Schwanengesang; Vier Ernste Gesange
Editorial Reviews
Amazon.com's Best of 2001
Baritone Thomas Quasthoff here tackles two of the cornerstones of the lieder repertory, and the result is one of the most moving, exciting lieder discs in years. Much of its appeal lies in his attractive vocalism, a rich, firm voice comfortable with both the lyric and dramatic demands of these songs. Throughout, Quasthoff threads the fine line between maintaining the songs' musical thread and interpreting the texts without the distortions of overemphasis. Above all, he communicates directly; the songs seem to go from heart to heart. In Schubert's late Schwanengesang--never intended as a seamless cycle--Quasthoff makes these 14 gems adhere as a whole, something that eludes many others. And he's helped by Justus Zeyen's accompaniment, beautifully balanced by the engineers and full of telling pictorial touches. Fine as the Schubert performances are, they're trumped by the Brahms, in one of the most compelling recorded performances they've ever had. The texts, culled from the Bible, drew from Brahms some of his most moving music, here delivered by Quasthoff with empathy and an inevitability that feels spontaneous. It's obvious that the singer feels them deeply, and because he does, and welds that feeling to the highest vocal and musical values, you do, too. --Dan Davis
From International Record Review - subscribe now
It is rare, these days, to encounter a singer recording Schubert's so-called swansong in the form published after his death by Tobias Haslinger in one of classical music's first successes with the compilation genre. Schreier, Fassbaender and Holzmair give us Schwanengesang plus grouping the Rellstab settings (originally intended for Beethoven and composed by Schubert as a commemorative tribute after his death) and the great Heine poems separately and adding several Seidl songs to make a... read more
Schwanengesang; Vier Ernste Gesange
Schwanengesang; Vier Ernste Gesange, Music, Thomas Quasthoff, Johannes Brahms, Franz Schubert, Justus Zeyen, Chamber Music & Recitals, Classical, Classical Artists, Classical Music, Romantic Music for Voice and Keyboard, Vocal
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ASIN: B00004SC5S
Release Date: 2000-06-13 |
Tracks:
- Winterreise: Gute Nacht - Franz Schubert
- Winterreise: Die Wetterfahne - Franz Schubert
- Winterreise: Gefrorene Trn - Franz Schubert
- Winterreise: Erstarrung - Franz Schubert
- Winterreise: Der Lindenbaum - Franz Schubert
- Winterreise: Wasserflut - Franz Schubert
- Winterreise: Auf dem Flusse - Franz Schubert
- Winterreise: Rck - Franz Schubert
- Winterreise: Irrlicht - Franz Schubert
- Winterreise: Rast - Franz Schubert
- Winterreise: Frstraum - Franz Schubert
- Winterreise: Einsamkeit - Franz Schubert
- Winterreise: Die Post - Franz Schubert
- Winterreise: Der greise Kopf - Franz Schubert
- Winterreise: Die Kr - Franz Schubert
- Winterreise: Letzte Hoffnung - Franz Schubert
- Winterreise: Im Dorfe - Franz Schubert
- Winterreise: Der sthe Morgen - Franz Schubert
- Winterreise: Tchung - Franz Schubert
- Winterreise: Der Wegweiser - Franz Schubert
- Winterreise: Das Wirtshaus - Franz Schubert
- Winterreise: Mut! - Franz Schubert
- Winterreise: Die Nebensonnen - Franz Schubert
- Winterreise: Der Leiermann - Franz Schubert
Tracks:
- Die schone Mullerin: Das Wandern
- Die schone Mullerin: Wohin?
- Die schone Mullerin: Halt!
- Die schone Mullerin: Danksagung an den Bach
- Die schone Mullerin: Am Feierabend
- Die schone Mullerin: Der Neugierige
- Die schone Mullerin: Ungeduld
- Die schone Mullerin: Morgengruss
- Die schone Mullerin: Des Mullers Blumen
- Die schone Mullerin: Tranenregen
- Die schone Mullerin: Mein!
- Die schone Mullerin: Pause
- Die schone Mullerin: Mit dem grunen Lautebande
- Die schone Mullerin: Der Jager
- Die schone Mullerin: Eifersucht und Stolz
- Die schone Mullerin: Die liebe Farbe
- Die schone Mullerin: Die bose Farbe
- Die schone Mullerin: Trockne Blumen
- Die schone Mullerin: Der Muller und der Bach
- Die schone Mullerin: Des Baches Wiegenlied
- 4 Lieder: Nacht und Traume D 827
- 4 Lieder: Standchen
- 4 Lieder: Du bist die Ruh
- 4 Lieder: Erlkonig
Tracks:
- Schwanengesang: Liebesbotschaft
- Schwanengesang: Kriegers Ahnung
- Schwanengesang: Fruhlingssehnsucht
- Schwanengesang: Standchen
- Schwanengesang: Aufenthalt
- Schwanengesang: In der Ferne
- Schwanengesang: Abschied
- Schwanengesang: Der Atlas
- Schwanengesang: Ihr Bild
- Schwanengesang: Das Fischermadchen
- Schwanengesang: Die Stadt
- Schwanengesang: Am Meer
- Schwanengesang: Der Doppelganger
- Schwanengesang: Die Taubenpost
- 9 Lieder: Vollendung
- 9 Lieder: Die Erde
- 9 Lieder: An die Musik
- 9 Lieder: An Silvia
- 9 Lieder: Heideroslein
- 9 Lieder: Im Abendrot
- 9 Lieder: Der Musensohn
- 9 Lieder: Die Forelle
- 9 Lieder: Der Tod und das Madchen
Tracks:
- An die Leier
- Philoktet
- Memnon
- Fahrt zum Hades
- Lied des Orpheus, als er in die Holle ging
- Orest auf Tauris
- Der entsuhnte Orest
- Fragment aus dem Aeschylus
- Der zurnenden Diana
- Lied eines Schiffers an die Dioskuren
- Heliopolis I
- Freiwilliges Versinken
- Das Weinen
- Schiffers Scheidelied
- Der Kreuzzug
- Vor meiner Wiege
- Fruhlingslied
- Jagers Liebeslied
Tracks:
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im wunderschonen Monat Mai
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus meinen Tranen spriessen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die Rose, die Lilie, die Taube, die Sonne
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Wenn ich in deine
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich will meine Seele tauchen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im Rhein, im schonen Strome
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich grolle nicht
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Und wussten's die blumen die kleinen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Das ist ein Floten und Geigen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Hor ich das Liedchen kiligen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ein Jungling liebt ein Madchen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Am leuchteden Sommermorgen
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich hab im Traum geweinet
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Allnachtilch im Traume
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus alten Marchen winkt es
- Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die alten bosen Lieder
- 12 Gedichte Op. 35 Justinus Kerner: Lust der Sturmnacht
- 12 Gedichte Op. 35 Justinus Kerner: Stirb, Lieb und Freud
- 12 Gedichte Op. 35 Justinus Kerner: Wanderlied
- 12 Gedichte Op. 35 Justinus Kerner: Erstes Grun
- 12 Gedichte Op. 35 Justinus Kerner: Sehsucht nach der Waldgagend
- 12 Gedichte Op. 35 Justinus Kerner: Auf das Trinkglas einet verstorbenen Fredes
- 12 Gedichte Op. 35 Justinus Kerner: Wandrung
- 12 Gedichte Op. 35 Justinus Kerner: Stille Liebe
- 12 Gedichte Op. 35 Justinus Kerner: Frage
- 12 Gedichte Op. 35 Justinus Kerner: Stille Tranen
- 12 Gedichte Op. 35 Justinus Kerner: Wer machete dich so krank?
- 12 Gedichte Op. 35 Justinus Kerner: Alte Laute
- 7 Lieder: Freisinn
- 7 Lieder: Schneeglockchen
- 7 Lieder: Standchen
- 7 Lieder: Laute di menien
- 7 Lieder: Des sennen Abschied
- 7 Lieder: Des sennen Abschied
- 7 Lieder: Talismane
Tracks:
- Liederkreis Op 24: Morgens steh ich auf und frage
- Liederkreis Op 24: Es treibt mich hin
- Liederkreis Op 24: Ich wandelte unter den baumen
- Liederkreis Op 24: Lieb liebchen
- Liederkreis Op 24: Schone Wiege meiner leiden
- Liederkreis Op 24: Warte, warte, wilder Schiffmann
- Liederkreis Op 24: Berg' undBurgen schaun herunter
- Liederkreis Op 24: Anfangs wolt ich fast verzagen
- Liederkreis Op 24: Mit Myrten und rosen
- 11 Lieder: Der Kontrabandiste
- 11 Lieder: Zigeunerliedchen I
- 11 Lieder: Zigeunerliedchen II
- 11 Lieder: Tief im Herzen
- 11 Lieder: Melancholie
- 11 Lieder: Sehnsucht
- 11 Lieder: Gestandnis
- 11 Lieder: O wie lieblich
- 11 Lieder: Weh, wie zornig
- 11 Lieder: Der Hidalgo
- 11 Lieder: Romanze
- Myrten op. 25: Widmung
- Myrten op. 25: Der Nussbaum
- Myrten op. 25: Lied aus dem Schenkenbuch I
- Myrten op. 25: Lied aus dem Schenkenbuch II
- Myrten op. 25: Die Lotosblume
- Myrten op. 25: Du bist wie eine Blume
- Myrten op. 25: Auden hebraischen Geangen
- Myrten op. 25: Du bist wie eine Blume
- Myrten op. 25: Zum Schluss
- 5 Lieder: Die feindlichen Bruder
- 5 Lieder: Abends am Strand
- 5 Lieder: Die beiden Grenadiere
- 5 Lieder: Mein schoner Stern
- 5 Lieder: Wein Wagen
Tracks:
- An die ferne Geliebte, op.98: Auf dem Huegel sitz ich, spaehend - Ludwig Van Beethoven
- Wo die Berge so blau - Ludwig Van Beethoven
- Beethoven: Leichte Segler in den Hoehen - Ludwig Van Beethoven
- Diese Wolken in den Hoehen - Ludwig Van Beethoven
- Es kehret der Maien, es bluehet die Au - Ludwig Van Beethoven
- Nimm sie hin denn, diese Lieder - Ludwig Van Beethoven
- Lieder: Adelaide, op.46 - Ludwig Van Beethoven
- Ich liebe dich, so wie du mich, WoO 123 - Ludwig Van Beethoven
- L'amante impaziente, op.82-3 - Ludwig Van Beethoven
- L'amante impaziente, op.82-4 - Ludwig Van Beethoven
- Ariette (Der Kuss), op.128 - Ludwig Van Beethoven
- In questa tomba oscura, WoO 133 - Ludwig Van Beethoven
- Die Ehre Gottes aus der Natur, op.48-4 - Ludwig Van Beethoven
- Maigesang, op.52-4 - Ludwig Van Beethoven
- Marmotte, op.52-7 - Ludwig Van Beethoven
- Seufzer eines Ungeliebten-Gegeliebe, WoO 118 - Ludwig Van Beethoven
- Andenken, WoO 136 - Ludwig Van Beethoven
- Der Wachtelschlag, WoO 129 - Ludwig Van Beethoven
- Aus Goethes Faust (Mephistos Flohlied), op.75-3 - Ludwig Van Beethoven
- 3 Gesaenge, op.83: I. Wonne der Wehmut - Ludwig Van Beethoven
- II. Sehnsucht - Ludwig Van Beethoven
- III. Mit einem gemalten Band - Ludwig Van Beethoven
- An die Hoffnung, op.94 - Ludwig Van Beethoven
- Lied aus der Ferne, WoO 137 - Ludwig Van Beethoven
- Der Juengling in der Fremde, WoO 138 - Ludwig Van Beethoven
- Der Liebende, WoO 139 - Ludwig Van Beethoven
- Abendlied unterm gestirnten Himmel, WoO 150 - Ludwig Van Beethoven
Tracks:
- Es muss ein Wunderbares sein
- Benedetto sia 'l giorno
- Pace non trovo
- I' vidi in terra angelici costumi
- Oh, quad je dors S282
- die drei zigeuner
- Die vatergruft
- Der alpen jager
- Blume und Duft
- Vergiftet sind meine Lieder
- Tristesse
- Ihr Glocken von Marling
- Hohe Liebe
- O lieb, so lang du lieben kannst
- Im Rhein, im schonen Strome
- Ein Fichtenbaum steht einsam
- Morgens steh ich auf und frage
- der traurige Monch
Tracks:
- Denn es gehet dem Menschen wie dem Vieh
- Ich wandte mich und sahe an alle
- O Tod, wie bitter bist du
- Wenn ich mit Menschen - und mit Engelszungen redete
- Sommerabend
- Mondenschein
- Es liebt sich so lieblich im Lenze
- Meerfahrt
- Es schauen die blumen
- Der Tod, das ist die kuhle Nacht
- Mit vierzig Jahren
- Steig auf , geliebter Schatten
- Mein Herz ist schwer
- Kein Haus, keine Heimat
- Herbstgefuhl
- Alte Liebe
- Abenddammerung
- Heimweh II
- Auf dem Kirchhofe
- Verzagen
- Regenlied
- Nachklang
- Fruhlingslied
- Auf dem See
- Feldeinsamkeit
Tracks:
- Hugo Wolf: In der FrHugo Wolf
- Hugo Wolf: Fussreise - Hugo Wolf
- Hugo Wolf: Neue Liebe - Hugo Wolf
- Hugo Wolf: Der Feuerreiter - Hugo Wolf
- Hugo Wolf: Jrlied - Hugo Wolf
- Hugo Wolf: Storchenbotschaft - Hugo Wolf
- Hugo Wolf: Verborgenheit - Hugo Wolf
- Hugo Wolf: Verborgenheit - Hugo Wolf
- Hugo Wolf: Im Fr - Hugo Wolf
- Hugo Wolf: Auf einer Wanderung - Hugo Wolf
- Hugo Wolf: An die Geliebte - Hugo Wolf
- Hugo Wolf: Peregrina I - Hugo Wolf
- Hugo Wolf: Peregrina II - Hugo Wolf
- Hugo Wolf: Lebewohl - Hugo Wolf
- Hugo Wolf: Begegnung - Hugo Wolf
- Hugo Wolf: Der Jr - Hugo Wolf
- Hugo Wolf: Bei einer Trauung - Hugo Wolf
- Hugo Wolf: Abschied - Hugo Wolf
Tracks:
- Es war einmal ein Bock
- Einst kam der Bock als Bote
- Es liebte einst ein Has
- Drei Masken sah ich am Himmel stehn
- Hast du ein Tongedicht vollbracht
- O lieber Kunstler, sei ermanhnt
- Unser Feind ist, gober Gott
- Von Handlern wird die Kunst bedroht
- Es war mal eine Wanze
- Die Kunstler sind die Schopfer
- Die Handler und die Marcher
- O Schropferschwarm, o Handlerkreis
- Gefunden
- Das Roseband
- Einerlei
- Winterweihe
- Stiller Gang
- Der Arbeitsmann
- Blindenklage
- Heimkehr
- Wer wird von der Welt Verlangen
- Hab ich euch denn je geraten
- Wanderers Gemutsruhe
Tracks:
- Aeolsharfe
- Winterahnung
- Traum durch die Dammerung
- Nelken
- Flieder
- Minnelied
- Der Himmel Hat eine Trane Geweint
- Waldeinsamkeit
- Schlecht Wetter
- Gluckes genug
- Einsamkeit
- Gottes Segen
- Das sterbende Kind
- Ein Drangen
- Trost
- Heimat
- Ihr, ihr Herrlichen!
- Der zerrissne Grabkranz
- Das Blatt im Buche
- Im April
- Brablied
- Sie haben heut Abend Gesellschaft
- In Danzig
- Eingelegte Ruder
- Saerspruch
- Hussens Kerker
- Zorn
- An die Mark
- Zum Abschied meiner Tochter
- Tragische Geschichte
- Sonett Nach Petrarca
Tracks:
- Ein Tagewerk I
- Ein Tagewerk II
- Fruhgesicht
- Reisefantasie
- Das Ende des Festes
- Nachruf
- Jugendgedenken
- Peregrina II
- Auf ein Kind
- Dammrung senkte sich
- Ach, wie schon
- Nachklang
- Hore den Rat
- Venezianisches Epigramm
- Jetzt rede du
- Auskunft
- Aus zwei Talern
- Kennst du das auch?
- Ravenna I
- Das Ziel
- Keine Rast
- Kindheit
- Im Kreuzgang von Santo Stefano
- Nachtgefuhl
- Magie der Farben
- Verwelkende Rosen
- Abends
- Mittag im September
- Blauer Schmetterling
- Pfeifen
- Sommernacht
- Fur Ninon
- Verganglichkeit
Tracks:
- Ballade de Villon a s'amye
- Ballade que Villon feit a la requeste de sa mere pour prier nostre Dame
- Ballade des femmes de Paris
- Nahandove
- Aoua!
- II est doux
- Chanson de la mariee
- La-bas, vers l'eglise
- Quel galant m'est comparable
- Chanson des cueilleuses de lentisques
- Tout gai!
- Chanson romanesque
- Chanson epique
- Chanson a borie
- At The River
- Elegie
- Anne Street
- A Chirstmas Caro
- From 'The Swimmers'
- West London (A Sonnet)
- A Farewell To Land
- Abide With Me
- Where the eagle
- Disclosure
- The White Gulls
- The Children's Hour
- Two Little Flowers (And Dedicated To Them)
- Autumn
- Tom Sails Away
- Ich Grolle nicht
- Feldeinsamkeit
- Weil' auf mir
- In Flanders Fields
Tracks:
- Phantasie aus Don Juan
- Ablosung im Sommer
- Selbstgefuhl
- Des Antonius von Padua Fischpredigt
- Zu Strabburg auf der Schanz
- Booh, Wie Ist Die Barmhezigkeit des herrn
- Willst du Gottes Diener sein
- Alles, was aus der Erde kommt
- Tod, wie bitter bist du
- Lied des Mephistopheles
- Zigeunerlied
- Schlechter Trost
- Lied des Mephistopheles
- Liederseelen
- Alle
- Der Gesang des Meeres
- In einer Sturmanacht (Nikodemus)
- Nun die Schatten dunkeln
- Wonne der Wehmut
- Aus den Himmelsaugen
- Musikantegrub
- Der juge Ehemann
- Der Soldat
- Uomo del mio tempo
- Con una fronda di mirto
Tracks:
- 1. Wenn mein Schatz Hochzeit macht
- 2. Ging heut morgen uebers Feld
- 3. Ich hab ein gluehend Messer
- 4. Die zwei blauen Augen
- 1. Um Mitternacht
- 2. Ich atmet' einen Linden Duft
- 3. Blicke mir nicht in die Lieder
- 4. Ich bin der Welt abhanden gekommen
- 1. Nun will die Sonn' so hell aufgehn
- 2. Nun seh ich wohl, warum so dunkle Flammen
- 3. Wenn dein Mutterlein
- 4. Oft denk ich, sie sind nur ausgegangen
- 5. In diesem Wetter, in diesem Braus
Tracks:
- Ich will den kreuzstab gerne tragen: Arie
- Ich will den kreuzstab gerne tragen: Rezitativ
- Ich will den kreuzstab gerne tragen: Choral
- Ich will den kreuzstab gerne tragen: Arie
- Ich will den kreuzstab gerne tragen: Rezitativ
- Ich habe Genug: Arie
- Ich habe Genug: Rezitativ
- Ich habe Genug: Arie
- Ich habe Genug: Rezitativ
- Ich habe Genug: Arie
- Ich bin eine blum zu saron: Arie
- Ich bin eine blum zu saron: Arie
- Ich bin eine blum zu saron: Arie
- Ich suchte des nachts: Duett
- Ich suchte des nachts: Duett
- Ich suchte des nachts: Duett
- Ich suchte des nachts: Arie
- Ich suchte des nachts: Arie
- Ich suchte des nachts: Duett
- Ich suchte des nachts: Arie
- Ich suchte des nachts: Duett
Tracks:
- Hir ist sas rechte Osterlamm
- Gerne will ich mich bequemen
- gebt mir meine jesum wiender
- Mache dich, mein herz, rein
- Et in Spiritum Sanctum
- Achzen und erbarmlich weinen
- Duett - Wann kommst du, mein heil
- O Memory! Still Bitter To My Soul-Opprest WIth Never - Casting Greif
- Aus der Tiefe rufe ich
- Aus tiefer Not schrei ich zu dir
- Meine Hande ringen sich
- Jedennoch bleib ich stets an dir
- Aus der Tiefe rufe ich
- Duett - Holde Gattin, dir zur Seite
- Solo & Chor - Herr, lehre doch mich
Tracks:
- Frondi tenere e belle - Ombra mai fu
- Cara pianta
- Presti omai l'Egizia terra
- Non e si vago e bello
- Che faro senza Euridice
- Udite, tutti udite
- Io deggio ad ogni patto
- Finch'han dal vino
-
Deh, vieni alla finestra
- Hai gia vinta la causa
- Vedro, mentr'io sospiro
- Der Vogelfanger bin ich ja
- Ein Madchen oder Weibchen
- Ha! Welch ein Augenblick!
- Wie Todesahnung Damm'rung - O du, mein holder Abenstern
- Was duftet doch der Flieder
- Wahn! Wahn!
- Zur Burg fuhrt die Brucke - Abendlich strahlt der Sonne Auge
Tracks:
- Botre toast... je peux vous le renre
- avant de quitter ces lieux
- L'orage s'est calme
- Resta immobile
- Morir! ... Tremenda cosa!
- Di Provenz il mar
- Nemico della patria?!
- Si puo? Signore!
- Povero Rigoletto!
- Cortigiani, vil razza dannata
- Brav, alter Hans
- Lebt wohl ihr suben studen
Tracks:
- Schlafst oder wachst du?
- Heimkehr
- Maggy Lauder
- Dort, wo durchs ried
- Fileb leise, mein bachlein
- Horch auf, mein liebchen
- Da brava, Cantina
- O kostliche Zeit
- Trinklied
- Der treue Johnie
- Kommt, schliebt mir einen forhen Kreis
- Once more I Hail Thee
- Sunset
- Put Round The Bright Wine
- Could Ill World
- Could Ill Be fate
- Oh, Had My Fate
- The Return Of Ulster
- Ein entmutigter liebender
- Ein begluckter Liebender
- Bewuderug
- Gluhende Liebe
- Trinklied
- Weine, weine, weine nur nicht
Customer Reviews:
The Mastersinger.......2000-06-24
If the second half of the 20th Century has musical signs, they must include that phenomenal German singer Dietrich Fischer-Dieskau who dominated the recital and concert halls, the opera stages and the recording studios in a way no other artist has done it, except maybe Leonard Bernstein. In celebration of this great artist's 75th birthday we have here a set which includes the gems of his lieder repertoire, starting with those great Schubert cycles in their most vivid performances. Just listen to those early renditions of the Schone Mullerin or with Jorg Demus, or to Schuman's Dichterliebe cycle (with the same pianist). And you shall not miss the artistry of this most sensitive voice in full volume of Mahler lieder with piano and orchestral songs. And what about the Morike lieder by Hugo Wolf? Well, you shall probably wonder at that special cooperation between the singer and the Russian pianist Svitoslav Richter. It is a performance of lifetime, and so it is with the Wintereise of Schubert with Barnboim at the piano. Those who know the artistry of Fischer-Dieskau and even those who have already other recordings of those great works will not regret having this special set. For the newcomers to this great artist there will be a lot to discover, The music itself, sure, but mainly the art of interpratation. In this alone Dietrich Fischer-Dieskau shine high and above all other singers.
Average customer rating:
- Ah, here is greatness
- A frustrating disappointment
- Plain Singing
- Another fine CD from Quasthoff
- Quasthoff/Zeyen, Schubert/Brahms
|
Schwanengesang; Vier Ernste Gesange
Franz Schubert , and Johannes Brahms
Manufacturer: Deutsche Grammophon
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Similar Items:
- Schubert: Winterreise
- Schumann: Dichterliebe Op39; Liederkreis
- Schubert: Goethe Lieder
- Brahms, Liszt: Lieder
- Schubert: Die Schöne Müllerin
ASIN: B00005AAFB
Release Date: 2001-08-14 |
Tracks:
- Schwanengesang, D 957: 1. Liebesbotschaft
- Schwanengesang, D 957: 2. Kriegers Ahnung
- Schwanengesang, D 957: 3. Fruhlingssehnsucht
- Schwanengesang, D 957: 4. Standchen
- Schwanengesang, D 957: 5. Aufenthalt
- Schwanengesang, D 957: 6. In Der Ferne
- Schwanengesang, D 957: 7. Abschied
- Schwanengesang, D 957: 8. Der Atlas
- Schwanengesang, D 957: 9. Ihr Bild
- Schwanengesang, D 957: 10. Das Fischermadchen
- Schwanengesang, D 957: 11. Die Stadt
- Schwanengesang, D 957: 12. Am Meer
- Schwanengesang, D 957: 13. Der Doppelganger
- Schwanengesang, D 957: 14. Die Taubenpost
- Vier Ernste Gesange, Op.121: 1. Denn Es Gehet Dem Menschen WIe Dem Vieh
- Vier Ernste Gesange, Op.121: 2. Ich Wandte Mich Und Sahe An Alle
- Vier Ernste Gesange, Op.121: 3. O Tod, Wie Bitter Bist Du
- Vier Ernste Gesange, Op.121: 4. Wenn Ich Mit Menschen - Und Mit Engelszungen Redete
Amazon.com's Best of 2001
Baritone Thomas Quasthoff here tackles two of the cornerstones of the lieder repertory, and the result is one of the most moving, exciting lieder discs in years. Much of its appeal lies in his attractive vocalism, a rich, firm voice comfortable with both the lyric and dramatic demands of these songs. Throughout, Quasthoff threads the fine line between maintaining the songs' musical thread and interpreting the texts without the distortions of overemphasis. Above all, he communicates directly; the songs seem to go from heart to heart. In Schubert's late Schwanengesang--never intended as a seamless cycle--Quasthoff makes these 14 gems adhere as a whole, something that eludes many others. And he's helped by Justus Zeyen's accompaniment, beautifully balanced by the engineers and full of telling pictorial touches. Fine as the Schubert performances are, they're trumped by the Brahms, in one of the most compelling recorded performances they've ever had. The texts, culled from the Bible, drew from Brahms some of his most moving music, here delivered by Quasthoff with empathy and an inevitability that feels spontaneous. It's obvious that the singer feels them deeply, and because he does, and welds that feeling to the highest vocal and musical values, you do, too. --Dan Davis
Customer Reviews:
Ah, here is greatness.......2006-01-09
I can only second the rapturous reception this recording of Schwanengesang has received. After making a series of attention-getting lieder recitals for RCA, Quasthoff came into his own when he moved to DG and in addition found the superb Justus Zayen to accompany him. Together they pull us completely into Schubert's world and allow us to relax into the blissful communion unique with this composer.
I sympathize with the reviewer below who doesn't find the same dramatic excitment that Bryn Terfel extrcts from these songs. Quasthoff is altogether less theatrical, and he never exhorts. But Quasthoff's decision to balance romance with classicism is truer to Schubert, I think. Here he has discovered a multitude of colors and tones in his voice, yet they are presented on the scale of a drawing room, not an opera house.
Having heard him sing the Brahms Vier ernste Gesange in person, I found the recorded version a shade less compelling--in person Quasthoff can hold an audience spellbound and breathless with his inward, fervent religious feeling. Even so, this account stands at the summit alongside recordings from Janet Baker, Hans Hotter, and perhaps Thomas Allen. Neddless to add, I rate this an unsurpassed recital, the best lieder recording in a decade.
A frustrating disappointment.......2005-11-29
Ordinarily, I am very much a fan of Quasthoff's recordings. His performance, on the DG label, of Brahm's 'Wie rafft' ich mich auf in der Nacht' is just about as sublime as lieder gets. Having said that, and perhaps as a result of coming to this recording from Terfel's magnificent performance with Martineau, I was severely disappointed by this recording.
I am quite surprised at the reviews this recording has received from other members of the public complimenting Quasthoff's vocal 'expression'. Admittedly, Quasthoff has a fantastic voice. The rich, dark, teutonic texture of his voice would match, one would assume, the rich, dark texture of these songs. Frustratingly, however, Quasthoff seems to me really quite detached from the variety of intense emotion that otherwise can be conveyed by this piece of music. His reading throughout the song cycle comes across as almost flat and unemotive. There is a strong sense of a kind of 'calculating deliberation' and ' technical perfection'in these songs that seems to prevent Quasthoff from embracing and communicating the rich, personal initmacy of these songs. It is as though he is reading from the score too closely, with a reluctance to 'let himself go', as it were, and deliver a more personal interpretation of these songs for fear of attracting censure and criticism. The result is disappointingly wooden. The vitality and exhuberance is missing form the earlier songs in the cycle and the deep, deep, personal isolation, loneliness and tragedy of the closing songs is almost completely absent. 'Am Meer' seems a particular case in point. The emotional climax of the song in the last verse is passes without any sense of desperation or awareness. Similar 'frustrations' exist throughout the cycle.
Perhaps, in my naivety, I am attracted to a too Romantic interpretation of these songs to be moved by Quasthoff's more clinical reading, but compared to the enormous and beautifully conveyed emotional range and subtlety of Terfel's recording, this recording does little for the imagination.
Terfel's CD, in case you are interested, though not seemingly available through Amazon, I have seen available on Ebay. Happy hunting.
Plain Singing.......2002-03-09
I never thought I would hear anything like Thomas Quasthoff's performances on this CD. His plain, unaffected, yet technically masterful singing is more than "revelatory." It transmits the emotional impact of the songs very powerfully and with a directness I have never heard from any other singer, whether lieder specialist or not.
Quasthoff, I think, is leading the way as a singer and artist. All singers will be grateful to him, as will the public, for exposing us to lieder which is heart felt, rather than just a mass of calculations. He is indeed a master.
Another fine CD from Quasthoff.......2001-09-15
All of this music is familiar territory for Thomas Quasthoff, so it is not surprising that he conveys a consistency of mood and character. He is not afraid to color his voice in the Schubert and have some restraint in the Brahms, but both are sung in good taste. The recording is warm and captures Quasthoff's voice superbly. There are many voices that will do justice to this music, but Quasthoff knows just how to make his voice meet the demands of these works.
Quasthoff/Zeyen, Schubert/Brahms.......2001-08-22
Thomas Quasthoff/Justus Zeyen - Schubert, "Schwanengesang" Brahms "Vier Ernste Gesaenge"
"To sing like that just once - and then ..............." wrote Maxim Gorky after hearing Chaliapin - and there really are moments on this recording which make one understand exactly what he meant. There is a definitive quality about the singing, which persuades you that Quasthoff's way with these songs is the only one, and his accompanist is in all aspects his equal, with a poetic yet muscular style which ideally complements this most individual of voices, with its noble, burnished tone and its sense of powerful ease.
This combination of works is unique on disc, surprisingly since it is a very logical one; both are late works, both represent the composer's valediction to the genre, and both are ideally suited to the baritone voice. There has been much discussion of late as to whether or not "Schwanengesang" ought to be performed as though it were a "cycle," or as two or even three separate sets of songs. The latter approach was taken in the Hyperion edition, not entirely successfully, but Quasthoff brushes aside these considerations; such is the magnetic power of his singing that one rarely imagines that these songs could be performed in any other way.
All of Quasthoff's great qualities are apparent in the Rellstab settings - superb legato line, natural inflexion of words and that uniquely beautiful tone with its embracing warmth and sweet tremulousness. These interpretations easily stand comparison with the best, and it is a matter of taste as to whether or not you prefer, say, John Mark Ainsley's bright, youthful tone and ardent manner to Quasthoff's aching yet understated passion. For me, Ainsley has the edge in "Liebesbotschaft" and "Staendchen" - in the latter, the tenor is simply perfection; at "Liebchen, komm' zu mir!" you can, as Graham Johnson puts it, almost feel the singer's tenderness, and at "Komm, begluecke mich!" you sense the lover's forlorn mood. Quasthoff also sings this beautifully, but he lacks Ainsley's tender ardour - he is rather fierce at moments, sounding almost threatening rather than pleading.
The Heine and Seidl settings are another matter; here, Quasthoff is in his element, and it would be difficult to find a more ideal interpretation of songs such as "Ihr Bild" and "Am Meer." "Das Fischermaedchen" is beguilingly seductive in a way totally lacking in Anthony Rolfe Johnson's version, and "Die Taubenpost" is one of the finest pieces of Schubert singing I have ever heard. Where Rolfe Johnson annoys with his reedy tone and approximate German, Quasthoff enchants and moves with his exquisite modulation and colouring, especially at the song's close, where he makes you gasp at the way he handles the little appoggiatura lean on "Sehnsucht" and his just-enough pressure on "treuen."
The Brahms set is equally fine; Quasthoff's singing and Zeyen's playing are both magisterial from start to finish. This singer seems to have a special affinity for the music of Brahms, and together with his marvellous pianist, always sensitive and consistently virtuosic in the best possible sense, he convinces the listener that these songs are among the greatest in the genre. Their darkness and almost obsessive quality make them perfect for this voice, and Quasthoff interprets them in wonderfully fervent tones.
Rather than externalising the dramas of both "cycles," this singer conveys their individual moods and feelings not by pointing at himself and saying,"Look at me! See how I suffered," seeming instead to point at us, and say," Look at you!" His singing unites emotional poetic grace with muscular reason, and this major recording is one which will be indispensable for all who love this sublime music.
Average customer rating:
- Marian Anderson - an outstanding collection
|
Marian Anderson Rare and Unpublished Recordings, 1936 - 1952
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- Marian Anderson
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ASIN: B00000C2C7
Release Date: 1999-11-30 |
Tracks:
- Se Florindo E Fedele
- Begrussung
- Die Flote Weich Gefuhl
- Die Forelle
- Der Doppelganger
- Wohin?
- Der Jungling Und Der Tod
- Der Erlkonig
- Denn Es Gehet Dem Menschen
- Ich Wandte Mich Und Sahe
- O Tod, Wie Bitter Bist Du
- Wenn Ich Mit Menschen
- Befreit
- Im Feld Ein Madchen Singt
- Var Det En Drom?
- When I Am Laid In Earth
- O Men From The Fields
- When Night Descends (In The Silence Of Night)
- Elegie
- Let Us Break Bread Together
- My Soul's Been Anchored In De Lord
- Trampin'
- Sinner, Please Doan Let Dis Harves' Pass
- Honor, Honor
- The Cuckoo
- Will O' The Wisp
Amazon.com
The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine
Customer Reviews:
Marian Anderson - an outstanding collection.......2003-05-03
This CD with recordings of Marian Anderson between 1936 and 1952, should be heavily promoted. The CD gives listeners a fantastic opportunity to hear the singer in a variety of song styles and languages. I heard her sing live, once, in the 1960's and was stunned then by her vocal skills and musicality. This is the first record or CD which truly reflects her amazing talent.
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