All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Liszt: 3 Petrarch Sonnets & Lieder
Liszt: | Sonetti di Petrarca (3) for voice & piano, S270 Mignons Lied (Kennst du das Land), S275 Hohe Liebe Gestorben war ich, S540a O lieb, so lang du lieben kannst Die stille Wasserrose, S321 Wie singt die Lerche schon. S. 312 Kling Leise, mein Lied, S301 Es muss ein Wunderbares sein, S. 314 Die Lorelei Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Freudvoll und leidvoll, S.280 La tombe et la rose, S285 |
“a magnificent tribute to the art of Margaret Price, with incomparable performances of the Petrarch Sonnets and Die Loreley.” BBC Music Magazine, April 2012 ***** | | | In stock - usually despatched within 1 working day. |
|
|
| |  | 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. |
|
|
| |  | Liszt Abroad
Liszt: | O quand je dors (Hugo), S282 Enfant, si j'étais roi (Hugo), S283 Gastibelza Comment, disaient-ils (Hugo), S276 Im Rhein, im schönen Strome, S272 Die Lorelei Die Vätergruft, S.281 Sonetti di Petrarca (3) for voice & piano, S270 Go not, happy day Gebet, S265 Morgens steh ich auf und frage, S290 Ein Fichtenbaum steht einsam, S309 Du bist wie eine Blume Wie singt die Lerche schon. S. 312 Blume und Duft Und wir dachten der Toten Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 |
Perhaps stemming from his years touring Europe as a virtuoso pianist or from his later émigré life in Paris, Franz Liszt's choice of song texts reflect his 'polyglot' attraction to the 19th Century literature and culture of many different countries, shown in these settings of French, German, Italian, English, Russian and Hungarian words. “The 20 songs recorded here cover a vast range of language and expression… Burnside is a faultless guide along this journey, exhibiting power when required but never forcing either tone or pace; and his pianissimo playing reminds me of Gerald Moore's… The singing too is exemplary, with Rebecca Evans's floated high notes things of exquisite beauty.” BBC Music Magazine, Christmas 2009 ***** “The Three Sonnets are sung by Rebecca Evans - surprisingly, perhaps, but very beautifully. …her soft high tones, as in the last phrase of the first sonnet, are magically poised. Kennedy, too, is at his best, masterly indeed in "Die Loreley". Burnside himself, presiding spirit throughout, accompanies expertly.” Gramophone Magazine, October 2009 | | | Usually despatched in 3 - 4 working days. |
|
|
| |  | 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. |
|
|
| |  | 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 |
| | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Fruhlingslieder
Brahms: | Das Mädchen spricht, Op. 107 No. 3 Nachtigall, Op. 97 No. 1 Geheimnis, Op. 71 No. 3 An ein Veilchen, Op. 49 No. 2 (Text: L.C.H. Hölty) An die Nachtigall, Op. 46 No. 4 (Text: L.C.H. Hölty) | Liszt: | Jugendglück, S. 323 Wie singt die Lerche schon. S. 312 Die tote Nachtigal, S. 291 | Mendelssohn: | Das erste Veilchen, Op. 19a No. 2 Gruß, Op. 19a No. 5 | Mendelssohn, Fanny: | Der Maiabend Op. 9 No. 5 (Voss) Maienlied Op. 1 No. 4 (Eichendorff) Frühling Op. 7 No. 3 (Eichendorff) | Schubert: | An die Nachtigall, D497 Gott im Fruhling D448 (Uz) Nachtviolen D752 (Mayrhofer) Frühlingsglaube, D686 Im Frühling, D882 Ständchen 'Horch! Horch! die Lerch!', D889 | Schumann: | Der Nussbaum, Op. 25 No. 3 Erstes Grün, Op. 35 No. 4 Er ist's! Op. 79 No. 23 (Eduard Mörike) Jasminenstrauch Op. 27 No. 4 (Friedrich Rückert) | Wolf, H: | Im Frühling (No. 13 from Mörike-Lieder) Frühling übers Jahr (No. 28 from Goethe-Lieder) Er ist's (No. 6 from Mörike-Lieder) Die Spröde (No. 26 from Goethe-Lieder) |
“Donna Brown is an ideal singer, a feverish and smooth performer, true and poetic” Le Quotidien de Paris | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |
|
Gramophone Magazine
BBC Music Magazine Awards 2010