Strauss, R: Für fünfzehn Pfennige Op. 36 No. 2

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Richard Strauss: The Complete Songs 3

Richard Strauss: The Complete Songs 3


Strauss, R:

Nichts, Op. 10 No. 2

Die Zeitlose, Op. 10 No. 7

Die Verschwiegenen, Op. 10 No. 6

Sechs Lieder, Op. 17

Wozu noch, Mädchen Op. 19 No. 1

Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3

Hoffen und wieder verzagen Op. 19 No. 5

Ach weh mir unglückhaftem Mann, Op. 21 No. 4

Die Frauen sind oft fromm und still Op. 21 No. 5

Heimliche Aufforderung, Op. 27 No. 3

Fünf Lieder, Op. 32

Für fünfzehn Pfennige Op. 36 No. 2

Anbetung, Op. 36 No. 4

Winterweihe, Op. 48 No. 4

Winterliebe Op. 48 No. 5

Freundliche Vision, Op. 48 No. 1


Andrew Kennedy (tenor) & Roger Vignoles (piano)

“Andrew Kennedy is an eager, bright-eyed lover: the bloom and the tenderness of the middle range of his voice, in particular, knows just how to bring a luxuriant Straussian intimacy to a song such as 'Seitdem dein Aug' in meines Schaute.” BBC Music Magazine, May 2008 ***

“Hyperion is an old hand at programming attractively playable discs that make up complete Lied editions. Kennedy's selection has the earlier material, with the Opp 17 and 32 groups given complete. Strauss's choice of poets at this stage in his Lied career may not have been as sophisticated as it became but he never chose a text that didn't inspire a clear musical portrait. Especially well pointed are two Des Knaben Wunderhorn songs ('Himmelsboten' and the droll love-onthe- cheap story of 'Für fünfzehn Pfennige') and the dark, serious 'Sehnsucht'. The better-known 'Ständchen' and what Roger Vignoles's notes call the 'ebullient barnstormer' 'Heimliche Aufforderung' are placed cunningly within the recital order.
Vignoles's playing continues to achieve a maximum of freshness and invention and a chameleon- like closeness to his singer's tone and line. Kennedy's voice is young, sweet, fluent and has what some commentators call 'sap'. Greater naturalness (and especially inwardness) will come in his live and later performances of this repertoire. In the meantime, a lot of work and study has gone into this disc and the readings attain a consistently high standard of beautiful music-making.”
Gramophone Classical Music Guide, 2010

“Vignoles's playing continues to achieve a maximum of freshness and invention… Kennedy's voice is young, sweet, fluent and has what some commentators call "sap". A lot of work and study has gone into this disc and the readings attain a consistently high standard of beautiful music-making.” Gramophone Magazine, July 2008

Hyperion Richard Strauss Complete Songs - CDA67602

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$17.00

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Richard Strauss Songs

Richard Strauss Songs


Strauss, R:

Ständchen, Op. 17 No. 2

Ich wollt ein Sträusslein binden, Op. 68 No. 2

Allerseelen, Op. 10 No. 8

Für fünfzehn Pfennige Op. 36 No. 2

Ich trage meine Minne, Op. 32 No. 1

Nichts, Op. 10 No. 2

Die Nacht, Op. 10 No. 3

Wiegenlied, Op. 41 No. 1

Der Stern, Op. 69 No. 1

Nur Mut! Op. 17 No. 5

Lob des Leidens, Op. 15 No. 3

Zueignung, Op. 10 No. 1

Mein Herz ist stumm, Op. 19 No. 6

Herr Lenz Op. 37 No. 5

Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3

Das Geheimnis, Op. 17 No. 3

Ruhe, meine Seele!, Op. 27 No. 1


Lisa Della Casa (soprano), Arpád Sándor (piano)

Released or re-released in last 6 months

RCA - 88843056212

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$13.00

Usually despatched in 8 - 10 working days.

Wunderhornlieder - Into a Simpler World …

Wunderhornlieder - Into a Simpler World …


Brahms:

Schnitter Tod (No. 13 from Deutsche Volkslieder für gemischten Chor, WoO 34)

Der Überläufer, Op. 48 No. 2

Kienzl:

An einen Boten

Knab:

Abschiedszeichen

Loewe, C:

Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2

Mahler:

Verlorne Müh' (Des Knaben Wunderhorn)

Mendelssohn:

Jagdlied 'Mit Lust tät ich ausreiten', Op. 84 No. 3

Reichardt, L:

Wassersnot

Schoenberg:

Wie Georg von Frundsberg von sich selber sang, Op. 3 No. 1

Schollum:

Wenn das Kind etwas nicht gern ißt

Schreker:

Das hungernde Kind

Schumann:

Käuzlein Op. 79/11

Strauss, R:

Für fünfzehn Pfennige Op. 36 No. 2

Suder:

Urlicht

Weigl, K:

Zum Einschlafen


Wolfgang Holzmair (baritone), Therese Lindquist (piano)

“A hopeless mishmash of all sorts of droll, sulky, dirty and worthless street songs, plus a few musty church songs.” There is probably no comparable collection of texts that triggered discussions of an equally controversial nature during the 19th and early 20th centuries. Of all the musical adaptations based on this book of 723 songs, those by Gustav Mahler are probably the most famous, yet Des Knaben Wunderhorn was an inspiration for many other composers, too. Wolfgang Holzmair is both a brilliant singer and an expert in discovering associations and interrelations. His intense and masterly performance, skillfully accompanied by Thérèse Lindquist, sheds light on the different interpretations by composers from Mendelssohn to Schumann and Strauss, from Mahler to Zemlinsky and Schoenberg.

“In captious mode you might point to an excess of bardic homeliness...But in such sympathetic performances there are many delights here...These days Holzmair's distinctive tenorish high baritone can grow tight under pressure...But at mezzo-forte and below his voice still sounds well. And characterisation is as imaginative as ever.” Gramophone Magazine, April 2014

Released or re-released in last 6 months

Col Legno - WWE1CD60024

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R. Strauss: Vier letzte Lieder & 12 Lieder

R. Strauss: Vier letzte Lieder & 12 Lieder


Strauss, R:

Four Last Songs

Für fünfzehn Pfennige Op. 36 No. 2

Schlechtes Wetter, Op. 69 No. 5

Weißer Jasmin, Op 31 No 3

Heimkehr, Op. 15 No. 5

Schlagende Herzen Op. 29 No. 2

Begegnung (Meeting), AV 72

Die erwachte Rose, TrV 90, AV 66

Rote Rosen, AV76

Die Zeitlose, Op. 10 No. 7

Die Verschwiegenen, Op. 10 No. 6

Geduld Op. 10 No. 5

Nichts, Op. 10 No. 2

Wo ist mein Bruder? (from Capriccio)


EMI Red Line - 6023172

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$8.00

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Après un rêve

Après un rêve


Fauré:

Les roses d'Ispahan Op. 39 No. 4

Clair de Lune, Op. 46 No. 2

Mandoline, Op. 58 No. 1 (Verlaine)

Automne, Op. 18 No. 3

Pfitzner:

Alte Weisen, Op. 33

Reger:

Volkslied aus Franken – Waldeinsamkeit, Op. 76, No. 3

Beim Schneewetter, Op. 76 No. 6

Schlecht’ Wetter, Op. 76 No. 7

Friede, Op. 76 No. 25

Respighi:

Quattro Rispetti toscani

Strauss, R:

Für fünfzehn Pfennige Op. 36 No. 2

Schlagende Herzen Op. 29 No. 2

Schlechtes Wetter, Op. 69 No. 5

Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3

Mädchenblumen (4 songs), Op. 22

Wolf-Ferrari:

Rispetti (4), Op. 11


Sarah Maeder (soprano), Gérard Wyss (piano)

This is a unique recital of lieder by composers who were contemporaries of one another whose music is likely to appeal to the same music-lover. Alongside relatively familiar songs by Richard Strauss and Gabriel Fauré, from whence the CD takes its title, we are pleased to include rarely-heard examples from Reger, Pfitzner and Wolf-Ferrari. Sarah Maeder is a much-admired soprano who has made a special study of this repertoire, and she is excellently accompanied by the talented Gérard Wyss, to produce a recording that will be highly-prized by connoisseurs of this distinguished repertoire.

“Maeder can certainly turn on the charm but never goes coy, sings always with accuracy, purity and freshness, and articulates very clearly. She is also very fortunate in her accompanist. Gerard Wyss is a class act.” International Record Review, November 2011

Guild - GMCD7373

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$20.00

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Angelika Kirchschlager: Wolf & Strauss

Angelika Kirchschlager: Wolf & Strauss


Strauss, R:

Heimliche Aufforderung, Op. 27 No. 3

Mein Herz ist stumm, Op. 19 No. 6

Du meines Herzens Krönelein, Op. 21 No. 2

Meinem Kinde, Op. 37 No. 3

Muttertändelei, Op. 43 No. 2

Ruhe, meine Seele!, Op. 27 No. 1

Für fünfzehn Pfennige Op. 36 No. 2

Morgen, Op. 27 No. 4

Nichts, Op. 10 No. 2

encore

Wolf, H:

Auf einer Wanderung (No. 15 from Mörike-Lieder)

Im Frühling (No. 13 from Mörike-Lieder)

Auf ein altes Bild (No. 23 from Mörike-Lieder)

Begegnung (No. 8 from Mörike-Lieder)

Das verlassene Mägdlein (No. 7 from Mörike-Lieder)

Er ist's (No. 6 from Mörike-Lieder)

Alte Weisen, Sechs Gedichte von Gottfried Keller

Nimmersatte Liebe (No. 9 from Mörike-Lieder)

encore


Angelika Kirchschlager (mezzo-soprano) & Roger Vignoles (piano)

“Since her full blooming on the operatic stage, Kirchschlager’s mezzo has grown enormously - and her performing character with it. She still knows how to hold a recital audience in the palm of her hand, but now there’s a newly expansive energy firing all she sings […..] Kirchschlager’s dark mezzo smouldered with sensuality,” so wrote the Times after Angelika Kirchschlager and Roger Vignoles’ February 2010 Wigmore Hall performance of the same collection of Hugo Wolf and Richard Strauss songs.

Angelika Kirchschlager is regarded as one of the most distinguished mezzo-sopranos of her generation and in particular is recognised internationally for her interpretations of Richard Strauss. She gives regular solo recitals, balancing her operatic career with lieder performances. Eminent piano accompanist and leading authority on the song repertoire, Roger Vignoles, is her long-standing musical partner.

Now in this collection Kirchschlager and Vignoles collaborate to perform nine Strauss songs as well as Wolf’s lieder to texts by Eduard Mörike and Gottfried Keller. Wolf set 43 of Mörike’s poems to music during a period of intense creativity in which he developed a heady new musical language. Kirchschlager delights in the opportunity to convey this with glorious colouring of phrases which are fittingly matched by the piano. The recording provides encores of music from each composer, including Strauss’ triumphant ‘Nichts,’ a fitting end to a compelling programme.

“What a generous communicator is the vivacious Angelika Kirchschlager. Quirky Hugo Wolf suits her rather better than Strauss's sometimes generic rapture, though she's splendidly scathing in the often archly delivered 'Für fünfzehn Pfennige'. The full extrovert personality seems to unleash the sometimes reticent Roger Vignoles” BBC Music Magazine, December 2010 ****

“listen to [Morgen]...and you will hear a miniature master-class in Lieder singing...Kirchschlager's lightly worn mezzo burnishes a song that is too often over-gilded...It helps that Kirchschlager is such an accomplished singing actress...Vignoles is on tiptop form throughout.” International Record Review, November 2010

“This recital shows the mezzo-soprano at the peak of her powers, richly characterful and infinitely expressive. The same statement can be made about her pianist, Vignoles, in what is quite properly a partnership of equals.” Sunday Times, 28th November 2010 ***

“Few Lieder singers match Angelika Kirchschlager in vibrant stage personality. Even heard 'blind', the Austrian mezzo vividly illuminates each of Wolf's nature rhapsodies, vignettes and character sketches...In the wry and/or touching character studies of Wolf's Six Songs in the Old Style...Kirchschlager the born stage animal is in her element...'Morgen' is moving in its unsentimental sincerity” Gramophone Magazine, February 2011

Wigmore Hall Live - WHLIVE0040

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Marilyn Horne - The Complete Decca Recitals

Marilyn Horne - The Complete Decca Recitals


Bach, J S:

Magnificat in D major, BWV243: Et exultavit

Magnificat in D major, BWV243: Esurientes implevit bonis

Christmas Oratorio, BWV248: Schlafe, mein Liebster

St Matthew Passion, BWV244: Erbarme dich

Bist du bei mir, BWV508

Beethoven:

Abscheulicher! Wo eilst du hin? (from Fidelio)

Bellini:

Lieto del dolce incarco…Se Romeo t'uccise un figlio (from I Capuleti e i Montecchi)

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Près des remparts de Séville (Séguedille) (from Carmen)

Adieux de l'hotesse Arabe

Chanson d'Avril

Vieille chanson

Absence

Copland:

Old American Songs: excerpts

Debussy:

Trois chansons de Bilitis

Donizetti:

Deciso è dunque...le richezze (from La Figlia del Reggimento)

Falla:

Siete Canciones populares españolas

Gluck:

J'ai perdu mon Eurydice (from Orphée et Eurydice)

Divinités du Styx (from Alceste)

Gounod:

Ô ma lyre immortelle (from Sapho)

Handel:

Messiah: O thou that tellest good tidings to Zion

Messiah: I know that my Redeemer liveth

Scacciata dal suo nido (from Rodelina)

Dove sei, amato bene? (from Rodelinda)

Vivi, tiranno, io t'ho scampato (from Rodelinda)

Mahler:

Rückert-Lieder (5 songs, complete)

Lieder eines fahrenden Gesellen (4 songs, complete)

Kindertotenlieder

Massenet:

Ces lettres! (from Werther)

Va! Laisse couler mes larmes (from Werther)

Meyerbeer:

Ah, mon fils! (from Le Prophète)

O prêtres de Baal (from Le Prophète)

Nobles seigneurs, salut! (from Les Huguenots)

Mozart:

Parto, parto, ma tu ben mio (from La Clemenza di Tito)

Nin:

Villancico Castellano (from Villancicos Españolas)

Jesus de Nazareth (from Villancicos Españolas)

Villancico Asturiano (from Villancicos Españolas)

Villancico Andaluz (from Villancicos Españolas)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Assisa a' piè d'un salice (from Otello)

Di tanti palpiti (from Tancredi)

Bel raggio lusinghier (from Semiramide)

Pronti abbiamo...Amici in ogni evento...Pensa alla patria (from L'Italiana in Algeri)

Eccomi alfine in Babilonia (from Semiramide)

Cruda sorte! Amor tiranno! (from L'Italiana in Algeri)

Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola)

L'ora fatal s'appressa ... Giusto ciel! (from L'Assedio di Corinto)

Mura felici (from La donna del lago)

Tanti affetti in tal momento (from La donna del lago)

Non temer, d' un basso affetto (from Maometto II)

Saint-Saëns:

Printemps qui commence (from Samson et Dalila)

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Schubert:

Im Frühling, D882

Nacht und Träume, D827

Die junge Nonne, D828

Fischerweise, D881 (Schlechta)

Schumann:

Die Lotosblume, Op. 25 No. 7

Aus den hebräischen Gesängen, Op. 25 No. 15

Die Kartenlegerin, Op. 31 No. 2

Abendlied, Op. 85 No. 12

Strauss, R:

Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3

Für fünfzehn Pfennige Op. 36 No. 2

Befreit, Op. 39 No. 4

Thomas, Ambroise:

Connais-tu le pays (from Mignon)

Me voici dans son boudoir 'Gavotte' (from Mignon)

Elle est là! Près de lui! (from Mignon)

Verdi:

Stride la vampa (from Il Trovatore)

Condotta ell’era in ceppi (from Il Trovatore)

Wagner:

Wesendonck-Lieder (5)

Wolf, H:

Auf einer Wanderung (No. 15 from Mörike-Lieder)

Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder)

Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch)

and traditional American folk songs


The great American mezzo-soprano Marilyn Horne celebrated her her 70th birthday in January 2004 and that year also marked 50 years since her professional debut.

Horne’s debut in 1954 was in in Los Angeles. That same year her name and voice was brought to many more people than could ever hear her in the opera house through the 1954 film Carmen Jones in which she sang the dubbed voice of Dorothy Dandridge. Her Covent Garden debut was as Marie in Wozzeck (sung in English at that time) in 1964 – she had made her San Francisco debut in 1960 with the same role. It was with Joan Sutherland that Marilyn Horne found the perfect vocal partner and their performances in the great bel canto operas by Rossini, Bellini and Donizetti took the opera world by storm in the 1960s and early 1970s.

By the time she retired in 1998, Marilyn Horne’s long and distinguished career embraced an enormous variety of operatic roles, as well as a wide variety of solo song ranging from Schubert, Schumann and Mahler through to modern American songs. Such a wide repertory was due to the sheer range of her voice and its remarkable flexibility, a voice that could sustain long lines of melody as well as negotiate the most florid vocal pyrotechnics.

Marilyn Horne participated in a number of complete opera recordings (among them classic recordings of Norma and Semiramide with Joan Sutherland) for Decca and also made ten recital programmes.

The complete recitals are now reissued in their entirety as a Collector Edition on 11 CDs and preserve the original sequence of music as presented on vinyl; the original LP cover art is reproduced for the CD sleeves.

“When every single item brings wonderment it is impossible to single out one above the rest, and the recording is outstandingly vivid...her Rossini recital is one of the most cherishable among all Rossini records ever issued. The voice is in glorious condition, rich and firm throughout its spectacular range, and is consistently used with artistry and imagination, as well as brilliant virtuosity in coloratura. By any reckoning, this is thrilling singing.” Penguin Guide, 2011 edition

Decca - 4780165

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