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Franz Schubert: Die junge Nonne, Op. 43, No. 1, D. 828
Die junge Nonne, Op. 43, No. 1, D. 828
Franz Schubert: Das Rosenband, D. 280
Das Rosenband, D. 280
Franz Schubert: Auf dem See, Op. 92, No. 2, D. 543
Auf dem See, Op. 92, No. 2, D. 543
Franz Schubert: Blumenlied, D. 431
Blumenlied, D. 431
Franz Schubert: Gondelfahrer, D. 808
Gondelfahrer, D. 808
Franz Schubert: Die Gotter Griechenlands, D. 677
Die Gotter Griechenlands, D. 677
Franz Schubert: Der Jungling und der Tod, D. 545
Der Jungling und der Tod, D. 545
Franz Schubert: Schwestergruss, D. 762
Schwestergruss, D. 762
Franz Schubert: Amalia, D. 195
Amalia, D. 195
Franz Schubert: Der Jungling am Bache, D. 30 (1st setting)
Der Jungling am Bache, D. 30
Franz Schubert: Die Entzuckung an Laura, D. 390
Die Entzuckung an Laura, D. 390
Franz Schubert: Sehnsucht (Ach, aus dieses Tales Grunden), D. 636 (2nd setting)
Sehnsucht (Ach, aus dieses Tales Grunden), D. 636
Franz Schubert: Der Sieg, D. 805
Der Sieg, D. 805
Franz Schubert: Abendstern (Evening Star), D. 806
Abendstern (Evening Star), D. 806
Franz Schubert: Atys, D. 585
Atys, D. 585
Franz Schubert: Augenlied, D. 297
Augenlied, D. 297
Franz Schubert: Memnon, Op. 6, No. 1, D. 541
Memnon, Op. 6, No. 1, D. 541
Franz Schubert: Auflosung, D. 807
Auflosung, D. 807
Franz Schubert: Der Musensohn, Op. 92, No. 1, D. 764
Der Musensohn, Op. 92, No. 1, D. 764
2010
“The interpretation of Schubert's Lieder comes no better than this, a recital taken from three different broadcast sources, catching Dame Janet at the absolute peak of her powers. Most of the songs are by poets who moved the composer to his most noble inspiration. As several Schubert specialists have commented, for each he reserved a particular style, in response to their very different manner, and Baker catches the precise meaning of each. Of the Schiller settings, the operatic expression of Amalia and the dreamy rapture of the praise of Laura (here the singer achieves one miraculous pianissimo effect) are perfectly caught. Best of all is that wonderful song, Die Götter Griechenlands, where longing is so movingly expressed. All seven Mayrhofer settings find Baker truly at one with the poet's high-minded self-communing on the meaning of life, and with his underlying fatalism. Most notable are the calm assurance and serenity she brings to Der Sieg, the resigned isolation found in Abendstern, and the holy fire of Auflösung, the last two masterpieces that the singer did so much to make popular. As Gerald Moore once pointed out, Baker liked the stimulus of the different ideas she received from different pianists. Here Isepp, Parsons and the young Graham Johnson provide just that, completing pleasure in a recital that goes to the heart of the chosen material: as ever one realises that Baker was, above all, a singer of conviction. The absence of any texts or translations is the only blot on a superb issue.”
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