists - TP1039251

(CD)

$16.00

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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 ****

Up to 25% off Audite

Audite - AUDITE23426

(CD - 2 discs)

Normally: $14.50

Special: $11.60

(also available to download from $20.00)

Usually despatched in 2 - 3 working days. (Available now to download.)

Schubert: Schwanengesang

Schubert: Schwanengesang


Schubert:

Schwanengesang, D957

Herbst, D945

encore

Der Winterabend (Es ist so still), D938

encore


Christopher Maltman (baritone) & Graham Johnson (piano)

Concluding a highly acclaimed series of Schubert song cycles, Wigmore Hall Live now release the much-anticipated Schwanengesang. Recorded live on the Wigmore stage by Christopher Maltman and Graham Johnson in April 2010, the song cycle was collated after Schubert’s death by the publisher Haslinger and, through the works of three poets, depicts a despairing man tormented by his lost love. Often sorrowful, sometimes enraged, this performance never fails to search deep within the emotive poetry, truly exploring the drama that unfolds through the fourteen poems. Famed for his superlative Schubertian pianism, Johnson features here not as an accompanist but as an equal, as Maltman’s stunningly colourful voice displays an infinite palette of timbres, carefully and subtly nuanced throughout.

“Both singer and accompanist are on far better form, for me, than they were in Winterreise...These are direct, uncluttered accounts of songs of varying quality, and the deepest - 'Am Meer', 'Der Doppelganger' - get appropriately weighty treatment, while others, such as the last, are delightfully light.” BBC Music Magazine, March 2012 ****

“Maltman brings a light touch to 'Liebesbotschaft', beautifully complemented by the filigree of Johnson's accompaniment...The second encore, 'Der Winterabend', culminates in Johnson's right hand doubling and counterpointing the vocal line - magical.” Gramophone Magazine, March 2012

“Maltman has a very beautiful light baritone voice and sings Schubert with undemonstrative perceptiveness and much musical intelligence...This is fine recording of Schwanengesang, the accompaniment occasionally somewhat insensitive but Maltman's singing hard to fault.” International Record Review, February 2012

“Maltman confirms that he is one of the most impressive baritone exponents of art songs currently before the public and, of course, he is partnered by one of the finest accompanists of our day, one who is steeped in Schubert’s lieder. Though there are many excellent CD versions of Schwanengesang in the catalogue this one joins the ranks of the very best.” MusicWeb International, June 2012

“There's an uncompromising emotional rawness in Maltman's singing in Der Atlas, Die Stadt and Der Doppelgänger that make for very disquieting listening. But it's not all angst: he's sexy in Ständchen and humorous in Die Taubenpost. Johnson, meanwhile, is exemplary, reminding us throughout of the genius of Schubert's piano writing.” The Guardian, 8th March 2012 ****

Wigmore Hall Live - WHLIVE0049

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$9.75

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Schubert: Schwanengesang

Schubert: Schwanengesang


Schubert:

Schwangesang D318 (Kosegarten)

Schwanengesang, D957

Herbst, D945

Schwanengesang D744 (Senn)

Sehnsucht, D636 (Schiller)


Christoph Hammer (fortepiano), Dominik Worner (bass-baritone)

ARS Produktion - ARS38494

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$15.75

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