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See Terms & Conditions for p&p rates. | |  | Liszt: Songs
Liszt: | Der Fischerknabe, S.292 No. 1 Im Rhein, im schönen Strome, S272 Die Lorelei Die drei Zigeuner, S.320 Es war einmal ein König, S73 Ihr Glocken von Marling, S.328 Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Der du von dem Himmel bist (Goethe), S279 Benedetto sia'l giorno S 270a/2 Sonetto 104 del Petrarca 'Pace non trovo', S270 No. 1 Sonetto 123 del Petrarca 'I' vidi in terra angelici costumi', S270 No. 3 Freudvoll und leidvoll, S.280 Es rauschen die Winde, S294 Die stille Wasserrose, S321 Bist du!, S277 Es muss ein Wunderbares sein, S. 314 O lieb, so lang du lieben kannst |
After her sumptuous album of Strauss songs with orchestra, soprano Diana Damrau marks the bicentenary of Liszt’s birth with an album of his most celebrated songs in German, French and Italian, accompanied by pianist Helmut Deutsch. “Diana Damrau has a fine line in floated high notes, and the lyrical songs (the majority of those recorded here) benefit from her sweet tone...Helmut Deutsch's accompaniments are of the highest quality, setting the mood from the very beginning of each song and managing Liszt's virtuoso figuration with apparent ease.” BBC Music Magazine, January 2012 **** “A gifted Lieder singer with a flawlessly even and shining sound, Damrau knows exactly how to draw the listener into the drama of each song...Deutsch proves yet again what a great accompanist he is too: his insights into the atmosphere and psychology of these works are as compelling as Damrau's.” Classic FM Magazine, February 2012 ***** “The particular qualities of Damrau's lustrous coloratura lend an aura of ethereal beauty to several of her interpretations...Damrau brings a languid voluptuousness to the more famous love songs...There are times when one wishes Damrau would abandon her consistently gorgeous sound production to focus instead on a more vivid characterization of the text. In terms of pure singing, these interpretations are undeniably beautiful.” International Record Review, February 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Liszt: The Complete Songs Volume 1
Liszt: | Kling Leise, mein Lied, S301 first version In Liebeslust, S318 Wie singt die Lerche schon. S. 312 second version Die stille Wasserrose, S321 Drei Lieder aus Schillers Wilhelm Tell, S292 first version Der Glückliche, S.334 Angiolin dal biondo crin, S269 third version Sonetti di Petrarca (3) for voice & piano, S270 first version Bist du!, S277 second version Es rauschen die Winde, S294 first version Schwebe, schwebe, blaues Auge, S. 305 second version Im Rhein, im schönen Strome, S272 first version ossia |
The start of another Hyperion Lieder series is always cause for celebration. In advance of his bicentenary in 2011, we turn to a composer whose songs, against the vast bulk of his compositions in larger genres, were considered insignificant for well over a century. A collaborator with some of Europe’s best singers, such as the great French tenor Adolphe Nourrit and the husband–wife duo of Feodor and Rosa von Milde (the first Elsa and Telramund in Wagner’s Lohengrin), Liszt used song as a compositional laboratory in which to experiment with ‘Zukunftsmusik’, or ‘music of the future’, including some of his most finely wrought works. A cosmopolitan artist who traveled prodigiously during his years as a virtuoso performer from 1838 to 1847, he chose song texts written both by denizens of Mount Olympus (Goethe, Schiller, Heine, Hugo, Tennyson, Tolstoy, Petrarch) and amateurs, the latter often aristocrats from Liszt’s glittering social circles. From their words he created songs that changed the very definition of the genre, that are a bridge to such later masters as Hugo Wolf, Sergei Rachmaninov and Richard Strauss. This first volume in the series features the American tenor Matthew Polenzani who has been astounding Met opera audiences in recent years with his expressive and ardent performances. He is accompanied by the curator of the series and Hyperion regular, Julius Drake. “The challenges are more than met here, with Polenzani doing things in songs such as Der Fischerknabe or Pace Non Trovo that you never thought were possible for a human voice, while Drake's intensity is total and unswerving.” The Guardian, 11th November 2010 ***** “Polenzani is evidently a tenor of the finest quality: a lyric voice, sweet and ingratiating, with the capacity to ring out excitingly, gloriously easy on high but with a perfectly adequate body to the tone in its middle and lower registers...He sings with warmth, intelligence and conviction...And the songs themselves give amazingly consistent satisfaction.” Gramophone Magazine, January 2011 “The start of a major cycle of Liszt's "orphaned" songs – the composer's own description of a neglected but substantial part of his output, full of characteristic rhapsody and poetry.” The Observer, 19th December 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Wagner & Liszt - Lieder
Liszt: | Im Rhein, im schönen Strome, S272 Die Lorelei Ich möchte hingehn, S.296 Vergiftet sind meine Lieder, S.289 Schwebe, schwebe, blaues Auge, S. 305 Blume und Duft Der du von dem Himmel bist (Goethe), S279 Es rauschen die Winde, S294 O quand je dors (Hugo), S282 Sonetti di Petrarca (3) for voice & piano, S270 | Wagner: | Wesendonck-Lieder (5) |
Konrad Jarnot (baritone) & Alexander Schmalcz (piano) | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | Liszt: Lieder
Liszt: | Die drei Zigeuner, S.320 Du bist wie eine Blume Ein Fichtenbaum steht einsam, S309 Vergiftet sind meine Lieder, S.289 Die Lorelei Ihr Glocken von Marling, S.328 Die stille Wasserrose, S321 Blume und Duft Es rauschen die Winde, S294 Ich möchte hingehn, S.296 Gebet, S265 Freudvoll und leidvoll, S.280 Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Der du von dem Himmel bist (Goethe), S279 Mignons Lied (Kennst du das Land), S275 Wie singt die Lerche schon. S. 312 Wieder mocht’ ich dir begegnen Lasst mich ruhen Es muss ein Wunderbares sein, S. 314 Ihr Auge (Rellstab) O lieb, so lang du lieben kannst! S540a |
“Liszt's songs turn up far less frequently in recital than Schumann's, Brahms's or Wolf's… Ruth Ziesak's selection of 21… forms a good introduction to their varied merits, and her strong interpretative skills… stand her in good stead.” BBC Music Magazine, August 2008 **** | | | Usually despatched in 4 - 5 working days. |
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| |  | Liszt - Songs for Tenor
Liszt: | O Love Freudvoll und leidvoll, S.280 Es muss ein Wunderbares sein, S. 314 Sonetto 123 del Petrarca 'I' vidi in terra angelici costumi', S270 No. 3 Es rauschen die Winde, S294 Ich eiss nicht, was sol les bedeuten Vergiftet sind meine Lieder, S.289 Morgens steh ich auf und frage, S290 Es donnern die Hoh’n Es lachelt der See Wie singt die Lerche schon. S. 312 S'il est un charmant gazon, S284 Comment, disaient-ils (Hugo), S276 O quand je dors (Hugo), S282 Enfant, si j'étais roi (Hugo), S283 Die Macht der Musik, S.302 |
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| |  | Songs by Schubert’s friends and contemporariesEighty-one songs by forty composers who lived and worked during Schubert’s lifetime
Banck: | Der Leiermann | Beethoven: | Abendlied unter'm gestirten Himmel, WoO 150 An die ferne Geliebte (To the distant beloved), Op. 98 | Berger, L: | Des Müllers Wanderlied Müllers Blumen Am Maienfeste Der Müller Rose, die Müllerin Müllers trockne Blumen Des Baches Lied | Bürde: | Der Berghirt | Dietrichstein: | Wonne der Wehmut | Eberwein, M: | Rastlose Liebe | Franz, S: | Abschied nach Wien 1813 | Gyrowetz: | Die Einsame | Haydn: | Der Greis Hob | Hiller, F: | Wandrers Nachtlied | Hummel, J: | Zur Logenfeier | Hüttenbrenner, A: | Lerchenlied | Kreutzer, K: | Winterreise Abreise Heimkehr Der Lindenbaum Frühlingstraum Die Post Der Pilgrim | Krufft: | Lied aus Wilhelm Meisters Lehrjahre | Lachner, F: | Ständchen Das Fischermädchen, Op. 33, No. 10 Der Schmied Nachtigall Herbst | Liszt: | Es rauschen die Winde, S294 | Loewe, C: | Gesang der Geister Der Erlkönig, Op. 1 No. 3 (Goethe) | Mendelssohn: | Minnelied im Mai 'Holder klingt der Vogelsang', Op. 8 No. 1 | Mendelssohn, Fanny: | Die frühen Gräber, Op. 9 No. 4 (Text: Friedrich Wilhelm Klopstock) | Meyerbeer: | Komm! | Neukomm: | Trost in Tränen Klage an den Mond Sehnsucht | Randhartinger: | Suleika Rastloses Wandern | Reichardt, J F: | Sehnsucht Rastlose Liebe Erlkönig Monolog der Iphegenia | Reichardt, L: | Aus Novalis Hymnen an die Nacht | Rossini: | Beltà crudele | Salieri: | Ich denke dein | Schubert of Dresden Sr.: | Die Lebensgefährten | Schumann: | Lied für XXX | Sechter: | Gute Nacht | Spohr: | Mignon's Lied Op. 37:1 Erlkönig | Tomásek: | Meeres Stille Heidenröslein | Unger: | Die Nachtigall | Unger-Sabatier: | Frühlingsglaube | Vesque von Püttlingen: | Der Herbstabend Der Doppelgänger Der Fischer | Vogl: | Lied der Desdemona | Weber: | Gebet während der Schlacht | Weigl, J: | Wenn sie mich nur von weitem sieht | Weyrauch, A H: | Adieu! | Zelter: | Erlkönig Erster Verlust Um Mitternacht Klage Harfenspieler III Rastlose Liebe | Zumsteeg: | Die Erwartung Thekla |
“Abetted by Johnson's lucid pianism, the singers nicely judge the scale and character of their allotted songs. Susan Gritton, her timbre, richer and more flavoursome than a decade ago, is equally admirable in the insouciant trilling of Johann Unger's Die Nachtigall and the dramatic declamation of Reichardt's Monolog der Iphigenie. Gerald Finley is a graphic story-teller in the various Erlkönig settings and a honeyed-toned seducer in Meyerbeer's Komm, while Mark Padmore makes a persuasive case for Zumsteeg's pleasantly rambling ballad Die Erwartung... This enterprising, often revelatory set should intrigue and delight anyone interested in the development of the Lied.” Gramophone Magazine, July 2006 | | | In stock - usually despatched within 1 working day. |
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| |  | Dietrich Fischer-Dieskau: The Great EMI Recordings
Brahms: | Die schöne Magelone, Op. 33 Sviatoslav Richter (piano) Feldeinsamkeit, Op. 86 No. 2 Daniel Barenboim (piano) Vier ernste Gesänge, Op. 121 Wolfgang Sawallisch (piano) | Cornelius: | Weihnachtslieder (6), Op. 8 Hermann Reutter (piano) | Grieg: | Zur Rosenzeit (No. 5 from Seks Sange, Op. 48) Hartmut Holl (piano) | Liszt: | Es rauschen die Winde, S294 Ständchen, S301 Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Wieder mocht’ ich dir begegnen Aribert Reimann (piano) | Loewe, C: | Der Erlkönig, Op. 1 No. 3 (Goethe) Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2 Der Schatzgräber, Op. 59 No. 30 Archibald Douglas, Op. 128 Tom der Reimer "Der Reimer Thomas lag am Bach", Op. 135a Gerald Moore (piano) | Mahler: | Lieder eines fahrenden Gesellen (4 songs, complete) Daniel Barenboim (piano) Rückert-Lieder (5 songs, complete) Daniel Barenboim (piano) Der Schildwache Nachtlied (Des Knaben Wunderhorn) Verlorne Müh' (Des Knaben Wunderhorn) Das irdische Leben (Des Knaben Wunderhorn) Des Antonius von Padua Fischpredigt (Des Knaben Wunderhorn) Rheinlegendchen (Des Knaben Wunderhorn) Wo die schönen Trompeten blasen (Des Knaben Wunderhorn) Lob des hohen Verstandes (Des Knaben Wunderhorn) Revelge (Des Knaben Wunderhorn) Der Tambourg'sell (Des Knaben Wunderhorn) Daniel Barenboim (piano) Revelge (Des Knaben Wunderhorn) London Symphony Orchestra, George Szell | Mendelssohn: | Neue Liebe, Op. 19a No. 4 Gruß, Op. 19a No. 5 Auf Flügeln des Gesanges, Op. 34 No. 2 Morgengruss (Heine) Op. 47 No. 2 Venetianisches Gondellied, Op. 57 No. 5 'Wenn durch die Piazetta' Nachtlied, Op. 71 No. 6 Der Mond, Op. 86 No. 5 Wolfgang Sawallisch (piano) | Schubert: | Die schöne Müllerin, D795 Gerald Moore (piano) Winterreise D911 Gerald Moore (piano) Schwanengesang, D957 Gerald Moore (piano) Du bist die Ruh D776 (Rückert) Nacht und Träume, D827 Rastlose Liebe, D138 Nachtviolen D752 (Mayrhofer) Der Einsame, D800 Auflösung, D807 Der Wanderer an den Mond D870 (Seidl) Der Wanderer, D489 An die Musik D547 Auf der Bruck, D853 Im Frühling, D882 An Sylvia, D891 Erlkönig, D328 Nachtstück, D672 (Mayrhofer) Gruppe aus dem Tartarus, second version, D583 (Schiller) Abendstern, D806 Sei mir gegrüsst! D741 (Rückert) Lachen und Weinen, D777 Heidenröslein, D257 Der Jüngling an der Quelle, D300 (Salis-Seewis) Litanei auf das Fest Allerseelen, D343 Seligkeit D433 (Holty) Der Tod und das Mädchen, D531 An die Laute D905 Im Abendrot, D799 Digitally remastered in 2003 Die Forelle, D550 Auf dem Wasser zu singen, D774 Fischerweise, D881 (Schlechta) Des Fischers Liebesgluck, D933 (Leitner) Der Schiffer, D536 (Mayrhofer) Der Winterabend (Es ist so still), D938 Einsamkeit, D620 Das Lied im Grünen, D917 Ständchen 'Horch! Horch! die Lerch!', D889 Wohin? (No. 2 from Die schöne Müllerin, D795) Gerald Moore (piano) Gute Nacht (No. 1 from Winterreise, D911) Gerald Moore (piano) | Schumann: | Liederkreis, Op. 39 Digitally remastered in 2004 Gerald Moore (piano) Romanzen und Balladen I, Op. 45 Digitally remastered in 2004 Liederkreis, Op. 24 Digitally remastered in 2005 Hertha Klunst (piano) Die beiden Grenadiere, Op. 49 No. 1 Gerald Moore (piano) Die feindlichen Brüder, Op. 49 No. 2 Hertha Klunst (piano) Der arme Peter, Op. 53 No. 3 Hertha Klunst (piano) Tragödie Op. 64 No. 3 Hertha Klunst (piano) | Strauss, R: | Zueignung, Op. 10 No. 1 Die Nacht, Op. 10 No. 3 Allerseelen, Op. 10 No. 8 Heimkehr, Op. 15 No. 5 Ständchen, Op. 17 No. 2 All mein Gedanken ... Op. 21 No. 1 Ruhe, meine Seele!, Op. 27 No. 1 Cäcilie, Op. 27 No. 2 Heimliche Aufforderung, Op. 27 No. 3 Morgen, Op. 27 No. 4 Traum durch die Dämmerung, Op. 29 No. 1 Nachtgang Op. 29 No. 3 Blauer Sommer, Op. 31 No. 1 Ich trage meine Minne, Op. 32 No. 1 Sehnsucht Op. 32 No. 2 Liebeshymnus, Op. 32 No. 3 Das Rosenband, Op. 36 No. 1 Meinem Kinde, Op. 37 No. 3 Befreit, Op. 39 No. 4 Freundliche Vision, Op. 48 No. 1 Winterliebe Op. 48 No. 5 Winterweihe, Op. 48 No. 4 Waldseligkeit, Op. 49 No. 1 Gefunden Op. 56 No. 1 Die heiligen drei Könige aus Morgenland Op. 56 No. 6 Einerlei, Op. 69 No. 3 Schlechtes Wetter, Op. 69 No. 5 Das Bächlein, Op. 88 No. 1 Gerald Moore (piano) | Verdi: | Vanne, la tua meta gia vedo…Credo in un Dio crudel (from Otello) New Philharmonic Orchestra, Sir John Barbirolli | Wagner: | Der Tannenbaum, WWV 50 Aribert Reimann (piano) | Wolf, H: | Der Freund (No. 1 from Eichendorff-Lieder) Der Musikant (No. 2 from Eichendorff-Lieder) Verschwiegene Liebe (No. 3 from Eichendorff-Lieder) Das Ständchen (No. 4 from Eichendorff-Lieder) Heimweh (No. 12 from Eichendorff-Lieder) Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder) Jägerlied (No. 4 from Mörike-Lieder) Der Tambour (No. 5 from Mörike-Lieder) Begegnung (No. 8 from Mörike-Lieder) Fussreise (No. 10 from Mörike-Lieder) Verborgenheit (No. 12 from Mörike-Lieder) Im Frühling (No. 13 from Mörike-Lieder) Auf ein altes Bild (No. 23 from Mörike-Lieder) In der Frühe (No. 24 from Mörike-Lieder) Gebet (No. 28 from Mörike-Lieder) An die Geliebte (No. 32 from Mörike-Lieder) Der Feuerreiter (No. 44 from Mörike-Lieder) Gesang Weylas (No. 46 from Mörike-Lieder) Storchenbotschaft (No. 48 from Mörike-Lieder) Abschied (No. 53 from Mörike-Lieder) Harfenspieler I (No. 1 from Goethe-Lieder) Harfenspieler II (No. 2 from Goethe-Lieder) Harfenspieler III (No. 3 from Goethe-Lieder) Anakreons Grab (No. 29 from Goethe-Lieder) Der Rattenfänger (No. 11 from Goethe-Lieder) Verborgenheit (No. 12 from Mörike-Lieder) Gerald Moore (piano) |
Plus extracts from two interviews recorded in 2000 and 2005: some parts of the interviews have previously been aired by the WFMT Radio Network and published by VAI and Gramophone, and those organisations have kindly agreed to their reissue here. However, much of this documentary has never been heard or published before. Sung texts with translations can be found on CD11 in pdf form, which can be accessed from any computer equipped with CD-ROM drive and Adobe Acrobat 6.0.
“All in all, this is a magnificent retrospective...Strongly recommended.” Gramophone Magazine, July 2010 | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine