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The Hyperion Schubert Edition - Complete Songs Volume 32
An 1816 Schubertiad
Lynne Dawson, Christine Schäfer (sopranos), Ann Murray (mezzo soprano), John Mark Ainsley, Daniel Norman, Christoph Prégardien, Michael Schade, Toby Spence (tenors), Christopher Maltman, Stephen Varcoe (baritones), Patricia Rozario Soprano, Catherine Wyn-Rogers Mezzo (soprano), Paul Agnew, Jamie Macdougall, Philip Langridge (tenors), Simon Keenlyside, Maarten Koningsberger, Stephan Loges (baritones), Neal Davies, Michael George (basses)
The London Schubert Chorale, Stephen Layton
'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
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Volume 18 - Schiller Volumes 3 & 4
Der Jüngling am Bache, D30 (Schiller)
Der Jungling am Bache, D192 (Schiller)
Der Jungling am Bache D638
Das Geheimnis, D250 (Schiller)
Das Geheimnis D793
Der Graf von Habsburg, D990
Die Entwartung, D159 (Schiller)
An den Frühling, D587 (Schiller)
Die Gotter Griechenlands D677 (Schiller)
Das Madchens Klage, D191 (Schiller)
Des Mädchens Klage D389 (Schiller)
Klage der Ceres, D323 (Schiller)
Thekla, D73 (Schiller)
Thekla, D595 (Schiller)
An den Fruhling, D283 (Schiller)
Des Mädchens Klage I, D6
Thekla: eine Geisterstimme (2), D595a
Maya Boog (soprano), Lothar Odinius (tenor), Ulrich Eisenlohr (piano)
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