Schubert/Wolf: Lieder

On this CD:

1. Fischerweise ("Den Fischer fechten Sorgen"), song for voice & piano, D. 881 (Op. 96/4)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

2. Am Bach im frühling ("Du brachst sie nun..."), song for voice & piano, D. 361 (Op. posth. 109/1)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

3. Der Schiffer ("Friedlich lieg' ich hingegossen"), song for voice & piano, D. 694
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

4. Des Fräuleins Liebeslauschen ("Hier unten steht ein Ritter"), song for voice & piano (Liebeslauschen), D. 698
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

5. Der Atlas ("Ich unglückselger Atlas"), song for voice & piano (Schwanengesang), D. 957/8
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

6. Geheimes ("Über meines Liebchens Äugeln"), song for voice & piano, D. 719 (Op. 14/2)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

7. Widerschein ("Fischer harrt am Brückenbogen"), song for voice & piano (first version), D. 639
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

8. Das Lied im Grünen ("Ins Grüne..."), song for voice & piano, D. 917 (Op. posth. 115/1)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

9. Der Musensohn ("Durch Feld und Wald zu schweifen"), song for voice & piano, D. 764 (Op. 92/1)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

10. Abendstern ("Was weilst du einsam an dem Himmel"), song for voice & piano, D. 806
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

11. Auf der Bruck ("Frisch trabe sonder Ruh' und Rast"), song for voice & piano, D. 853 (Op. 93/2)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

12. Der Jüngling an der Quelle ("Leise, rieseln der Quell"), song for voice & piano, D. 300
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

13. Die Taubenpost ("Ich hab' eine brieftaub'"), song for voice & piano (Schwanengesang), D. 965a (D. 957/14)
Composed by Franz Schubert
Performed by Derek Hammond-Stroud

14. Heb' auf dein blondes Haupt, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

15. Geselle, woll'n wir uns in Kutten hüllen, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

16. Nun lass uns Frieden schliessen, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

17. Wir haben beide lange Zeit geschwiegen, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

18. Was für ein Lied soll dir gesungen werden?, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

19. Ein Ständchen Euch zu bringen, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

20. Wie viele Zeit verlor ich, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

21. Wenn du mich mit den Augen, song for voice & piano (Italienisches Liederbuch)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

22. Fussreise ("Am frischgeschnittnen Wanderstab"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

23. Auf ein altes Bild ("In grüner Landschaft Sommerflor"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

24. Lebe wohl ("Lebe wohl! Du fühlest nicht"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

25. Der Tambour ("Wenn meine Mutter hexen könnt"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

26. Heimweh ("Anders wird die Welt"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

27. Nimmersatte Liebe ("So ist die Lieb!"), song for voice & piano (Mörike Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

28. Gebet ("Herr! schicke was du willt"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

29. Auf einer Wanderung ("In ein freudliches Städtchen"), song for voice & piano (Möricke Lieder)
Composed by Hugo Wolf
Performed by Derek Hammond-Stroud

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

An die Musik [2 CD & DVD Limited Edition]

Average customer rating:

An excellent overview of Dietrich Fischer Dieskau with Deutsche Grammophon

An die Musik [2 CD & DVD Limited Edition]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

The Art of Dietrich Fischer-Dieskau
Schubert - Winterreise / Dietrich Fischer-Dieskau, Alfred Brendel, Sender Freies Berlin
The Magic of Wunderlich [Includes Bonus DVD]
Legend: Dietrich Fischer-Dieskau [CD & DVD]
Schwarzkopf, Seefried & Fischer-Dieskau Sing Mahler, Richard Strauss & Schubert (EMI Classic Archive 21)

ASIN: B0008064XY
Release Date: 2005-07-12

Customer Reviews:

An excellent overview of Dietrich Fischer Dieskau with Deutsche Grammophon.......2005-11-08

"An die Musik", aptly named after the famous Schubert lied of the same title, is an excellent overview of Dietrich Fischer-Dieskau's recorded output for Deutsche Grammophon over the past 56 years. On the CDs, there are six Schubert lieder from Fischer-Dieskau's 21 disc set with pianist Gerald Moore, (dating from ca. 1970) and other lieder by Wolf, Richard Strauss, Brahms, and Schoeck. Also included are two chansons of Claude Debussy, and arias from Mozart's "Die Zauberflote" and "Don Giovanni", both conducted by Ferenc Fricsay; small part of Fricsay's Orff "Carmina Burana" (rec. 1949), Schubert's "Dichterliebe" cycle with pianist Jorg Demus; and the 4 Ruckert lieder with Karl Bohm/Berlin Philharmonic. Fischer-Dieskau is amazing, with such a wide repertory, and such enthusiasm for singing such varied and different styles of music.

The bonus DVD, lasting about 28 minutes, is very interesting to watch and listen to. Dietrich Fischer-Dieskau and pianist Sviatoslav Richter peform 8 famous Schubert lieder in the great room of a hotel in a remote Bavarian village, in utterly charming and rather informal surroundings. The camera work is minimal, the sound, very fine but a little low level mono: filmed in 1978. Fischer-Dieskau looks alot younger here than more recent photos of him, but a little older and more classy than the photos I'm used to seeing of him, which date from the late 1960s. Fischer-Dieskau and Richter work as one, and their partnership and great working relationship is evident from measure 1. There is no doubt watching this that they had alot of fun performing for the cameras.

I am grateful DG released this set: 2 very full discs at over 70 minutes of music each, + the DVD of a telecast not seen since 1978. The sound is very good, even in the mono tracks, and if you like lieder and opera excerpts, you will be delighted. I mention this as one who's experienced Fischer-Dieskau's recordings for 25 years, and been usually delighted by them.

Recital at Carnegie Hall, November 25, 1956

Average customer rating:

A missable item among the riches of the Schwarzkopf catalog
A complete Schwarzkopf lieder recital.

Recital at Carnegie Hall, November 25, 1956

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000DO02
Release Date: 1990-10-25

Customer Reviews:

A missable item among the riches of the Schwarzkopf catalog.......2006-03-20

Since this double-CD is long out of print, I suppose there's not much value in criticizing it in detail. EMI has released dozens of lieder and opera recordings with their preeminent star, including great live concerts from Salzburg with Gerald Moore from this period in the mid-Fifties.

Compared to Moore and Edwin Fischer, by far her best accompanist, George Reeves is stiff and unimaginative, not to mention that the paino sounds thin and clattery. Schwarzkopf recorded every song here in at least one and often multiple versions that are much better. Unless you want a souvenir of Schwarzkopf live in New York, this set is a miss.

A complete Schwarzkopf lieder recital........2003-09-07

Lieder recitals featured prominently in the career of Elisabeth Schwarzkopf. Not many were recorded in their entirety, however, announced encores and all, or approved for issue. This double CD offers an opportunity to hear her in her prime, recorded in Carnegie Hall, New York, 25th November 1956.

With George Reeves, who brings vast experience and plenty of personality to the piano accompanying, Schwarzkopf delivers a succession of her favorite items, none too demanding (apart from an operatic aria) and all enthusiastically applauded by the audience. One or two of the Schubert strophic songs are given interesting dynamic "interpretative" presentations, not attempted in her studio recorded versions. After a bracket of Mozart lieder, Schwarzkopf announces that she has received many requests for the inclusion of an operatic aria. She provides one of Fjordiligi's arias from "Cosi fan tutte", coping wonderfully well with its many difficulties.

Tracks:

Sapphische Ode, Op. 94 Nr. 4
Liebestreu, Op. 3 Nr. 1
Der Schmied, Op. 19 Nr. 4
Die Mainacht, Op. 43 Nr. 2
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): He, Zigeuner
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Hochgeturmte Rimaflut
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Wisst ihr, wann mein Kindchen
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Lieber Gott, du weisst
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Brauner Bursche
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Roslein dreie
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Kommt dir manchmal in den Sinn
8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Rote Abendwolken ziehn
2 deutsche Volkslieder: Och mod'r, ich well en Ding han!
2 deutsche Volkslieder: We kumm ich dann de Pooz erenn?
Dein blaues Auge, Op. 59 Nr. 8
Von ewiger Liebe, Op. 43 Nr. 1
Das Madchen spricht, Op. 107 Nr. 3
O wusst ich doch, Op. 63 Nr. 8
Wie Melodien zieht es mir, Op. 105 Nr. 1
Madchenlied, Op. 107 Nr. 5
Vergebliches Standchen
Der Tod, das ist die kuhle Nacht, Op. 96 Nr. 1
Auf dem See, Op. 59 Nr. 2
Feldeinsamkeit, Op. 86 Nr. 2
In stiller Nacht ('Deutsche Volkslieder' Nr. 42)
Schwesterlien ('Deutsche Volkslieder', Nr. 15)
Immer leiser wird mein Schlummer, Op. 105 Nr. 2
Standchen, Op. 106 Nr. 1
Gestillte Sehnsucht, Op. 91 Nr. 2
Geistilches Wiegenlied, Op. 91 Nr. 2

Tracks:

Ich ging mit Lust durch einen grunen Wald ('Des Knaben Wunderhorn')
Hans und Grete
Fruhlingsmoren
Wo die schonen Trompeten blasen ('Des Knaben Wunderhorn')
Der Schildwache Nachtlied ('Des Knaben Wunderhorn')
Um schlimme Kinder ('Des Knaben Wunderhorn')
Ich atmet' einen linden Duft
Liebst du um Schonheit
Um Mitternacht
Das irdische Leben ('Des Knaben Wunderhorn')
Wer hat dies Liedlein erdacht ('Des Knaben Wunderhorn')
Lob des hohen Verstandes ('Des Knaben Wunderhorn')
Ich bin der Welt abhanden gekommen
Des Antonius von Padua Fischpredigt ('Des Knaben Wunderhorn')
Rheinlegendchen ('Des Knaben Wunderhorn')
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
Frauenliebe und Leben, Op. 42: Du Ring, an meinem Finger
Frauenliebe und Leben, Op. 42: Helft mir, ihr Schwestern
Frauenliebe und Leben, Op. 42: Susser Freund, du blickest
Frauenliebe und Leben, Op. 42: An meinem Herzen
Frauenliebe und Leben, Op. 42: Nun hast du mir den ersten Schmerz getan
Der Brief, Op. 76 No. 8
Waldeinsamkeit, Op. 76 No. 3

Tracks:

Die Allmacht, D. 852
Fischerweise, D. 881
An die Musik, D. 547
Der Musensohn, D. 764
Ganymed, D. 544
Auf dem Wasser zu singen, D. 774
Ave Maria, D. 839
Die Forelle, D. 550
Gretchen am Spinnrade, D. 118
Fruhlingsglaube, D. 686
Der Tod und das Madchen, D. 531
Lachen und Weinen, D. 777
Litanel auf das Fest 'Aller Seelen', D. 343
Erikonig, D. 328
Der Hirt auf dem Feisen, D. 965
Gesang Weylas
Auf einer Wanderung
Die Nacht, Op. 10 Nr. 3
Allerseelen, Op. 10 Nr. 8
Schlechtes Wetter, Op. 69 Nr. 5

Tracks:

3 Chansons madecasses: Nahandove
3 Chansons madecasses: Aoua! Aoua!
3 Chansons madecasses: Il est doux
Une flute invisible
Chanson georgienne: 'Oh! cesse de chanteer, gentille jeune fille,' Op. 4 No. 4
'Moisson de tristesse'
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta avanti la regata
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta co passa la regata
La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta dopo la regata
Wesendonk-Lieder: Der Engel
Wesendonk-Lieder: Stehe still!
Wesendonk-Lieder: Im Treibhaus
Wesendonk-Lieder: Schmerzen
Wesendonk-Lieder: Traume
Julius Caesar: Acte I: 'Es blaut die Nacht' (Cleopatra)
Johannes-Passion, BWV 245: Nr. 58 - Aria: 'Es ist volbracht!'
Tristan und Isolde: III Akt: 'Mild und leise (Isoldes Liebestod)

Customer Reviews:

Wonderful.......2003-07-20

This is a wonderful set. I would like to correct an error below. The climax in the Liebestod is a high A flat not high C. But you have to cut through the dense orchestration. That's why it's hard.

Terrific recording.......2003-07-06

I write this as s service to Christa Ludwig fans. This is a set of Lieder. Christa Ludwig is fabulous - as usual.

But if you want to hear Christa ludwig in a set of operatic recitals that will knock of your socks and blow you to bits. Look for this CD called "Celebrating Christa Ludwig". It has Christa Ludwig singing excerpts from Elektra (as Elektra!!!), Ariadne auf Maxos (as Ariadne!!), Die Frau Ohne Schatten (as the Dyer's Wife), Barber of Serville (as rosina) and the Immolation Scene of Gotterdammerung (as Brunnhilde!!!). She will blow you to bits with her unmatchable dramatic sense, vocal power and beauty of tone - the greatest Brunnhilde that never was and the greatest Elektra that never was. She did sing Ariadne once in Salzburg in 1964, and she sang the Dyer's Wife for 10 years from 1964 (Vienna State Opera) to 1974 (Salzburg Festival). Her complete Ariadne is available under Myto records.

Christa in her prime.......2001-09-19

Being an admirerer of Christa Ludwig, I went into purchasing this recording with great expectations, and it did not disappoint in any way. Ludwig is in her prime and is heard in wonderful interpretations and beautiful singing from among several composers and works. I not only enjoy listening to her personally, but am also able to put it to great use use in my Vocal Literature class here at the college in which I teach.

Christa Ludwig is in great shape.......2000-04-15

She sang all the major mezzo roles, and also some in the dramatic soprano repertory, notably Leonora in Fidelio, Lady Macbeth and the Marschallin.

Her voice is a rich, expressive mezzo capable of dramatic incisiveness and even throughout its considerable range. Her upper register in mezzo music is excintingly projected.

Although this compilation is composed of different recordings in different settings in different years, all of them show a young Ludwig when she had not yet acquired her prime and her status of, arguably, the best mezzo of the world, which would arrive in the years to come.

Ludwig, thirteen years Schwarzkopf's junior, was also a member of the legendary Ensamble of Berlin, which meant that each appearance of hers in any opera produced in Berlin, Munich, Vienna, London, Paris....by this Ensamble was backed by many hours of rehearsals with the same group of musicians. Usually this group comprised Schwarzkopf, Grümmer, Seefried, Berger, Güeden, Dermota, Tauber, and of course Furtwängler. This is how the legendary recording of COSI FAN TUTTE was made, in which she shared credits with Schwarzkopf.

Disc one is devoted to Brahms -not less than 30 Lieder are here. She doesn't sing Brahms with intimacy, rather she attacks each song with open throat. Her diction, her care for words is now proverbial. My favorite Lied in this disc is In stiller Nacht. She sets the melancholic mood of the song with her rich, vibrant contralto-like tones.

Disc two brings us Ludwig singing Mahler, Schumann and Reger. From the melodic lines of Mahler's Des Knaben Wunderhorn to the tortuous inflexions of Max Reger's two songs, she shows an extreme afinity with these composers. Schumann is taken very sensously, one can almost feel her velvety and creamy narrations of the woman-in-love of the song cycle.

Disc three is devoted to Schubert, Wolf and Strauss. Ludwig was not compelled to sing too much Wolf or Strauss (only 5 Lieder by these composers). It is her Schubert that shows her in splendid form. Auf dem Wasser zu singen is sung at such a low speed that her tone can only be described as luxurious. Erlkönig finds in her voice an ideal interpreter for the four characters of the song. In Wolf's Gesang Weylas, Gerald Moore has produced some magical arpeggios in the piano accompaniment, but of course this in only natural in him being the best accompanist ever.

Disc four is a miscellaneous melange of Ravel, Saint-Saëns, Rossini, Wagner, Händel and Bach. Ludwig never tried to sing on stage Isolde, but she recorded it; the Liebestod is taken at an exciting pace and one is only waiting for the climax to see if she can do it (the top c's). Yes, she can do it. Händel's aria from Julius Caesar is, again, sensous and exciting. Händel is another composer with whom she felt communicated. Ravel's Chansons Madécasses can only be described as magical. And of course she was outstanding in Bach oratorios, as is the case of Johannes Passion.

Wagner's Wessendonk Lieder are sung lustrously. I especially enjoyed Träume, which actually is sung, as its title suggests, dreamily.

Praised be the two accompanists for the majority of the recordings, Gerald Moore and Geoffrey Parsons. Both have gone now and the musical world seems so empty without their supreme touch. I do believe that 50% of Christa Ludwig's success as a Lieder Singer was due to them.

Tracks:

'Im Fruhlingsanfung' KV 597
Abendempfindung an Laura, KV 523
Die Verschweigung KV 518
Das Veilchen KV 476
Suleika II D717
Das Sie hier gewesen D775
Rastlose Liebe D138
Wiegenlied D867
Fruhlingsglaude D686
An eine Aolsharfe Op.19 - 5
Von Wald bekranzter Hohe Op. 57 - 1
Geheimnius Op.71 - 3
Das Madchen Op.95 - 1
Sie Blasen zum Abmarsch
Liebe mir im Busen zundet
Mogen alle bosen Zungen
Bedeckt mich mit Blumen
In den Schatten meiner Lacke
Hymnen I: Hymne an die Liebe
Hymnen II: Ruckkehr in der Heimat

Tracks:

Lachen und Weinen
Die Soldatenbraut Op. 64 - 1
Der Page Op.30 - 2
Die Stille Op. 30 - 2
Fruhlings Ankunft Op. 39 - 4
Widmung Op. 25 - 1
Der Nussbaum Op. 25 - 3
An eine Quelle D530
An die Nachtigall D497
Wie anders, Gretchen
Das Veilchen KV 476
Ich liebe dich WoO 123
Die Sylphe
Der Zauberer KV 472
Warnung KV 433
Waldeinsamkeit
Zum Schalfen
Mariawiegenlied
Fruhling
September
Beim Schlafengehen
Im Abendrot

Customer Reviews:

Singing with presence.......2007-06-18

The piano part is not without bad moments, the recording is quite bright, but yet there is not a unpleasant hard edge in singers voice one might imagine. Instead there is a lot of presence and maturity of great artist that made me stop and listen wonderful interpretation of familiar songs. If artists like Seefried and Jurinac are your favorites, I bet you'll appreciate Grümmer as well - try Abendempfindung to start. Quality/price ratio is exceptional.

Disappointed by first listening.......2003-08-04

After reading the rapturous reviews of this 2 CD album, I purchased it last week. There is a lot of music for the price, and the recording quality it good considering the age of the recordings. But I found myself less than enthusiastic about Elisabeth Grümmer's singing. I was particularly interested in the Schubert lieder. What I value most in lieder singing is naturalness and a certain pleasingness to the ear - lieder is after all song, not opera. Grümmer's voice seems to me more suited to the latter. I can think of a dozen or two contemporary lieder singers who I would much prefer over Grummer. Of the rest of the music on the album, I can't venture to say anything as I have only begun to explore this CD. But for Schubert lieder, stick with Fischer-Dieskau, Brigitte Fassbaender, Ian Bostridge, Sarah Walker,Richard Jackson, Janet Baker, Felicity Lott, Barbara Bonney,Elly Ameling, Stephen Varcoe (a remarkable voice - his version of Am Bach im Fruhling and Auf der Donau, cannot be beaten), Matthias Gorne, Cheryl Studer (her versions of I'm Fruhling, Der FluB, and Am See are wonderful) and innumerable others - in no particular order. While I'm at it, I have also listened to Bryn Turfel's recent recording of Schubert lieder. It has been highly reviewed in many quarters, but none of his performances would be my first choice.

An Answer To a Prayer........2001-01-05

It's amazing what treasures one can discover when browsing around Amazon.com! Discovering this 2 CD set, and quickly receiving it in the post soon after seemed like the answer to a prayer.

Here's more than two hours of lieder recital items compiled from broadcasts dating from 1948 to 1970. No allowances need be made for changes of acoustic or recording quality. One can listen entranced and undisturbed until, after the last track, applause breaks out after the last of Richard Strauss' "Four Last Songs".

If there is a welcome disturbance, it is the appearance of Dietrich Fischer-Dieskau and a chorus, joining the singer in a Schubert setting of a song from Goethe's "Faust". In his autobiography, Fischer-Dieskau provides a wondrous appreciation of Elisabeth Grümmer, allocating more space to it than to comments about all his other colleagues put together.

I shall not attempt anything similar, adding only that a reminder of the extremely low price should be enough to urge all lovers of German lieder to add this to the trolley.

Beauty Pure!.......1999-09-04

Grümmer's voice was probably the sweetest voice ever recorded.

She bares her soul in each and every recording and makes you gasp at the sheer beauty and urgency of what she sings; She simply bares her soul. This 2-CD together with her recording of Humperdinck's "Hänsel & Gretel" recently re-issued under EMI's "Great Recordings of the Century" MUST move you to tears!

I am really at a loss for words here - just get it, sit back and listen to the greatest voice of the century!!!!

One of the great singers of the 20th century.......1999-04-20

This is a fantastic recording at an unbelieveable price. Two live recordings of concerts given by this great spinto soprano who was never truly appreciated by the music-buying public. The voice retained its freshness until she retired, and this collection of lieder makes one weep at the sheer beauty of her voice. A great bargain!!!

Average customer rating:

Quasthoff at his most inspiring
Quasthoff's best release to date

A Romantic Songbook

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B0001BUC0G
Release Date: 2004-05-11

Tracks:

Fruhlingsglaube D 686
Heidenroslein D 257
Die Forelle D 550
Im Fruhling D 882
Auf Der Bruck D 853
Im Abendrot D 799
Ungeduld (Die Schone Mullerin D 795, No.7)
Belsatzar Op.57
1.Widmung
2.Freisinn
24.Du Bist Wie Eine Blume
Fruhlingsglaube (12 Lieder Op.9, No.8)
Auf Flugein Des Gesanges (6 Lieder Op.34, No.2)
Auf Einer Wanderung
Der Genesene An Die Hoffnung
Storchenbotschaft
Odins Meeresritt Op.118
Herr Oluf Op.2, No.2
Tom Der Reimer Op.135a
1.Zueignung
8.Allerseelen
3.Heimliche Aufforderung
4.Morgen!
Danny Boy

Amazon.com

Thomas Quasthoff is unique as singer and artist. His voice, always astonishingly powerful, has over the years acquired an ever-growing warmth, purity, range, and expressiveness, and his extraordinary wealth of dynamics, colors, nuances, and inflections is truly amazing. He uses these for instant changes of mood and atmosphere, while his seemingly unlimited breath control lets him spin endless lines and phrases. In these songs, all these qualities are on full display; indeed, Quasthoff admits choosing them with this in mind. However, the program is beautiful, judiciously varied and contrasted, combining popular favorites like Schubert's "Trout" and "Heidenröslein" with unfamiliar gems by his unjustly forgotten contemporary Carl Loewe, who wrote hundreds of splendid ballads. Of special interest are two very different settings of the same Ludwig Uhland poem, "Frühlingsglaube" ("Faith in Spring"), one by a very young Mendelssohn, the other by a mature Schubert. The former overflows with youthful exuberance, joyousness, and ecstasy; the latter breathes lyrical serenity. In a rather unusual reading, Quasthoff starts it with a sense of tremulously hopeful anticipation, gradually becoming more confident and finally blossoming out into radiant affirmation. Otherwise, the Schubert group is least convincing: always sensitive to the fusion of text and music, Quasthoff, perhaps seduced by the resources of his vocal palette, indulges in fussy, excessive "word-painting" and loses the songs' essential simplicity. However, in the more complex, dramatic, declamatory songs, this works wonderfully. Loewe's ballads, in which he impersonates three distinct characters, and Schumann's "Belsatzar" become veritable operas, and he regains a moving simplicity in the more lyrical songs, like Mendelssohn's "On Wings of Song" and a Strauss group. Justus Zeyden is an exemplary collaborator, but even he is defeated by the long sustained notes in Strauss' "Morgen!" where the violin obbligato is sadly missing. In "Danny Boy," Quasthoff turns himself into a very persuasive American-style crooner. --Edith Eisler

Customer Reviews:

Quasthoff at his most inspiring.......2004-05-17

Thomas Quasthoff has set the highest standards for himself in lieder singing, challenging the dominance, on records, of Schwarzkopf and Fischer-Dieskau. Here he seems to soar even above those exalted artists, because of his thrilling range, total commitment, deep insisght, and complete lack of artifical "personality." The arc of his mastery has risen from his fine RCA years to reach this peak, and now he has no one to surpass but himself. It's a humbling experience to hear an artist of this greatness...perhaps the last living exemplar of a great German singing tradition.

Quasthoff's best release to date.......2004-05-13

I may just be a sucker for these songs, but I really think this is the best solo recording Quasthoff has made so far: some of his other recordings suffer from an improper balance between piano and voice (like his WINTERREISE or SCHWANENGESANG), but here, Justus Zeyen's contribution feels an equal partner; each interpretation is fresh and vivacious; and the program is put together well. This is also the first time I've felt a recording comes close to the electric experience of hearing Quasthoff live; the sound quality captures everything very intimately.

Customer Reviews:

BEST LIVE LIEDER CONCERT RECORDING EVER!.......2004-02-23

This is by far the greatest live lieder concert available on record. This is also superior to any live concert I have ever heard. Hans Hotter allied one of the biggest voices in history and one of the best vocal techniques with the deepest emotional and musical investment and clarity. Given all this, no singer is above Hotter. He was the consummate singer. Vocally this recording is very exciting. The warmth and clarity of the recording and Hotter's vocal health come together creating a beautiful experience. The sound is as close to live as I have ever heard a 60's recording, and it is the best representation of Hotter's timbre. In this recording Hotter was not suffering from the breathing ailment that so spots the majority of his later recordings with wooliness and diffusion. It is not the same infinite ring that the earliest recordings make so clear, but the voice is rarely puffy. It is almost always a warm, rolling sound. This is the best blend of beautiful singing and rounded declamation I have ever heard.
The vocalism is outstanding, but the depth of interpretation and musicality of the music is divine. Hans Hotter performs with complete devotion to text and composer. This approach along with his vocal ability and stability make for nearly perfect presentation of the composer's and poet's intentions. His decisions within the pieces are tempered by his almost singular knowledge of performance history and textual meaning, and Hotter was blessed with considerable direct contact with Strauss and as such must be seen as an authority.
This concert is demanding (on par with the famous live Bjorling Carnegie Hall recording for difficulty), but Hotter's performance is so easily delivered that the listener is rarely aware of the difficulty. This is a key to any great performance. Hotter weaves the music and the word into an organic whole which does not jar the listener from his suspended disbelief. Vocal frailty, lack of musicality, and disconnection from the text are the main factors which break the listener away from the experience. Hans Hotter's performance has no such weaknesses. Hans Hotter excels in every way. He keeps the listener with him at all times. His voice is full of intelligence and pathos. There is no live concert like this on record. BUY THIS CD NOW!