Schubert: Gott im Ungewitter, D985

“This is a high-quality disc for collectors of Schubert's less famous vocal pieces.” International Record Review, May 2013

“There are treasures here...Marlis Petersen’s bright soprano in Delphine; Werner Güra, a peerless Schubertian tenor, in the cantata-like Der Sänger. The less well-known Anke Vondung (mezzo) and Konrad Jarnot (bass) are no less compelling in their solos, while Berner’s period fortepiano contributes perkily to the domestic ambience of the recital.” Sunday Times, 14th April 2013

“Schubert's secular choruses are among his least-known works, so a warm welcome for these charismatic performances of music beautiful enough to make you cry.” BBC Music Magazine, November 2012 *****

“This disc most delightfully extends the small number of Schubert's part-songs that has been recorded and these beautifully sung performances, very well recorded, capture the intimate spirit of music written primarily for friendly gatherings […] Robert Tear sings his part with lovely tone […] A contralto solo part woven into Ständchen is beautifully sung by Helen Watts […] this lovely disc gave me intense pleasure” Gramophone Magazine (Partsongs)

“Der Hirt auf dem Felsen is marvellously clean and instrumental in execution” Gramophone Magazine (Danco)

'As ever, illuminating words complement revelatory music-making' (BBC Music Magazine)

“Like the previous Schubertiads in the Edition, this disc mixes solo songs and partsongs, famil- iar and unfamiliar. The only really famous work here is Der Wanderer, that archetypal expression of romantic alienation whose popularity in Schubert's lifetime was eclipsed only by that of Erlkönig. Some of the partsongs – Zum Punsche, Naturgenuss and Schlachtgesang – cultivate a vein of Biedermeier heartiness that wears a bit thin today. Nor will Schubert's consciously archaic tribute to his teacher Salieri have you itching for the repeat button – though, like several other numbers, it shows the 19-year-old composer rivalling Mozart in his gift for musical mimicry. To compensate, though, there are partsongs like the sensual Der Entfernten, with its delicious languid chromaticisms, and the colourful setting of Gott im Ungewitter. The slight but charming setting of Das war ich is appealingly done by the light-voiced Daniel Norman, and Ann Murray brings her usual charisma and dramatic conviction to the pathetic Italian scena Didone Abbandonata.
Christine Schäfer is equally charismatic in the unjustly neglected Die verfehlte Stunde (recorded here for the first time), catching perfectly the song's mingled yearning and ecstasy and negotiating the mercilessly high tessitura with ease. Other happy discoveries include Schubert's virtually unknown third setting of Des Mädchens Klage, with its soaring lines, a melancholy tale of courtly love, sung by Christoph Prégardien with as much drama and variety as the music allows, and the surging Entzückung ('music for an infant Lohengrin,' as Graham Johnson puts it), for which Toby Spence has both the flexibility and the necessary touch of metal in the tone. Doubts were fleetingly raised by Lynne Dawson's slight tremulousness in Des Mädchens Klage, and by Christopher Maltman's prominent vibrato at forte and above in an otherwise involving performance of Der Wanderer.
But, these cavils apart, no complaints about the singing or the vivid accompaniments.” Gramophone Classical Music Guide, 2010

“They are expert duettists [Baker and Fischer-Dieskau], having sung together on other occasions and in other media; the result, with the ever-faithful, ever-skilful Gerald Moore, is all that one might expect” Gramophone Magazine, 1973

“it really is pretty well impossible to imagine finer performances...these are charming domestic pieces here performed by four of the greatest Lieder singers of the time: luxury casting indeed.” International Record Review, May 2011