Robert and Clara Schumann Lieder

Track Listings

1. Die stille Lotosblume, op. 13 no. 6

2. O Lust, o Lust

3. Der Himmel hat eine Trane geweint, op. 37 no. 1

4. Seheimes Flustern hier und dort, op. 23 no. 3

5. Freisinn, op. 25 no. 2

6. Sie liebten sich beide, op. 13 no. 2

7. Venetianisches Lied I, op. 25 no. 17

8. Venetianisches Lied II,op. 25 no. 18

9. Der Nusbaum, op. 25 no. 3

10. Aus dem Schenkenbuch im Divan I, op. 25 no. 5

11. Aus dem Schenkenbuch im Divan II, op. 25 no. 6

12. An einem lichten Morgen, op. 23 no. 2

13. Ich hab' in mich gesogen, op. 37 no. 5

14. Liebeszauber

15. Liebst du um Schonheit, op. 12

16. Zum Schlus, op. 25 no. 26

Editorial Reviews
Amazon.com
This is a beautiful, unusual record. Among a few famous and many unfamiliar songs, it includes several from the cycle Myrthen (ending fittingly with the final "In Conclusion") and six songs by Clara, which hold their own well. Though the accompaniment often duplicates the voice, the piano parts, clearly written by a great pianist, are wonderful. Some poems are better known in other settings: one of Robert's "Venetian Songs" in Mendelssohn's, Clara's "Liebst du um Schönheit" in Mahler's.

The program's core are the Twelve Kerner Songs, heard relatively rarely and only fairly recently identified as a unit. Schumann called them a "row" rather than a cycle of songs: they tell no continuous story and were conceived for different voices. The first songs he wrote after his marriage to Clara, they are quite different from those into which he poured his longing and love during their embattled courtship. Perhaps it was the sober awakening to his duties as a family man, perhaps the transformation of ardent anticipation into practical reality, that gives these songs an introspective, foreboding melancholy, a poignant, wistful sadness, only rarely broken by manly assertiveness. The last two songs, uttered by one incurably, fatally sick in body and soul, uncannily presage Schumann's own fate. Set to the same melody, they fade away in hopeless, heartbreaking despair.

The performance is marvelous. Wolfgang Holzmair's voice has lost its former dryness and become warm, velvety, and expressive. He identifies completely with every nuance of words and music, though he sometimes exaggerates dynamic contrasts. Imogen Cooper is a splendid pianist and ideal partner, providing unfailing support and making her introductions and postludes a perfect framework for mood, atmosphere, and character. --Edith Eisler

Tracks:

Myrthen, op.25: Widmung
Myrthen, op.25: Der Nussbaum
Myrthen, op.25: Die Lotosblume
Myrthen, op.25: Lied der Suleika
Er ist gekommen in Sturm und Regen
Liebst du um Schonheit
Das Veilchen
Lorelei
Mein Stern
Frauenliebe und -leben, op.42: Seit ich ihn gesehen
Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
Frauenliebe und -leben, op.42: Ich kann's nicht fassen, nicht glauben
Frauenliebe und -leben, op.42: Du Ring an meinem Finger
Frauenliebe und -leben, op.42: Helft mir, iht Schwestern
Frauenliebe und -leben, op.42: SFreund, du blickest
Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
6 Lieder, op.13: Ich stand in dunklen Traumen
6 Lieder, op.13: Sie liebten sich beide
6 Lieder, op.13: Liebeszauber
6 Lieder, op.13: Der Mond kommt still gegangen
6 Lieder, op.13: Ich hab' in deinem Auge
6 Lieder, op.13: Die stille Lotosblume
Liederkreis, op.39: Waldesgesprach
Liederkreis, op.39: Mondnacht
Liederkreis, op.39: Er ist's, op. 79 no.24
Liederkreis, op.39: Sehnsucht, op. 51 no.1
Liederkreis, op.39: Mein Sch Stern!, op. 101 no.4
Liederkreis, op.39: Mignon, op 79 no. 29

Customer Reviews:

Brava Bonney!.......1999-12-04

I've listened to many recordings of "Fraunliebe", and although I still would not give up my precious disc with Lucia Popp's interpretation (now out of print), Bonney's interpretation is so moving on account of it's very convincing use of rubato. I listened to Bonney sing these songs (meaning "Fraunliebe" and some of Clara Schumann's) in Vienna. Her interpretation (especially through rubato) gave me the impression that she was not singing but speaking -- more specifically, speaking to *me*, about all the joys and sorrows of life. Of course I'm aware that she wasn't really doing so, but the effect was just magical. And now I enjoy that same impression every time I listen to this CD! Ashkenazy accompanies with utmost sensitivity, bringing out some voices which one doesn't usually hear. And yes, Clara Schumann's Lieder are beautiful in their own right. Has anyone noticed that "Er ist gekommen" resembles the D minor episode of the last movement of Robert's "Kreisleriana"? Also, Clara's "Mein Stern" resembles the chorale-like theme from the end of the penultimate movement of "Kreisleriana." Any musicologists out there who might know what to make of this? I know Clara and Robert were fond of quoting each other in their own compositions, so it's hard to imagine these cases being mere coincidences of musical invention...

A Beautiful Blend of Passion and Poetry.......1999-01-08

This CD is one of the most beautiful recordings of Schumann lieder I have heard to date. I recently wrote a paper for a music history class about Robert Schumann's use of "musical code" (imagery through musical motives) in the song cycle "Frauenliebe und Leben." During my research, I fell in love with the song cycle, which is a perfect blend of passion and poetry. I had listened to several recordings, but none paired piano and voice so well as Bonney and Ashkenazy have. "Frauenliebe und Leben" was meant to be a vocal/piano duet rather than merely a vocal solo with piano accompaniment, and they have captured the essence of the song cycle in that respect. Bonney's gorgeous, mellow voice and Ashkenazy's perfectly complementary, soulful interpretation give this album a truly "romantic" feel--both emotionally and musically. I highly recommend this album for lovers of "Frauenliebe und Leben." I plan to share this album with my accompanist as we prepare for my upcoming senior recital, in which I will perform this song cycle. Bonney and Ashkenazy's portrayal of "woman's love and life" is inspirational. Five stars, three thumbs up, and a big "WOW!" for this album.

Anne Sofie von Otter - Schumann: Frauenliebe und -leben / Forsberg

Average customer rating:

Excellent Treatment by great Lieder Specialist
Idiosyncratic but wonderful
RELAX JUST A LITTLE
excellent singing and accompaniment
Off the Charts--WOW!

Anne Sofie von Otter - Schumann: Frauenliebe und -leben / Forsberg
Robert Schumann , Anne Sofie von Otter , and Bengt Forsberg
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music

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ASIN: B000001GP9
Release Date: 1996-01-23

Tracks:

Frauenliebe un Leben Op.42: Seit ich ihn gesehen
Frauenliebe un Leben Op.42: Er, der Herrlichste von allen
Frauenliebe un Leben Op.42: Ich kann's nicht fassen, nicht glauben
Frauenliebe un Leben Op.42: Du Ring an meinem Finger
Frauenliebe un Leben Op.42: Helft mir, ihr Schwestern
Frauenliebe un Leben Op.42: Sreund, du blickest
Frauenliebe un Leben Op.42: An meinem Herzen, an meiner Brust
Frauenliebe un Leben Op.42: Nun hast du mir den ersten Schmerz getan
Lust der Sturmnacht Op. 35 No. 1
Dein Angesicht Op. 127 No. 2
Die Lbraut Op. 31 No. 1
Die KartenlegerinOp. 31 No. 2
Abendlied Op. 107 No. 6
Die Meerfee Op. 125 No. 1
Stille Liebe Op. 35 No. 8
Funf Lieder op. 40: Mveilchen
Funf Lieder op. 40: Muttertraum
Funf Lieder op. 40: Der Soldat
Funf Lieder op. 40: Der Spielmann
Funf Lieder op. 40: Verratene Liebe
Des Sennen Abschied Op. 79 No. 22
Der Schatzgrr Op. 45 No. 1
Die Soldatenbraut Op. 64 No. 1
Mein sch Stern Op. 101 No. 4
Schneeglhen Op. 79 No. 26
Volksliedchen Op. 51 No. 2
Vom Schlaraffenland Op. 79 No. 5
Rose, Meer und Sonne Op. 37 No. 9

Customer Reviews:

Excellent Treatment by great Lieder Specialist.......2006-06-02

Schuman's 'Frauenliebe und Leben' and other Lieder, realized by mezzo-soprano Anne Sofie Von Otter and her favorite accompaniest, Bengt Forsberg is definitely not the finest song cycle of the 19th century (I believe atleast one or two of Schubert's cycles fit that billing), but it is a great listen none the less, as Schumann is at least the second greatest writer of Lieder ever.

After listening to Von Otter's releases on Schubert and Brahms' Lieder, I would rate this work equally as good from the point of view of the artist, but I enjoy Shubert more, because of the more familiar material, especially the heavenly 'Ave Maria'.

All personal blather aside, this is a very good album, whether your thing is Schumann or Von Otter.

Idiosyncratic but wonderful.......2006-04-28

This is really a review just of the Frauenliebe: it's a beautiful interpretation, both from the singer and the pianist. Full of emotion and of course technically wonderful.

My only reservations are that it's a little idiosyncratic in terms of style, and the performers play with the tempi excessively I feel. For example I find Susser Freund and Ich kann's nicht fassen, nicht glauben both too slow throughout, and Du Ring am meinem finger is completely dripping with emotion and rather cloying.

However the overall effect is beautiful and certainly the final movement of the songcycle is about the most tragically emotional you will ever here - when the piano comes in at the end to reprise the theme from the beginning most people will find their eyes pricking with tears.

RELAX JUST A LITTLE.......2005-06-13

Schumann's short cycle of 8 songs Frauenliebe und Leben is one of the most beautiful and affecting musical creations of the entire 19th century. The songs were written from the heart as he struggled to achieve his marriage to Clara over the opposition of her fearsome father, and the poems are the work of one Chamisso. It says something for the power of music that I find Schumann's settings adorable and compulsive listening while still thinking the lyrics absolutely insufferable. Here are poems, written by a man and put into the mouth of a woman, all to the effect of how wonderful he is. The writer of the English liner-note also makes this point, albeit with commendable urbanity and restraint.

It is a certain excess of fervour over urbanity that gives me just a few reservations about this disc as a whole, not just the Frauenliebe cycle. At its best the singing is simply wonderful, full of life and passion. Enthusiasm, generosity and wholehearted commitment are the essence of Schumann's personality, and these performers do not miss any of it. Schumann was a romantic among romantics, and not just as a lover and husband. As well as the `headline' song-cycle and a nicely selected set of Schumann's other songs, this recital contains his settings of 5 poems (in German translation) by Hans Christian Andersen. These have real atmosphere, both the words and the music, and the artists capture it very well indeed. They are also fully responsive to the range of moods in the works they have chosen. The English liner-note writer very properly highlights the Rueckert Volksliedchen as an exquisite example of its type, and von Otter and Forsberg give it just the right sense of lightness together with ardour.

The recording is hard to assess. There is a sense of spaciousness round the voice that seems to me quite exceptionally successful, what I'm not so convinced by is the way it treats the piano. The tone of the instrument is rich, and the playing is full-blooded as of course it should be and as one would expect from Forsberg. All the same, I would still have liked the general warmth restrained ever so slightly, both in the playing and in the way the recording captures it. I feel something similar about the singing, particularly at two points where von Otter's tone did not strike my ear as agreeably as it does elsewhere. The whole approach works a dream in the songs of Chaminade, and the disc of her chansons that these interpreters have done is one that I commend with a Schumannesque enthusiasm of my own. In Schumann's own music the fervour is abundant to superfluity, and this will not be lost if the interpreters just relax a little over it.

Recommended strongly, despite any minor qualifications. I would have wanted this disc just for Er, der Herrstlichste by itself.

excellent singing and accompaniment.......2003-08-25

Ms. von Otter's "Frauenliebe und -leben" alone would make this CD excellent! Besides, she concludes the whole selection with the best interpretation of "Rose, Meer und Sonne" I have ever heard, great Fischer-Dieskau's included!! The dramatic elements in "Loewenbraut" and "Der Soldat" are superbly expressed. The only reservation I have about it is that von Otter comes close to shrieking in "Lust der Sturmnact" when she tries to hit high, which is very hard on the ear. Maybe she should have transposed a little bit, even though it is against Schumann's original intention. If you have been enjoying von Otter's expressive rendering, you will love her "Muttertraum" and "Verratene Liebe". Given the wonderful voice and singing, without Forsberg's astonishingly vivid playing, half of the pleasure would have been gone. Just listen to how he builds up the variations of feelings with the strophic form of "Rose, Meer und Sonne". In summary, this is one of the CD's no lieder fans can afford to miss!!

Off the Charts--WOW!.......2002-06-26

As a recent review in the ARG said of most lieder albums, a good start, come back in ten years when the voice has matured. This is not the case here. Even though it is nearly ten years after the recording, it is still outstanding. Can't say enough good. Put it on and listen over and over. She does everything without sounding artificial--she means it all. A perfect match for singer, music, words, pianist, recording. And give us more, please. BUY IT.

Lotte Lehmann: The Complete Victor Recordings (1935-1940)

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Lotte Lehmann: The Complete Victor Recordings (1935-1940)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001S3G
Release Date: 1995-11-22

Tracks:

An Chloe, K.524 - Lotte Lehmann/Erno Balogh
Die Verschweigung, K.518 - Lotte Lehmann/Erno Balogh
Die Schone Mullerin: Ungeduld, D.795, No.7 - Lotte Lehmann/Erno Balogh
Im Abendrot, D.799 - Lotte Lehmann/Erno Balogh
Die Kartenlegerin, Op.31, No.2 - Lotte Lehmann/Erno Balogh
Liederkreis: Waldesgoesprach, Op.39, No.3 - Lotte Lehmann/Erno Balogh
Der Tod Das Ist Die Kuhle Nacht, Op.96, No.1 - Lotte Lehmann/Erno Balogh
Therese, Op.86, No.1 - Lotte Lehmann/Erno Balogh
Meine Liebe Ist Grun, Op.63, No.5 - Lotte Lehmann/Erno Balogh
Anakreons Grab - Lotte Lehmann/Erno Balogh
In Dem Schatten Meiner Locken - Lotte Lehmann/Erno Balogh
Do Not Chide - Lotte Lehmann/Erno Balogh
My Native Land - Lotte Lehmann/Erno Balogh
Midsummer - Lotte Lehmann/Erno Balogh
Fa La Nanna, Bambin - Lotte Lehmann/Erno Balogh
Canto Di Primavera - Lotte Lehmann/Erno Balogh
Ich Liebe Dich - Lotte Lehmann/Erno Balogh
Schlafe, Mein Susses Kind - Lotte Lehmann/Erno Balogh
D'Une Prison - Lotte Lehmann/Erno Balogh
Vierges D'Athens - Lotte Lehmann/Erno Balogh
Gretel - Lotte Lehmann/Erno Balogh
Selige Nacht - Lotte Lehmann/Erno Balogh
Storchenbotschaft - Lotte Lehmann/Erno Balogh
Der Gartner - Lotte Lehmann/Erno Balogh
Du Denkst Mit Einem Fadchen Mich Zu Fangen - Lotte Lehmann/Erno Balogh
Fur Musik, Op.10, No.1 - Lotte Lehmann/Erno Balogh
Gute Nacht, Op.5, No.7 - Lotte Lehmann/Erno Balogh
Lehn' Deine Wang' An Meine Wang' - Lotte Lehmann/Erno Balogh
Gretchen Am Spinnrade, D.118 - Lotte Lehmann/Erno Balogh
Schlafe, Schlafe 'Weigenlied', D.498 - Lotte Lehmann/Erno Balogh
Du Bist Wie Eine Blume, Op.25, No.24 - Lotte Lehmann/Erno Balogh
Liederkreis: Fruhlingsnacht, Op.39, No.12 - Lotte Lehmann/Erno Balogh

Tracks:

Alte Laute, Op.35, No.12 - Lotte Lehmann/Erno Balogh
Botschaft, Op.47, No.1 - Lotte Lehmann/Erno Balogh
Das Madchen Spricht, Op.107, No.3 - Lotte Lehmann/Erno Balogh
Mein Madel Hat Einen Rosenmund, No.25 From 49 Volkslieder - Lotte Lehmann/Erno Balogh
Visions (Tonerna) - Lotte Lehmann/Erno Balogh
Drink To Me Only - Lotte Lehmann/Erno Balogh
Gebet - Lotte Lehmann/Paul Ulanowsky
Nun Lass Uns Frieden Schliessen - Lotte Lehmann/Paul Ulanowsky
Fruhling Ubers Jahr - Lotte Lehmann/Paul Ulanowsky
Auf Ein Altes Bild - Lotte Lehmann/Paul Ulanowsky
In Der Fruhe - Lotte Lehmann/Paul Ulanowsky
Auch Kleine Dinge - Lotte Lehmann/Paul Ulanowsky
Und Willst Du Deinen Liebsten Sterben Sehen - Lotte Lehmann/Paul Ulanowsky
Peregrina I - Lotte Lehmann/Paul Ulanowsky
Der Knabe Und Das Immlein - Lotte Lehmann/Paul Ulanowsky
Heimweh - Lotte Lehmann/Paul Ulanowsky
Er und Sie, Op.78, No.2 - Lotte Lehmann
So Wahr Die Sonne Scheinet, Op.37, No.12 - Lotte Lehmann
Unterm Fenster, Op.34, No.3 - Lotte Lehmann
Familien - Gemalde, Op.34, No.4 - Lotte Lehmann
Ich Denke Dein, Op.78, No.3 - Lotte Lehmann
Winterreise: Die Nebensonnen, D.911, No.23 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Die Post, D.911, No.13 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Der Sturmische Morgen, D.911, No.18 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Der Lindenbaum, D.911, No.5 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Der Wegweiser, D.911, No.20 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Die Krahe, D.911, No.15 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Das Wirtshaus, D.911, No.21 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Tauschung, D.911, No.19 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Mut! D.911, No.22 - Lotte Lehmann/Paul Ulanowsky
Winterreise: In Dorfe, D.911, No.17 - Lotte Lehmann/Paul Ulanowsky
Winterreise: Ruckblick, D.911, No.8 - Lotte Lehmann/Paul Ulanowsky

Bo Skovhus - The Heart of the Poet (Das Herz des Dichters) ~ Songs by Robert & Clara Schumann

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Bo Skovhus - The Heart of the Poet (Das Herz des Dichters) ~ Songs by Robert & Clara Schumann
Robert Schumann , Clara Schumann , Bo Skovhus , and Helmut Deutsch
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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ASIN: B0000029PW
Release Date: 1996-06-18

Tracks:

Liebeszauber, Op. 13 Nr. 3 (Emanuel Geibel)
Der Mond kommt still gegangen, Op. 13 Nr. 4 (Geibel)
Die stille Lotosblume, Op. 13 Nr. 6 (Geibel)
Liebst du um Schonheit, Op. 12 Nr. 4 (Friedrich Ruckert)
Warum willst du and're fragen, Op. 12 Nr. 11 (Ruckert)
Ich hab' in deinem Auge, Op. 13 Nr. 5 (Ruckert)
Die gute Nacht, aus - from - de Samtliche Lieder (Ruckert)
Ich stand in dunklen Traumen, Op. 13 Nr. 1 (Heinrich Heine)
Sie liebten sich beide, Op. 13 Nr. 2 (Heine)
Volkslied, aus - from - de Samtliche Lieder (Heine)
Lorelei, aus - from - de Samtliche Lieder (Heine)
Liederkreis, Op. 24 (Heinrich Heine): 1. Morgens steh' ich auf und frage
Liederkreis, Op. 24 (Heinrich Heine): 2. Es treibt mich hin
Liederkreis, Op. 24 (Heinrich Heine): 3. Ich wandelte unter den Baumen
Liederkreis, Op. 24 (Heinrich Heine): 4. Lieb' Liebchen
Liederkreis, Op. 24 (Heinrich Heine): 5. Schone Wiege meiner Leiden
Liederkreis, Op. 24 (Heinrich Heine): 6. Warte, warte, wilder Schiffmann
Liederkreis, Op. 24 (Heinrich Heine): 7. Berg' und Burgen schau'n herunter
Liederkreis, Op. 24 (Heinrich Heine): 8. Antangs wollt' ich fast verzagen
Liederkreis, Op. 24 (Heinrich Heine): 9. Mit Myrten und Rosen
Dichterliebe, Op. 48 (Heinrich Heine): 1. Im wundershonen Monat Mai
Dichterliebe, Op. 48 (Heinrich Heine): 2. Aus meinen Tranen spriessen
Dichterliebe, Op. 48 (Heinrich Heine): 3. Die Rose, die Lilie, die Taube, die Sonne
Dichterliebe, Op. 48 (Heinrich Heine): 4. Wenn ich in deine Augen seh'
Dichterliebe, Op. 48 (Heinrich Heine): 5. Ich will meine Seele tauchen
Dichterliebe, Op. 48 (Heinrich Heine): 6. Im Rhein, im heiligen Strome
Dichterliebe, Op. 48 (Heinrich Heine): 7. Ich grolle nicht
Dichterliebe, Op. 48 (Heinrich Heine): 8. Und wussten's die Blumen, die kleinen
Dichterliebe, Op. 48 (Heinrich Heine): 9. Das ist ein Floten und Geigen
Dichterliebe, Op. 48 (Heinrich Heine): 10. Hor' ich das Liedchen klingen
Dichterliebe, Op. 48 (Heinrich Heine): 11. Ein Jungling liebt ein Madchen
Dichterliebe, Op. 48 (Heinrich Heine): 12. Am leuchtenden Sommermorgen
Dichterliebe, Op. 48 (Heinrich Heine): 13. Ich hab' im Traum geweinet
Dichterliebe, Op. 48 (Heinrich Heine): 14. Allnachtlich im Traume
Dichterliebe, Op. 48 (Heinrich Heine): 15. Aus alten Marchen winkt es
Dichterliebe, Op. 48 (Heinrich Heine): 16. Die alten, bosen Lieder

Franz Liszt: Complete Song Transcriptions of Chopin, Mendelssohn, Robert and Clara Schumann

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Liszt - A panorama of good, interesting, mediocre, and boring song transcriptions

Franz Liszt: Complete Song Transcriptions of Chopin, Mendelssohn, Robert and Clara Schumann

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B0000014EP
Release Date: 1997-12-01

Tracks:

Six Chants Polonais (G/S 480, R145): I. The Maiden's Wish, Op.74, No.1
Six Chants Polonais (G/S 480, R145): II. Spring, Op.74, No.2
Six Chants Polonais (G/S 480, R145): III. The Ring, Op.74, No.14
Six Chants Polonais (G/S 480, R145): IV. Merrymaking, Op.74, No.4
Six Chants Polonais (G/S 480, R145): V. My Joys, Op.74, No.12
Six Chants Polonais (G/S 480, R145): VI. Homeward, Op.74, No.15
Three Song Transcriptions (G/S 569, R257, Nos.8-10): Warum Willst Du Andere Fragen? Op.12, No.3
Three Song Transcriptions (G/S 569, R257, Nos.8-10): Ich Hab' In Deinem Auge, Op.13, No.3
Three Song Transcriptions (G/S 569, R257, Nos.8-10): Geheimes Flustern Hier Und Dort, Op.23, No.3
Twelve Song Transcriptions: Fruhlings Ankunft, Op.79, No.19 (G/S 569, No.3, R257, No.3)
Twelve Song Transcriptions: Des Sennen Abschied, Op.79, No.22 (G/S 569, No.4, R257, No.4)
Twelve Song Transcriptions: Er Ist's, Op.79, No.23 (G/S 569, No.5, R257, No.5) - Joseph Banowetz J
Twelve Song Transcriptions: Weihnachtlied, Op.79, No.16 (G/S 569, No.1, R257, No.1)
Twelve Song Transcriptions: Nur Wer Die Sehnsucht Kennt, Op.98a, No.3 (G/S 569, No.6, R257, No.6)
Twelve Song Transcriptions: Die Wandelnde Glocke, Op.79, No.17 (G/S 569, No.2, R257, No.2)
Twelve Song Transcriptions: An Die Turen Will Ich Schleichen, Op.98a, No.4 (G/S 569, No.7, R257...)
Twelve Song Transcriptions: An Den Sonnenschein, Op.36, No.4 And Rotes Roslein, Op.27, No.2...
Twelve Song Transcriptions: Provencalisches Minnelied, Op.139, No.4 (G/S 570, R284)
Twelve Song Transcriptions: Liebeslied (Klein) (Widmung, 1st Version) (G/S 566a, R253a)
Twelve Song Transcriptions: Liebeslied (Gross) (Widmung, Op.25, No.1, Con Version)...
Twelve Song Transcriptions: Fruhlingsnacht, Op.39, No.12 (G/S 568, R256)
Nine Song And Choral Transcriptions: Sonntagslied, Op.34, No.5 (G/S 547, No.2, R217, No.2)
Nine Song And Choral Transcriptions: Winterlied, Op.19a, No.4 (G/S 547, No.6, R217, No.6)
Nine Song And Choral Transcriptions: Auf Flugeln Des Gesanges, Op.34, No.2 (G/S 547, No.1, R217...)
Nine Song And Choral Transcriptions: Suleika, Op.34, No.4 (G/S 547, No.7, R217, No.7)
Nine Song And Choral Transcriptions: Wasserfahrt, Op.50, No.4 And
Nine Song And Choral Transcriptions: Der Jager Abscheid, Op.50, No.2, Combined By Liszt...
Nine Song And Choral Transcriptions: Neue Liebe, Op.19a, No.4 (G/S 547, No.4, R217, No.4)
Nine Song And Choral Transcriptions: Reiselied, Op.34, No.6 (G/S 547, No.3, R217, No.3)
Nine Song And Choral Transcriptions: Fruhlingslied, Op.47, No.3 (G/S 547, No.5, R217, No.5)

Customer Reviews:

Liszt - A panorama of good, interesting, mediocre, and boring song transcriptions.......2006-06-30

In Volume 6 of Naxos' Complete Piano Music of Liszt, we get to hear some obscure song transcriptions from Chopin, Clara and Robert Schumann, and Mendelssohn. On the surface, most of these songs are not significant compositions. Even through Liszt's pianistic artistry and transcriptional abilities, the pieces generally stir little emotion. However, there are a handful of songs that are above average and sometimes even beautiful or dramatic.

I'll go through the least interesting pieces first, and say that Clara and Robert Schumann's songs are wholly restrained and bland. Clara's songs are plain and without anything to make them even emotional. Robert's songs follow suit and tend to sound the same, very light, very unimaginative and thus a little unsatisfying. The only two R. Schumann songs I think are exceptional, and all the more due to Liszt's piano transcription are the two Liebeslied's or better known as "Widmung." Most concert pianists today will include this encore piece; it's been played to death but deserves its popularity.

Moving along to the better half of the disc are the Chopin and Mendelssohn transcriptions. Chopin's 'Six Chants Polonais' are rarities and will never earn too many performances while the Etudes and Nocturnes exist. All of his songs are interesting, some even enjoyable under Liszt's fingers. 'The Maiden's Wish,' 'My Joys,' and especially the wild 'Homeward' stand as decent if not good. Concluding the song transcriptions are choral works by Mendelssohn. Three pieces from here are actually quite romantic and note-worthy. The 'Wasserfahrt,' 'Der Jager Abscheid' and 'Neue Liebe' are the highlights from Mendelssohn. The rest are just "ok" and never really encourage repeated hearings, at least for me.

Ultimately, Naxos or Joseph Banowetz is not to blame; on the contrary, they should be praised. Naxos' interest in such unusual and unheard of music from Liszt is a virtue, as most labels won't risk it. Banowetz' interpretations are genuinely heartfelt and given much attention to detail. But the content of the compositions is questionable and at times boring. Liszt was more successful with Schubert.

Bottom line: There *are* some gems, hidden all over the CD, mostly from Chopin and Mendelssohn. But for those who haven't heard too much Liszt, I advise against buying this one. Instead, get any one of the previous Volumes from the Naxos label of Liszt's piano music. I think being acquainted with his better works is the way to go. For those who are curious, have heard these transcriptions before, or who love Liszt, go ahead and buy it. At the Naxos budget, you can't go wrong with getting *ANY* Liszt CD, but don't expect a stream of good music; there's only a handful here that possess such quality.

Vesselina Kasarova - Schubert, Brahms, Schumann Lieder

Average customer rating:

Unconventional and fresh
Unusual but stunning
Magical!
Thrillingly individual
Turn down the piano, please!

Vesselina Kasarova - Schubert, Brahms, Schumann Lieder
Franz Schubert , Johannes Brahms , Robert Schumann , Vesselina Kasarova , Friedrich Haider , and Dr. Stefan Mikorey
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Schumann: Lieder-Album für die Jugend Op79; Songs Op40
Brahms: Lieder (Complete Edition), Vol. 4

ASIN: B00002JXEE
Release Date: 1999-11-09

Tracks:

Fischerweise, D881B
Der Jungling An Der Quelle, D300
Der Wanderer An Den Mond, D870
Im Abendrot, D799
Nacht Und Traume, D827
Romanze, D797
Im Fruhling, D882
Standchen, D889
An Mein Herz, D860
Auf Dem Wasser Zu Singen, D774
Der Fruhling, Op.6 No.2
Feldeinsamkeit, Op.86 No.2
Lerchengesang, Op.70 No.2
Meerfahrt, Op.96 No.4
Von Ewiger Liebe, Op.43 No.1
O Liebliche Wangen, Op.47 No.4
Erstes Grun, Op.35 No.4
Der Nussbaum, Op.25 No.3
Sonntags Am Rhein, Op.36 No.1
Rose, Meer Und Sonne, Op.37 No.9
Widmung, Op.25 No.1
Aufrage, Op.77 No.5

Amazon.com

Vesselina Kasarova has a truly glorious voice: its range and palette of colors are enormous; it can be both dark and radiant and seems to have a core of burnished copper. She has appeared in opera houses all over the world and released recordings of Mozart and Rossini arias as well as entire operas such as I Capuleti e i Montecchi, but has only recently branched out into lieder recitals. This is her debut lieder album, and the beauty of her voice is fully in evidence throughout. However, Kasarova seems to weigh every word and note and has given so much thought to the relationship between them that she has lost the most essential quality of the German romantic lied: its simplicity. She exaggerates phrasing, dynamics, and character, changes tempi instead of moods, and breaks up melodic lines with overinflection. The disc includes some of the greatest and best-loved songs, as well as a few unfamiliar ones, by three supreme masters of the form, chosen with obvious care; not surprisingly, Kasarova is most persuasive in the dramatic ones, in which her basically operatic approach works best. Friedrich Haider is a good pianist and a supportive--perhaps too supportive--partner. --Edith Eisler

Customer Reviews:

Unconventional and fresh.......2002-09-01

I have always wondered why should German lieder be sung in accordance with some indefinable standart of "simplicity"? To me-it`s all about sincerety,air of intimacy and versatility.That is exactly what you`ll find on Kasarova`s record.She`s imaginative and emotional-something very important when you sing pieces that are so popular and want to make them sond new and fresh.The only thing I don`t like about this disc is that the singer is recorded too close.But anyway- it doesn`t spoil the overall quality of the performance.

Unusual but stunning.......2002-04-14

It's true, this is not the typical lieder approach. Indeed, it's often daring, pushing the limits of what a song can bear before it turns operatical. And yet, Vesselina kasarova manages to pull it off marvelously. She has such a variety in tonal colour that she brings something new and fresh to every song she sings. The Schubert selections are great, and the Schumann as well, but she is simply magnificent in the Brahms lieder. I wonder if there will ever be such a perfect, touching, almost heart-rending rendition of "Feldeinsamkeit". Listen to the emotional build-up in "Von ewiger Liebe". This is simply a beautiful disc, giving immense pleasure every time you put it on. Minor quibbles about imperfect German or a too close recording fall into nothing besides the sheer qualities of this disc. A desert island one, no question about it...

Magical!.......2002-02-21

What a marvellous disc! Truly amazing! A young singer whose Lieder recital has something to say and does it so beautifully!
I don't know where to start the praise - maybe with the voice itself, which is simply astonishing in its richness. Kasarova has great powers of communication and the courage to `speak her mind' in which she reminds me of Brigitte Fassbaender. Also her voice, though beautiful in a more conventional way, has some of the qualities of the great German artist's. Like Fassbaender, Kasarova is a great story-teller; she knows that Lieder singing is about telling a story and not `just' singing it. And how she tells them! Her approach is a perfect illustration of a very important quality in Lieder singing which seems to be forgotten nowadays - singing should be like pure speech. One of the greatest Lieder interpreters, Harry Plunket Greene, called speech in song "one of the most moving human gifts". Unlike many young (not only!) singers, Kasarova possesses this gift and together with Bartoli and Terfel shows that `speaking' through singing is the best way of communicating with the audiences.
Kasarova is neither the first nor the last singer to sing in a foreign language and her German sometimes sounds idiosyncratic (though I better leave this problem to the native speakers), but she is certainly one of the few among today's young Liederists who actually is not afraid of pronouncing words clearly. If that can occasionally lead to overemphasis, as some native speakers may quibble, it is certainly a minor offence. Clear pronunciation in singing becomes harder and harder to come by; it is like in movies, where the ill-conceived virtue of `expressing oneself' makes everything else irrelevant, never mind that the viewer has a hard time understanding what is being said, however beautiful it may be. It has become customary to criticize such great singers as Elisabeth Schwarzkopf for paying too much attention to `the meaning of the words' which creates the impression of a lack of spontaneity! Nothing could be more absurd! In this recital, you get the most spontaneous and sincere singing imaginable but you can be sure that lots of work and time went into creating both the programme and the final effect. And the final effect is one of those recitals that are simply difficult to talk about and even more difficult to argue with. How can one argue with such sincere conviction and technically supreme singing? If there is a high point in this sequence of gems, it certainly is Brahm's "Von ewiger Liebe". This `big song', as Gerald Moore called it, certainly gets a big `treatment' here and leaves the listener in a state of wonder. Almost every song brings something new - as somebody on this page said, Kasarova and Haider deliver these songs as if they have no knowledge of what has been done before. I couldn't put it better. But it is obvious that it is not self-indulgence that guides them. As I said, it is a very well-prepared programme that sounds fresh and sincere, with no signs of calculation or mannerisms, enemies of any Lieder singing.
Too operatic a voice? Not at all! What is a `Lieder voice' after all? It is a voice that can make poetry speak through the singer and that is exactly how Kasarova uses her instrument here. Her voice is indeed caught very closely but this closeness adds to the overall atmosphere of the recital (though I understand that some reviewers were rather bothered by it) - it is like participating in an exceptional Liederabend with a well designed programme that has only one flaw: it leaves you hungry for more. Imagine her Erlking, The Dwarf or The King of Thule - some of the most haunting stories told in Lieder. I wish Kasarova recorded more Lieder, but judging from her recordings and appearances all over the world, she is rather involved in standard operatic repertoire with an emphasis on belcanto. Since I am no fan of bel canto, I am left with the impression that she doesn't exist. Happily this disc together with her debut and Mozart arias albums are such joys that can make up for this apparent loss (she also released a disc with Berlioz's "Nuits d'ete" and Ravel's "Sheherezade" but I haven't heard it yet).
This CD is now one of my top favorites among the recent female Lieder recitals next to von Otter's Schumann and Schubert discs. It will always have a very special place in my record collection and I don't hesitate to put it among the recitals of the greatest Lieder singers! (Kicek)

Thrillingly individual.......2000-07-04

Having followed Kasarova's meteoric rise in the world of opera with keen interest I was torn asunder by this release: could this glorious mezzo really adapt her art to the intimate realm of Lieder, especially this particular repertoire which is, after all, already overpopulated by the full spectrum of the sublime to the horribly bad? The answer for me is a resounding "yes", although I can understand any misgivings others might have. I do not find her approach too operatic. It is one of the dichotomies of the disc: the voice is huge, but the approach is intimate to the point where, as the editorial review points out, she seems to almost over-interpret the words. A handy comparison would be to listen to Jessye Norman in similar repertoire - now that is an operatic approach! What differentiates this disc from so many others is that Kasarova and Haider deliver the songs as if they have no knowledge of what has been done before. Their delivery is sometimes quirky and almost uniformly unusual. Is this good? Once again: I think so. Standards like Schubert's "Im Fruhling" and "Auf dem Wasser zu singen" suddenly sound fresh and new. The mood darkens considerably for the Brahms section of the programme, the sublime "Von ewiger Liebe" being given a marvelously calculated performance. The Schumann section is again slightly lighter, but equally satisfying.

Kasarova's timbre is really a miracle. She can shade the basic coppery character into a veritable pallet of colours. Her diction is close to perfect, although her German is sometimes idiosyncratic, to say the least. Haider's accompaniment is very satisfying indeed. The artists seem to truly share a common vision and it works wonders. Years of working together in recital (often with Haider's wife Edita Gruberova) have obviously paid off.

I have only one quibble about this disc, which is why it receives four and not five stars from me: Kasarova is recorded too closely. Although it is good to hear the singer breathing the close recording unfortunately overaccentuates the way in which she chops up phrases for interpretive purposes as well as her tendency to lisp.

In summary: if you are the kind of Lieder connoisseur who believes that the Elly Ameling approach is the begin-all and end-all of Lieder singing, this one is not for you. If, on the other hand, you are more adventurous and tend to believe that traditions are there to flirt with, you might just love it, as I do.

Turn down the piano, please!.......2000-06-30

How does a disc this bad get released? It's impossible to evaluate the performance, because the piano all but drowns out the singer. The singer sounds like she's in the next room; the piano sounds like it's in your lap.

The Songs of Robert Schumann 4 / Oliver Widmer, Stella Doufelix, Graham Johnson

Average customer rating:

It should be a candidate of this year's best disc of lieder.

The Songs of Robert Schumann 4 / Oliver Widmer, Stella Doufelix, Graham Johnson
Robert Schumann , Oliver Widmer , and Stella Doufelix
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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The Songs of Robert Schumann, Vol. 6
The Songs of Robert Schumann, Vol. 8
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The Songs of Robert Schumann, Vol. 3

ASIN: B00004RITH
Release Date: 2000-06-13

Customer Reviews:

It should be a candidate of this year's best disc of lieder........2000-07-27

This disc is wonderful! With Johnson's excellent accompaniment, two young singers give us some noble and authentic performance. Both Doufexis and Widmer have an very neat tone and clear articulation, and their interpretations are noble, without too sentimental and over-emphysis. I found myself exciting listening to this newest Hyperion Schumann Lieder of this series, since I am a bit disappointed at vol 2&3. And I think, wow, the old excellent Johnson- plus- an- unfamiliar- but- extraordinary- singer is come back! I will nominate this disc to be a candidate of this year's best lieder disc. BTY, interesting enough, Listeners will find some of Clara's lieder here are better than Schumann's. Johnson's booknote is as same incomparable. The record is well. The only disappointment is the 2 lieder sung by chorus, it sounds a bit (only a bit) strange in structure and articulation.

Average customer rating:

The Songs of Robert Schumann, Vol. 6

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Songs of Robert Schumann, Vol. 5

ASIN: B00005Y0N6
Release Date: 2002-03-12

Amazon.com

The previous issues in this Hyperion series have picked up a clutch of awards, and you do not need a crystal ball to predict that this one will be going the same way. The combination of four fresh young voices, Hyperion's superb sound quality, and the endlessly talented Graham Johnson guarantees another winner. Providing a marathon complete recording of Schubert's songs has clearly not diminished Johnson's energies one bit. Schumann's work springs fresh off the page, with six songs by Clara Schumann for good measure. Johnson's warmly crafted accompaniment aside, he must be applauded for consistently finding first-class singers, not to mention his comprehensive and thought-provoking program notes. But it is the singers that most people go for, and no one will be disappointed here. In duets and quartets they blend mellifluously, creating the kind of organic sound that typified the golden years of Johnson's lauded vocal group the Songmakers' Almanac. None of this repertoire is especially well known, but this is a disc where you can dip in virtually anywhere and be instantly captivated. Into the bargain we also get Stephen Hough joining Johnson for two short piano duets. --Keith Clarke

Average customer rating:

Music by Women: A Celebration

Manufacturer: Capstone
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000A4G5R
Release Date: 2003-07-29

Schumann: Liebesfrühling; Minnespiel; Wilhelm Meister Lieder

Average customer rating:

disappointed

Schumann: Liebesfrühling; Minnespiel; Wilhelm Meister Lieder

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009SQC8C
Release Date: 2005-07-19

Tracks:

Der Himmel Hat Eine Trane Geweint
O Ihr Herren
Ich Hab' In Mich Gesogen
Liebste, Was Kann Denn Uns Scheiden?
Schon Ist Das Fest Des Lenzes
Flugel! Flugel! Um Zu Fliegen
Rose, Meer Und Sonne
O Sonn', O Meer, O Rose
So Wahr Die Sonne Scheinet
Ballade Des Harfners
Nur Wer Die Sehnsucht Kennt
Wer Nie Sein Brot Mit Tranen Ass
Heiss' Mich Nicht Reden
Wer Sich Der Einsamkeit Ergibt
Singet Nicht In Trauertonen
An Die Turen Will Ich Schleichen
So Lasst Mich Scheinen, Bis Ich Werde
Meine Tone Still Und Heiter
Liebster, Deine Worte Stehlen
Ich Bin Dein Baum, O Gartner
Mein Schoner Stern!
O Freund, Mein Schirm, Mein Schutz

Customer Reviews:

disappointed.......2007-03-11

The character of the singing is too operatic, too stagey and "projected" for what I want in a Lieder recital. I bought the disc on the recommendation of another Amazon lay reviewer, but am quite disappointed. Perfectly fair. This music is not easy to find (the Wilhelm Meister songs not easy to find all together).

Track Listings:

Track Listings

track listings

Track Listings

Archiva, Vol. 1/Archiva, Vol. 2 [Original recording remastered] [Special Edition]

Classical Relaxation With Satie

Confusion: Arthur Baker vs New Order 2002 Remixes [CD-single] [Import]

A Family Affair

Bill Leverty's Wanderlust

Hot Summer Nights

Do Re Mi (1999 Broadway Revival Cast) [Cast Recording]

Delibes, Gounod: Ballet Music

Dm Blues [Import]

Easter

Groovin' High [Import]

Duendes de Control

Con La Banda Sinaloense

Very Best of Blues Brother Soul Sister

Mysts of Time

1. Die stille Lotosblume, op. 13 no. 6
2. O Lust, o Lust
3. Der Himmel hat eine Trane geweint, op. 37 no. 1
4. Seheimes Flustern hier und dort, op. 23 no. 3
5. Freisinn, op. 25 no. 2
6. Sie liebten sich beide, op. 13 no. 2
7. Venetianisches Lied I, op. 25 no. 17
8. Venetianisches Lied II,op. 25 no. 18
9. Der Nusbaum, op. 25 no. 3
10. Aus dem Schenkenbuch im Divan I, op. 25 no. 5
11. Aus dem Schenkenbuch im Divan II, op. 25 no. 6
12. An einem lichten Morgen, op. 23 no. 2
13. Ich hab' in mich gesogen, op. 37 no. 5
14. Liebeszauber
15. Liebst du um Schonheit, op. 12
16. Zum Schlus, op. 25 no. 26