Wolf: Goethe Lieder

On this CD:

1. Ganymed ("Wie im Morgenglanze"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

2. Frühling übers Jahr ("Das Beet, shon lockert sich's"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

3. Der Schäfer ("Es war ein fauler Schäfer"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

4. Blummengruss ("Der Strauss, den ich gepflücket"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

5. Gleich und Gleich ("Ein Blumenglöcken vom Boden"), song for voice & piano (Goethe Leider)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

6. Die Spröde ("An dem reinsten Frühlingsmorgen"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

7. Die Bekehrte ("Bei dem Glanz der Abendröte"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

8. Anakreons Grab ("Wo die Rose hier blüht"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

9. Sankt Nepomuks Vorabend ("Lichtlein schwimmen auf dem Strome"), song for voice and piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

10. Mignon I ("Heiß mich nicht reden"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

11. Mignon II ("Nur wer die Sehnsucht kennt"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

12. Mignon III ("So lasst mich scheinen"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

13. Philine ("Singet nicht in Trauertönen"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

14. Mignon ("Kennst du das Land"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

15. Gutmann und Gutweib ("Und morgen fällt Sankt Martins Fest"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

16. Epiphanias ("Die Heiligen drei König'"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

17. Dank des Paria ("Grosser Brahma!"), song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

18. Gretchen vor dem Andachtsbild der Mater dolorosa ("Ach neige, du Schmerzensreiche"), song for voice & piano
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

19. Als ich auf dem Euphrat schiffte, song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

20. So lang man nüchtern ist, song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

21. Nimmer will ich dich verlieren, song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

22. Phänomen ("Wenn zu der Regenwand"), song for voice and piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

23. Hochbeglückt in deiner Liebe, song for voice & piano (Goethe Lieder)
Composed by Hugo Wolf
Performed by Graham Johnson, Geraldine McGreevy

24. Wanderers Nachtlied ("Der du von dem Himmel bist"), song for voice & piano (Sechs Gedichte)
Composed by Hugo Wolf
Performed by Graham Johnson

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.

Bruckner: Symphony No. 6 in A (Nowak ed.) / Wolf: 4 Goethe-Lieder

Average customer rating:

terrific sound
Fine Bruckner, even finer Wolf
An interpretative failure
To the nay-sayers : This one is excellent !
The problem is simpler than you think

Bruckner: Symphony No. 6 in A (Nowak ed.) / Wolf: 4 Goethe-Lieder

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bruckner: Symphony No. 8

ASIN: B00000J9FT
Release Date: 1999-06-15

Tracks:

Harfenspieler-Lieder: I. Wer sich der Einsamkeit ergibt
Harfenspieler-Lieder: II. An die Turen will ich schleichen
Harfenspieler-Lieder: III. Wer nie sein Brot mit tranen ass
Anakreons Grab
Symphony No.6 In A Major: I. Maestoso
Symphony No.6 In A Major: II. Adagio: Sehr feierlich
Symphony No.6 In A Major: III. Scherzo: Nicht schnell - Trio: Langsam
Symphony No.6 In A Major: IV. Finale: Bewegt, doch nicht zu schnell

Amazon.com essential recording

Why has Bruckner's Sixth Symphony remained relatively unfamiliar compared to his other mature masterworks? After all, it features thrilling orchestral effects, is decked out with profuse variety, and includes one of the composer's most grippingly beautiful slow movements. Bruckner also found it to be one of his boldest statements; in this account (Nowak Edition), Riccardo Chailly presses down against the veins of tension coursing through the symphony to create a largely exciting, charged momentum, particularly effective in the symphony's rhythmically overdetermined climaxes. He seems less interested in pursuing Brucknerian repose and serenity than Georg Tintner (who has recorded a splendid Sixth in his budget series on Naxos) and never achieves the sustained level of organic inevitability that still makes Klemperer's classic account the touchstone interpretation. Still, there's plenty of poetry in his voicing of Bruckner's unusually lush garlands of melody in the Adagio and a driving pulse that's hair-raising in the especially scary Scherzo. Chailly gets a fine performance from the Concertgebouw, above all in the unstoppered brilliance of the horns and trumpets (listen to their antiphony in the long first-movement coda for an especially magical effect). The coupling with four orchestrated Goethe songs by Hugo Wolf--one of the happy few to understand Bruckner in his time--shows off Matthias Goerne's ravishing, always-expressive tone, and makes a choice lagniappe. --Thomas May

Customer Reviews:

terrific sound.......2006-03-11

I liked this razor sharp recording a lot (and I own quite a few others). The conducting is excellent in my opinon. The orchestra playes when it should and stops in the breaks.
Celibadache's is very good also though not as accessible.
Klemperrer's is excellent conducting-wise, but the level of playing is not as good as in this recording.
Highly recommended.

Fine Bruckner, even finer Wolf.......2002-04-20

The primary appeal of this disc for me was the Bruckner, one of his more underrated symphonies. I already own an outstanding version by Wolfgang Sawallisch on Orfeo, but was not about to miss this one, which turns out to be an excellent performance.

Chailly's way with Bruckner, like his Mahler, emphasizes the inner voicing. For me it works, but clearly it may not for all Brucknerites (many of whom hold very strong opinions!). If there are more moments here that feel "wandering" it is probably the fault of the score, not Chailly's interpretation. Nevertheless, the quality of the orchestral playing, and many fine passages throughout, make it worth hearing.

The real discovery were the Wolf songs, gorgeously sung by Matthias Goerne. If you like the Straussian long line, these beautifully orchestrated gems will probably appeal to you. This was also my introduction to Mr. Goerne, a formidable singer indeed.

Since most recordings of the Bruckner Sixth have no couplings, this one gets a strong vote for including these compelling Wolf pieces.

An interpretative failure.......2001-05-09

First of all, let's please stick to reviewing the recording itself rather than others' reviews. That to me is a start toward rationality.

As a conductor, I can attest to the well recognized fact that Bruckner's Sixth is a tough nut to crack. There are a lot of musical challenges which if not properly treated, will easily disintegrate the structure of this work. Bruckner's thematic materials are normally expanded through patient development. This telescoping effect requires foresight, and superb control form the part of the conductor, and Chailly in this particular recording failed to do so. The music starting from the middle of the first movement begins to fragment to multiple directions. To these ears the first movement is the weakest in this recording. And that delivers the early yet fatal blow. The Concertgebouw, which is my favorite orchestra, play like a well-polished ensemble but without a much needed sense of direction. Too bad.

I personally has less problem with the tempo than with the overall integrity of the music. The second movement could be a little slower, but it doesn't bother me. I would probably have guessed this to be a late Karajan work if I were to listen to the second movement blinded. For the orchestral color was so incredibly well blended, but absolutely failed to highlight the significance of the thematic recapitulation, for I didn't sense the music going anywhere. It was reduced to a rich, sonorous, exciting symphonic sound with absolutely nothing more to say. That by itself is a major failure to these ears.

I am perfectly ready to overlook the errors (some rather glaring) in the first movement for I don't believe in note-perfect performance, but I came away not feeling the greatness of Bruckner in this recording.

And Anton Bruckner is my hero...

To the nay-sayers : This one is excellent !.......2000-12-06

This one is for the nay-sayers. I read your discussion with interest and I must say I obviously disagree with the criticism. The point is, what do you ask from Bruckner. Do you want to silence your conscience for not going to church by engulfing yourself in the so-called religious depths of Bruckner. Or do you want to be enlightened by Bruckner's sublime manipulation of tonal colours and orchestral textures and large architecture. I myself am a convinced atheist. Yet I find immense pleasure in Bruckners opus. On the other hand I'm incredibly bored by the Klemps, Jochums, Celibedaches et. al. Not because they are not quick enough, but because imo they fail to see that Bruckner above all is MUSIC and not a holy mass. I've had a similar discussion about Wagner's Gotterdammerung, which imo is also ruined by the hordes of conductors who just want to grail-resonate in act I and III and rush through all the drama that's in the story. Now back to this Chailly recording : I live in Amsterdam, a few minutes bicycle ride from the Concertgebouw. I have not been able to see this 6th, but I've had the pleasure of hearing Maestro Chailly conduct the 8th with the Concertgebouw Orchestra. Personally I can't see anything wrong with it.....except that he doesn't conduct it like Klemp et. al. But this is just a matter of taste ! It's the same as those m%r(ns who blast away every Wotan who doesn't sing the role like Hans Hotter or every conductor who doesn't conduct Wagner like Furtwangler. This sixth shines in all it's glory (aided by the fantastic recording we've come to expect from Andrew Cornall) and I can't find anything un-Brucknerian about it. The structure is very clear but at the same time Chailly leaves all room for melodic beauty and for Bruckner's harmonic magic. Most of all this is one of those conductors who clears Bruckner of the image of "sound cathedrals" by perfectly outlining every contrapunctal line in the score and yet keep the whole perfectly integrated. Granted if you're stuck on one vision of Bruckner you're bound to hate this recording, but on the other hand if you love Bruckner's music qua music (as opposed to qua spiritual meaning) I can't imagine someone to dislike this recording. I don't think that Chailly goes for effectiveness, since I know him to be a very conscientious conductor whose integrity towards the music is beyond doubt. In the line of great Brucknerians, which for me consits of Haitink, Wand and very maybe Celibedache Chailly holds for me a fully justified place. Happy listening to whomever cares to explore this Bruckner miracle !

The problem is simpler than you think.......2000-07-12

Let's simplify this, folks: there are two ways to do Bruckner, fast or slow. Sometimes they both work well in the same work, but not in the same performance, and that's what causes Chailly to make something close to twaddle here in the bottom of the Sixth.

He's off to the races here, chuckling along there. There's an overuse of the rubato. There were obviously a lot of takes which means maybe there wasn't a lot of rehearsal for this one. Chailly seems to be trying to get the work to "display" as he goes along, but it won't budge. He doesn't have the key to the kingdom.

But cut him some slack, folks, a lot of maestri have made a mess of this one, too. Let's face it: it's the weak sister in both Jochum sets, the Tintner, the Haitink, the Inbal (whatever version he might be trying out this week). Reichert, Walter, Steinberg, Solti (a lot worse than this), Rosbaud, Sawallisch and Karajan couldn't do much with the thing, either. Bohm was so out in the currents that it completely ruined Bruckner for him. It's not that it's bad work, it's a real challenge to interpret.

Yes, Horst Stein got the right idea, and Klemperer surely did. They started from that old notion of mapping out a Bruckner forest and its boundaries first, then starting in clearing through the thickets, methodically, sensibly, honestly...and accordingly, the old Sixth opens up nicely. It's no great intellectual exercize, it's just hard to do. Remember, Bruckner even found work ON it sending him off on some tangents that had to be snipped out later (by him, not the famous "editors").

Klemp and Stein knew this and planned accordingly. They, and subsequently we, were immediately rewarded for the effort.

Tracks:

Morike-Lieder: No.5 Der Tambour
Goethe-Lieder: No.34 Ob Der Koran Von Ewigkeit Sei?
Goethe-Lieder: No.36 So Lang Man Nuchtern Ist
Italienisches-Liederbuch: No.27 Schon Streckt' Ich Aus Im Bett
Italienisches-Liederbuch: No.22 Ein Standchen Euch Zu Bringen
Goethe-Lieder: No.22 Anakreons Grab
Drei Gedichte Von Michelangelo: No.1 Wohl Denk' Ich Oft
Drei Gedichte Von Michelangelo: No.2 Alles Endet
Drei Gedichte Von Michelangelo: No.3 Fuhlt Meine Seele
Goethe-Lieder: No.14 Cophtisches Lied I
Goethe-Lieder: No.15 Cophtisches Lied II
Goethe-Lieder: No.51 Grenzen Der Menscheit
Goethe-Lieder: No.49 Prometheus
Harfenspieler I, Goethe-Lieder: No.1 Wer Sich Der Einsamkeit
Harfenspieler II, Goethe-Lieder: No.2 An Die Turen
Harfenspieler III, Goethe-Lieder: No.3 Wer Nie Sein Brot
Italienisches-Liederbuch: No.14 Geselle, Woll'n Wir Uns In Kutten Hullen
Morike-Lieder: No.12 Verborgenheit
Eichendorff-Lieder: No.2 Der Musikant
Morike-Lieder: No.10 Fubreise
Morike-Lieder: No.9 Nimmersatte
Goethe-Lieder: No.29 Anakreons Grab

Customer Reviews:

This is a great lieder recital........2001-04-03

Lieder recitals are rarely commercially viable. Even at Salzburg in the 1930s, they were rarely sold out. To hear settings by Schubert, Schumann, Brahms and Wolf of texts by Goethe, Heine, and other of the great German poets, for solo voice with piano accompaniment, music lovers nowadays can rely more and more on CD issues such as this. I reckon the situation is not one to complain about. Lieder CDs of singers of the present and past can offer good value: clear vocal reproduction, texts in German and translation, and the option of rearranging or repeating items.

Testament have collected the Wolf lieder recorded by Hans Hotter and Gerald Moore during the 1950s. More than 20 lieder were recorded - one twice - and the producer was Walter Legge. Whether as Prometheus fulminating at the gods, or a phoney monk asking to be left alone by the bedside of a sick young woman, whether as an anguished mendicant harper or as a visitor to a beautiful garden who discovers that it contains the grave of Anacreon - Hotter's interpretations are masterly. Gerald Moore accompanies in his usual skilled, robust way.

I detect no technical or performance faults during this 70 minute CD. Some of the later items appear in stereo for the first time. This is a great lieder recital.

Average customer rating:

An Introduction to the Songs of Brahms and Wolf
A feast of Lieder singing

Brahms, Wolf: Lieder

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000006327
Release Date: 1998-05-05

Tracks:

Wir Wandelten, Op.96 No.2: Hungarian Poem
Der Gang Zum Liebchen, Op.48 No.1: Bohemian Poem
Komm Bald, Op.97 No.5: Groth
Salamander, Op.107 No.2: Lemche
Nachtigall, Op.97 No.1: Reinhold
Serenase, Op.70 No.3: Goethe
Geheimnis, Op.71 No.3: Candidus
Von Waldbekranzter Hohe, Op.57 No.1: Daumer
Dein Blaues Auge Halt So Still, OP.59 No.9: Persian Poem, Hafiz
Wie Bist Du, Meine Konigin, Op.32 No.9: Persian Poem, Hafiz
Meine Liebe Ist Grun Wie Der Fliederbusch, Op.63 No.5: Feliz Schumann
Die Kranze, Op.46 No.1: Greek Poem
Sah Dem Edlen Bildnis, OP.46 No.2: MAgyar Poem
An Die Nachtigall, Op.46 No.4: Holty
Die Schale Der Vergessenheit, Op.46 No.3: Holty
In Waldeseinsamkeit, Op.85 No.85 No.6: Lemche
Wiegenlied, Op.49 No.4: Des ZKnaben Wunderhorn/Scherer
Sonntag, Op.47 No.3: Folksong
O Wusst'ich Doch Den Weg Zuruck, Op.63 No.8: Groth
Minnelied, Op.71 No.5: Holty
Fedelinsamkeit, Op.86 No.2: Almers
Standchen, Op.106 No.1: Kugler
Von Ewiger Liebe, Op.43 No.1: Wendish Poem
Die Mainnacht, Op.43 No.2: Holty
Botschaft, Op.47 No.1: Person Poem, Hafiz

Tracks:

Morike Lieder: Fussreise
Morike Lieder: Nimmersatte Liebe
Morike Lieder: Der Gartner
Morike Lieder: Verborgenheit
Morike Lieder: Der Tambour
Morike Lieder: Gessang Weylas
Morike Lieder: Jagerlied
Morike Lieder: An Die Geliebte
Morike Lieder: Gebet
Morike Lieder: Auf Ein Altes Bild
Morike Lieder: Heimweh
Morike Lieder: An Eine Aolsharfe
Morike Lieder: Er Ist's
Morike Lieder: Elfenlied
Morike Lieder: Bei Einer Trauung
Morike Lieder: Abschied
Goethe Lieder: Erschaffen Und Beleben
Goethe Lieder: Blumengruss
Goethe Lieder: Gleich Und Gleich
Goethe Lieder: Spottlied Aus Wihelm Meister
Goethe Lieder: Anakreons Grab
Goethe Lieder: Phanomen
Goethe Lieder: Herfenspieler I
Goethe Lieder: Herfenspieler II
Goethe Lieder: Herfenspieler III
Goethe Lieder: Der Rattenfanger
Goethe Lieder: Ob Der Koran Von Ewigkeit Set?
Goethe Lieder: Trunken Mussen WIr Alle Sein!
Goethe Lieder: So Long Man Nuchteern Ist
Goethe Lieder: Sie Haben Wegen Der Trunkenheit
Goethe Lieder: Was In Der Schenke Waren Heute

Customer Reviews:

An Introduction to the Songs of Brahms and Wolf.......2005-07-05

In many ways, this two-volume CD is outstanding. It consists of one CD devoted to the songs of Johannes Brahms (1833 -- 1897) and a second CD devoted to the songs of erratic genius, Hugo Wolf
(1860 -- 1893). Baritone Thomas Allen has a deeply rich and expressive voice; his performance of these songs is all that could be desired. Pianist Geoffrey Parsons is one of the most gifted lieder accompanists. Elizabeth Schwarzkopf described Parsons as "a wonderful accompanist, especially for Hugo Wolf." The piano part for the Wolf songs is rich, detailed, and difficult, with long postludes. The piano frequently assumes orchestral proportions.

Brahms and Wolf are a study in contrasts. Brahms was a consummate master of large musical forms, including symphonies, concertos, and chamber music. Many music-lovers are unfamiliar with his songs. Yet these works, in their lyricism and simplicity show an important side of Brahms's work that is often overlooked -- his gift for melody and romance. Brahms composed songs througout his life beginning with his song "Liebestreu", opus 3 which first brought him to public attention through the "Four Serious Songs" opus 121 which commemorated the death of Clara Schumann. Brahms's songs are heavily indebted to Schubert. But they are carefully wrought and generally do not include the attention to verbal detail found in Schubert. Most of the songs sing of love found and lost -- the latter predominating -- and have an intimate quality not found in Brahms's larger compositions. Allen and Parsons perform beautifully a selection of 25 songs on this CD including the famous "Wiegenlied" (Brahms's lullabye).

As a young man, Hugo Wolf left a portfolio of work with Brahms for the master's review and approval. Unfortunately, Brahms was not impressed and advised the budding composer to pursue further studies in counterpoint. Angered, Wolf became Brahms's arch-enemy and never tired of deprecating the great composer during his career as a journalist and music-critic.

Unlike Brahms, Wolf excelled only as a composer of lieder. He worked erratically and in spurts, and most of his songs are collected in song-books devoted to the work of a single poet. Wolf tried to create songs in which voice, piano, and texts functioned as a unity. Musically, he is a successor to Gluck, Berlioz, and Wagner. There is no composer who paid more attention to the nuances of his texts. Wolf's music is of a surprisingly varied character but it tends to be declamatory and difficult in style and literally to wrap itself around the poetry.

This CD consists of 16 songs from Wolf's first songbook devoted to the poet Eduardo Morike. These songs are of a wide emotional range from passionate love songs to character studies, and to sardonically satirical verse. The CD also includes 15 of Wolf's Goethe songs which are generally serious and difficult in tone. Wolf's great settings of two works with classical themes, "Anakreon's Grab" and "Phanomen" are included here as are the three "Harfenspieler" songs from William Meister. (Schubert and Schumann also set these verses.)

With two CDs of songs by two great composers, beautiful performances, and a low price, this CD has much to commend it. The one deficiency in this collection lies in the program notes which are non-existent. Unfortunately, there are no song texts for either composer. The lack of texts is a much more serious ommission in the case of Wolf than for Brahms in that Wolf's songs depend heavily for their effect upon the set word. I couldn't give this set a five-star rating because of the absence of the texts.

That being said, I would still recommend this CD to the listener interested in song. Neither Brahms nor Wolf are overly well-represented in accessible CDs of lieder. The Brahms songs are rich and melodic and will appeal immediately even without the texts. The Wolf songs are more difficult in character, but I found myself able to respond to the performances here without the texts.

For those who know the Schubert and Schumann songs and wish to explore the works of these two later masters of lieder, this is an excellent choice. This CD will help you fall in love with the songs of Brahms and Wolf -- and to pursue texts and further detail if you so desire. If you already know these songs, these performances will be a welcome addition and will deepen your love for this great music.

Robin Friedman

A feast of Lieder singing.......2000-01-30

This is a splendid pair of discs. Thomas Allen's performances of these great songs are thoroughly idiomatic and beautifully sung from beginning to end. He has an inate sense of line and does not need to interupt the melodic flow of the songs with excessive expressive posturing as many other singers do. His Wolf recital (the second disc) would make an excellent introduction to the music of this composer.

He has an exceptional accompanist in Geoffrey Parsons who has always been appreciated as one of the finest of all accompanists. Listening to these performances it is easy to see why.

The recording is excellent -- a warm acoustic and a perfect balance between the voice and the piano. The set represents exceptional value although the documentation is diabolical. No texts are provided.

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:

'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!!!

The Hugo Wolf Society - The Complete Edition 1931-1938

Average customer rating:

The Hugo Wolf Society Recordings
"Even little things can delight us."
"Even little things can delight us."
Wolf sung by various Lieder singers

The Hugo Wolf Society - The Complete Edition 1931-1938

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Wolf: Italienisches Liederbuch
Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Wolf: Lieder (Elisabeth Schwarzkopf, Gerald Moore)
Mussorgsky: Kovanshchina - Abbado
Handel: Messiah; Athalia; Esther; La Resurrezione

ASIN: B000009OQC
Release Date: 2002-11-05

Tracks:

Moerike-Lieder: 8. Begegnung
Moerike-Lieder: 38. Lied vom Winde
Moerike-Lieder: 15. Auf einer Wanderung
Moerike-Lieder: 41. Rat einer Alten
Spanisches Liederbuch: 12. In dem Schatten meiner Locken
Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
Spanisches Liederbuch: 6. Ach, des Knaben Augen
Spanisches Liederbuch: Nun wandre, Maria
Moerike-Lieder: 46. Gesang Weylas
Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
Italiensches Liederbuch: 1. Auch kleine Dinge
Moerike-Lieder: 7. Das verlassene Maegdlein
Eichendorff-Lieder: 4. Das Staendchen
Spanisches Liederbuch: Wenn du zu den Blumen gehst
Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
Italiensches Liederbuch: 16. Ihr jungen Leute
Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
Italiensches Liederbuch: 12. Nein, junger Herr
Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr

Tracks:

Goethe-Lieder: 49. Prometheus
Goethe-Lieder: 50. Ganymed
Goethe-Lieder: 18. Beherzigung
1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
Moerike-Lieder: 19. Um Mitternacht
Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
Moerike-Lieder: 45. Nixe Binsefuss
Spanisches Liederbuch: Moegen alle boesen Zungen
Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
Spanisches Liederbuch: 26. Bitt ihn, o Mutter
Italiensches Liederbuch: 6. Wer rief dich denn?
Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
Italiensches Liederbuch: 43. Schweig einmal still
Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
Goethe-Lieder: 51. Grenzen der Menschheit
Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
Italiensches Liederbuch: 31. Wie soll ich froehlich sein
Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
Italiensches Liederbuch: 26. Ich liess mir sagen
Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf

Tracks:

Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
Italiensches Liederbuch: 39. Gesegnet sei das Gruen
Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
Italiensches Liederbuch: 15. Mein Liebster ist so klein
Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
Spanisches Liederbuch: 15. Auf dem gruenen Balkon
Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
Spanisches Liederbuch: 29. Trau nicht der Liebe
Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
Moerike-Lieder: 22. Seufzer
Moerike-Lieder: 28. Gebet
Moerike-Lieder: 23. Auf ein altes Bild
Moerike-Lieder: 32. An die Geliebte
Moerike-Lieder: 12. Verborgenheit
Moerike-Lieder: 39. Denk es, o Seele!
Moerike-Lieder: 51. Bei einer Trauung
3. Ein Stuendlein wohl vor Tag
Moerike-Lieder: 16. Elfenlied

Tracks:

Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
Goethe-Lieder: 14. Cophtisches Lied 1
Eichendorff-Lieder: 2. Der Musikant
Eichendorff-Lieder: 5. Der Soldat
Eichendorff-Lieder: 9. Der Schreckenberger
Moerike-Lieder: 44. Der Feuerreiter
Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
Moerike-Lieder: 29. An den Schlaf
Moerike-Lieder: 36. Liebe wohl
Spanisches Liederbuch: 30. Ach, im Maien war's
Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
Moerike-Lieder: 30. Neue Liebe
Moerike-Lieder: 48. Storchenbotschaft
Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
Sechs Gedichte: 6. Zur Ruh, zur Ruh
Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
Moerike-Lieder: 24. In der Fruehe
Moerike-Lieder: 25. Schlafendes Jesuskind

Tracks:

Goethe-Lieder: 20. Sankt Nepomuks Vorabend
Goethe-Lieder: 12. Ritter Kurts Brautfahrt
Moerike-Lieder: 47. Die Geister am Mummelsee
Moerike-Lieder: 10. Fussreise
Moerike-Lieder: 43. Lied eines Verliebten
Moerike-Lieder: 25. Schlafendes Jesuskind
Moerike-Lieder: 4. Jaegerlied
Moerike-Lieder: 17. Der Gaertner
Moerike-Lieder: 50. Auftrag
Moerike-Lieder: 9. Nimmersatte Liebe
Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
Goethe-Lieder: 10. Der Saenger
Eichendorff-Lieder: 13. Der Scholar
Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
Eichendorff-Lieder: 15. Unfall
Vier Gedichte: 1. Wo wird einst (Heine)
Vier Gedichte: 3. Sonne der Schlummerlosen
Vier Gedichte: 4. Keine gleicht von allen Schoenen
Eichendorff-Lieder: 1. Der Freund
Eichendorff-Lieder: 2. Der Musikant
Sechs Gedichte: 1. Waechterlied auf der Wartburg
Moerike-Lieder: 40. Der Jaeger
Goethe-Lieder: 32. Phaenomen
Eichendorff-Lieder: 3. Verschwiegene Liebe
Vier Gedichte: 1. Wo wird einst (Heine)
Ueber Nacht (Sturm)

Amazon.com

EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed Distler

Customer Reviews:

The Hugo Wolf Society Recordings.......2005-12-28

The songs of Hugo Wolf (1860 -- 1903)combine great attention to textual detail with closely intertwined writing for the voice and the piano. In this small form, Wolf was a master and took song in a different direction from that of Schubert, Schumann and Brahms. He wrote most of his songs in bursts of activity in five large collections, devoted to the poetry of Morike, Eichendorff, Goethe, and to collections of Spanish and Italian texts. He also composed a number of songs in shorter sets.

In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.

The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.

The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.

Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.

There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.

This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.

Robin Friedman

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.

About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song titled "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Wolf sung by various Lieder singers.......2000-08-15

This is an extraordinary collection of Wolf songs. It is frustrating that the project was not completed, as the quality of what was recorded is so extraordinarily revelatory. My personal favourites are the Michelangelo settings sung by the bass Alexander Kipnis, although he uncharacteristically makes some textual errors. The contributions of Hüsch are numerous and thoughtfully sung, and Karl Erb, Herbert Janssen, Ludwig Weber, Rita Ginster and Marta Fuchs are all caught on extraordinary form, with accompanists of admittedly variable quality, ranging from the sublime Gerald Moore to some very interesting contributions from some accompanists who did not really capture the true essence of Lieder accompanying, which surely cannot permit the piano to be subservient to the voice!

These precious recordings offer us so much. They are a document of a golden age of Lieder singing, and they are superb recitals, sung by a variety of voices, never allowing the listener to tire of listening to a single voice for too long. They are also, of course, examples of some of the most wonderful Lieder writing of any time. These 5 cds are a must for a Lieder specialist, and can open new doors to the novice. Buy them, and never regret having this treasure trove which will give you pleasure all your life.

Wolf: Lieder & Orchesterwerke
Average customer rating:

The singing of a master!

Wolf: Lieder & Orchesterwerke

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Fischer-Dieskau, Dietrich | ( F ) | Featured Performers, A-Z | Classical | Styles | Music
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Wolf: Lieder (Elisabeth Schwarzkopf, Gerald Moore)

Kurt Atterberg: The Symphonies (Box Set)

The Fischer-Dieskau Book of Lieder

ASIN: B00008ADJQ
Release Date: 2004-05-04

Tracks:

Nr.1: Auch Kleine Dinge
Nr.3: Ihr Seid Die Allerschonste
Nr.4: Gesegnet Sei, Durch Den Die Welt Entstund
Nr.5: Selig Ihr Blinden
Nr.7: Der Mond Hat Eine Schwere Klag' Erhoben
Nr.8: Nun Lass Uns Frieden Schliessen
Nr.9: Dass Doch Gemalt All Deine Reize Waren
Nr.13: Hoffartig Seid Ihr, Schones Kind
Nr.14: Geselle, Woll'n Wir Uns In Kutten Hullen
Nr.17: Und Willst Du Deinen Liebsten Sterben Sehen
Nr.18: Heb Auf Dein Blondes Haupt
Nr.22: Ein Standchen Euch Zu Bringen
Nr.23: Was Fur Ein Lied Soll Dir Gesungen Werden?
Nr.27: Schon Streckt' Ich Aus Im Bett
Nr.30: Lass Sie Nur Gehn, Die So Die Stolze Spielt
Nr.33: Sterb' Ich, So Hullt In Blumen Meine Glieder
Nr.34: Und Steht Ihr Fruh Am Morgen Auf
Nr.35: Benedeit Die Sel'ge Mutter
Nr.37: Wie Viele Zeit Verlor Ich, Dich Zu Lieben!
Nr.38: Wenn Du Mich Mit Den Augen Streifst
Nr.41: Heut' Nacht Erhob Ich Mich, Um Mitternacht
Nr.42: Nicht Langer Kann Ich Singen
Nr.44: O Wusstest Du, Wie Viel Ich Deinetwegen
Seufzer (Dein Liebesfeuer, Ach Herr!)
Wo Find' Ich Trost (Eine Liebe Kenn' Ich)
Neue Liebe (Kann Auch Eine Mensch)
Auf Eine Christblume I (Tochter Des Walds)
Auf Eine Christblume II (Im Winterboden Schlaft)
Auf Eine Altes Bild (In Gruner Landschaft Sommerflor)
Schlafendes Jesuskind (Sohn Der Jungfrau)
An Den Schlaf (Schlaf! Susser Schlaf)
Verborgenheit (Lass, O Welt, O Lass Mich Sein)

Tracks:

Gesang Weylas (Du Bist Orplid, Mein Land)
Lied Eines Verliebten (In Aller Fruh)
Zur Warnung (Einmal Nach Einer Lustigen Nacht)
Der Tambour (Wenn Meine Mutter Hexen Konnt)
Auftrag (In Poetischer Epistel)
Bei Einer Trauung (Vor Lauter Hochadligen Zeugen)
Selbstgestandnis (Ich Bin Meiner Mutter Einzig Kind)
Abschied (Unangeklopft Ein Herr Tritt Abends Bei Mir Ein)
Der Genesene An Die Hoffnung (Todlich Graute Mir Der Morgen)
In Der Fruhe (Kein Schlaf Noch Kuhlt Das Auge Mir)
Fussreise (Am Frisch Geschnittnen Wanderstab)
Gebert (Herr! Schicke, Was Du Willt)
Im Fruhling (Hier Lieg Ich Auf Dem Fruhlingshugel)
Karwoche (O Woche, Zeugin Heiliger Beschwerde!)
Auf Einer Wanderung (In Ein Freundliches Stadtchen Tret' Ich Ein)
Denk Es, O Seele! (Ein Tannlein Grunet Wo)
Die Geister Am Mummelsee (Vom Berge Was Kommt Dort)
Begegnung (Was Doch Heut Nacht Ein Sturm Gewesen)
Zitronenfalter Im April (Grausame Fruhlingssonne)
Der Gartner (Auf Ihrem Leibrosslein)
Nimmersatte Liebe (So Ist Die Lieb'!)
Heimweh (Anders Wird Die Welt)
Der Jager (Drei Tage Regen Fort Und Fort)
Storchenbotschaft (Des Schafers Sein Haus)
Jagerlied (Zierlich Ist Des Vogels Tritt)
An Die Geliebte (Wenn Ich, Von Deinem Anschaun)
Peregrina I (Der Spiegel Dieser Treuen Braunen Augen)
Peregrina II (Warum, Geliebte, Denk Ich Dein)

Tracks:

Lebe Wohl (Lebe Wohl! - Du Fuhlest Nicht)
Um Mitternacht (Gelassen Stieg Die Nacht)
Der Feuerreiter (Sehet Ihr Am Fensterlein Dort)
Der Konig Bei Der Kronung (Dir Angetrauet Am Altare)
Der Freund (Wer Auf Den Wogen Schliefe)
Der Musikant (Wandern Lieb' Ich Fur Mein Leben)
Verschwiegene Liebe (Uber Wipfel Und Saaten)
Das Standchen (Auf Die Dacher Zwischen Blassen Wolken)
Der Soldat I (Ist Auch Schmuck Nicht Mein Rosslein)
Der Soldat II (Wagen Musst Du Und Fluchtig Erbeuten)
Nachtzauber (Horst Du Nicht Die Quellen Gehen)
Der Schreckenberger (Auf's Wolsein Meiner Dame)
Der Glucksritter (Wenn Fortuna Sprode Tut)
Lieber Alles (Soldat Sein Ist Gefahrlich)
Heimweh (Wer In Die Fremde Will Wandern)
Der Scholar (Bei Dem Angenehmsten Wetter)
Der Verzweifelte Liebhaber (Studieren Will Nichts Bringen)
Unfall (Ich Ging Bei Nacht Einst Uber Land)
Liebesgluck (Ich Hab' Ein Liebchen Lieb)
Seemanns Abschied (Ade, Mein Schatz)
In Der Fremde I (Da Fahr' Ich Still Im Wagen)
Erwartung (Gruss Euch Aus Herzenzgrund)
Die Nacht (Nacht Ist Wie Ein Stilles Meer)
Nachruf (Du Liebe, Treue Laute)
Harfenspieler I (Wer Sich Der Einsamkeit Ergibt)
Harfenspieler II (An Die Turen Will Ich Schleichen)
Harfenspieler III (Wer Nie Sein Brot Mit Tranen Ass)
Der Sanger (Was Hor' Ich Draussen)
Spottlied (Ich Armer Teufel) Aus Wilhelm Meister

Tracks:

Der Neue Amadis (Als Ich Noch Ein Knabe War)
Genialisch Treiben (So Walz' Ich Ohne Unterlass)
Gleich Und Gleich (Ein Blumenglockchen Vom Boden)
Fruhling Ubers Jahr (Das Beet, Schon Lockert Sich's)
Der Rattenfanger (Ich Bin Der Wohlbekannte Sanger)
Ritter Kurts Brautfahrt (Mit Des Brautigams Behagen)
Gutmann Und Gutweib (Und Morgen Fallt Sankt Martins Fest)
Frech Und Froh I (Mit Madchen Sich Vertragen)
Frech II (Liebesqual Verschmaht Mein Herz)
Cophtisches Lied I (Lasset Gelehrte Sich Zanken Und Streiten)
Cophtisches Lied II (Geh! Gehorche Meinen Winken)
Beherzigung I (Ach, Was Soll Der Mensch Verlangen?)
Beherzigung II (Feiger Gedanken Bangliches Schwanken)
Dank Des Paria (Grosser Brahma)
Phanomen (Wenn Zu Der Regenwand)
Der Schafer (Es War Ein Fauler Schafer)
Blumengruss (Der Strauss, Den Ich Gepflucket)
Ob Der Koran Von Ewigkeit Sei? (Ob Der Koran Von Ewigkeit Sie?)
Trunken Mussen Wir Alle Sein! (Trunken Mussen Wir Alle Sein!)
Solang Man Nuchtern Ist (Solang Man Nuchtern Ist)
Sie Haben Wegen Der Trunkenheit (Sie Haben Wegen Der Trunkenheit)
Was In Der Schenke Waren Heute (Was In Der Schenke Waren Heute)
Erschaffen Und Beleben (Hans Adam War)
Epiphanias (Die Heiligen Drei Konig')
St. Nepomuks Vorabend (Lichtlein Schwimmen)
Anakreons Grab (Wo Die Rose Hier Bluht)
Koniglich Gebet (Ha, Ich Bin Der Herr Der Welt)
Prometheus (Bedecke Deinen Himmel, Zeus

Tracks:

Ganymed (Wie Im Morgenglanze)
Grenzen Der Menschheit (Wenn Der Uralte Heilige Vater)
Nr.1: Nun Bin Ich Dein, Du Aller Blumen Blume
Nr.2: Die Du Gott Gebarst, Du Reine
Nr.3: Nun Wandre, Maria, Nun Wandre Nur Fort
Nr.5: Fuhr' Mich, Kind, Nach Bethlehem!
Nr.6: Ach, Des Knaben Augen Sind Mir
Nr.8: Ach, Wie Lang Die Seele Schlummert
Nr.9: Herr, Was Tragt Der Boden Hier
Nr.3: Seltsam Ist Juanas Weise
Nr.4: Treibe Nur Mit Lieben Spott
Nr.5: Auf Dem Grunen Balkon
Nr.27: Und Schlafst Du, Mein Madchen
Nr.6: Wenn Du Zu Den Blumen Gehst
Nr.7: Wer Sein Holdes Lieb Verloren
Nr.8 Ich Fuhr Uber Meer
Nr.31: Deine Mutter, Susses Kind
Nr.11: Herz, Verzage Nicht Geschwind
Nr.20: Ach, Im Maien War's
Nr.21: Alle Gingen, Herz, Zur Ruh
Nr.22: Dereinst, Dereinst, Gedanke Mein
Nr.9: Blindes Schauen, Dunkle Leuchte
Nr.24: Komm, O Tod, Von Nacht Umgeben
Nr.23: Tief Im Herzen Trag' Ich Pein
Nr.32: Da Nur Leid Und Leidenschaft
Biterolf - Im Lager Von Akkon 1190 (Victor Von Scheffel)
Uber Nacht (Julius Sturm) (Uber Nacht Kommt Still Das Leid)
Wo Wird Einst (Heinrich Heine)

Tracks:

Sonne Der Schlummerlosen
Wanderers Nachtlied (Der Du Von Dem Himmel Bist)
Morgenstimmung (Bald Ist Der Nacht Ein End')
Lied Des Transfereierten Zettel (Die Schwalbe, Die Den Sommer Bringt)
Gesellenlied (Kein Meister Fallt Vom Himmel)
Keine Gleicht Von Allen Schonen
Zur Ruh, Zur Ruh
Wohl Denk' Ich Oft
Alles Endet, Was Entstehet
Fuhlt Meine Seele
Harfenspieler I (Wer Sich Der Einsamkeit Ergibt)
Harfenspieler II (An Die Turen Will Ich Schleichen)
Harfenspieler III (Wer Nie Sein Brot Mit Tranen Ass)
Erschaffen Und Beleben (Hans Adam War)
Genialisch Treiben (So Walz' Ich Ohne Unterlass)
Phanomen (Wenn Zu Der Regenwand)
Anakreons Grab (Wo Die Rose Hier Bluht)
Ob Der Koran Von Ewigkeit Sei? (Ob Der Koran Von Ewigkeit Sie?)
Cophtisches Lied I (Lasset Gelehrte Sich Zanken Und Streiten)
Cophtisches Lied II (Geh! Gehorche Meinen Winken)
Alle Gingen, Herz, Zur Ruh
Wer Sein Holdes Lieb Verloren
Verschwiegene Liebe (Uber Wipfel Und Saaten)
Lebe Wohl (Lebe Wohl! - Du Fuhlest Nicht)
In Der Fruhe (Kein Schlaf Noch Kuhlt Das Auge Mir)
Fussreise (Am Frisch Geschnittnen Wanderstab)

Tracks:

Der Tambour (Wenn Meine Mutter Hexen Konnt)
Der Feuerreiter (Sehet Ihr Am Fensterlein Dort)
Storchenbotschaft (Des Schafers Sein Haus)
Italienische Serenade G-Dur Fur Kleines Orchester In G For Small Orchestra
Scherzo
Finale
Vorspiel
Zwischenspiel
Aufbruch Der Amazonen Nach Troja
Der Traum Der Penthesilea Vom Rosenfest
Kampfe, Leidenschaften, Wahnsinn, Vernichtung

Customer Reviews:

The singing of a master!.......2006-09-30

Since Amazon seems a little sparse on details, here's what you get: 7 CDs, containing most of Wolf's lieder. Some of the lieder are not complete, since there is no soprano on the album. However, present in entirety are:
*Morike-Lieder
*Eichendorff-Lieder
*Goethe-Lieder
*Lieder Nach Verschiedenen Dichtern
Also included are 46 songs from the Italienisches Liederbuch, 44 songs from the Spanisches Liederbuch, 1955 recordings of some of the songs, and various orchestra works.

The quality of the performances are superb. Dietrich Fischer-Dieskau's voice is strong, beautiful, sensitive to the sentiments expressed in the poems, and very expressive (even humorous or bold and daring on some).
Gerald Moore is the perfect accompanist, very aware of what Dieskau is doing. The recordings, though from the '50s and '60s, are crystal clear and very good quality.

I probably needn't mention the beauty of Wolf's music, but it is truly wonderful. It is some of the best of the romantic lieder, and very varied and interesting.

For an album that has recieved so little attention from other reviewers, I am very astonished at how good this is. The value is great, too, when one realizes that 7 CDs are included! Highly recommended...

Sings Wolf, Strauss, Rachmaninoff, Ives and Weill

Average customer rating:

Upshaw's first recording. Good stuff.

Sings Wolf, Strauss, Rachmaninoff, Ives and Weill

Manufacturer: Music Masters Jazz
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Upshaw, Dawn | Divas | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B000000FN2
Release Date: 1994-04-05

Tracks:

Poems By Johann Wolfgang Von Goethe: No.29: Anakreons Grab
Poems By Johann Wolfgang Von Goethe: No.26: Die Sprode
Poems By Johann Wolfgang Von Goethe: No.27: Die Bekehrte
Poems By Johann Wolfgang Von Goethe: No.24: Blumengruss
Poems By Johann Wolfgang Von Goethe: No.7: Mignon III
Poems By Johann Wolfgang Von Goethe: No.25: Gleich Und Gleich
Poems By Johann Wolfgang Von Goethe: No.28: Fruhling Ubers Jahr
Poems By Johann Wolfgang Von Goethe: No.50 Ganymed
Drei Lieder Der Ophelia, Op.67a: No.1: Wie Erkenn Ich Mein Treulieb Vor Andern Nun?
Drei Lieder Der Ophelia, Op.67a: No.2: Guten Morgen, 'S Ist Sankt Valentinstag
Drei Lieder Der Ophelia, Op.67a: No.3: Sie Trugen Ihn Auf Der Bahre Bloss
Six Songs, Op.38: No.1: In My Garden At Night
Six Songs, Op.38: No.2: To Her
Six Songs, Op.38: No.3: Daisies
Six Songs, Op.38: No.4: The Pied Piper
Six Songs, Op.38: No.5: A Dream
Six Songs, Op.38: No.6: 'A-oo'
Berceuse
The World's Highway
Berlin In Licht-Song
Je Ne T'aime Pas

Customer Reviews:

Upshaw's first recording. Good stuff........2006-04-28

'Dawn Upshaw Sings Wolf, Strauss, Rachmaninoff, Ives, and Weill' seems to hedge its bets by touching many of the important modern art song bases. By so doing, it demonstrates Upshaw's range in conveying the romantic angst of Wolf's interpretation of Goethe poems to the stark modern angles of Kurt Weill's two songs.

While I believe Upshaw is not as strong as, for example, Anne Sofie Von Otter, I think her interpretation of Wolf songs comes off just a bit better. At least it is a very nice contrast. I also think she will not displace Ute Lemper as a Weill interpreter, but for us Weill fans, every new interpretation is welcome.

If you like female art song vocalists, Upshaw is definately worth your time and money.

Grosse Sänger unseres Jahrhunderts: Hans Hotter

Average customer rating:

BEST LIVE LIEDER CONCERT RECORDING EVER!

Grosse Sänger unseres Jahrhunderts: Hans Hotter

Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00004S96L
Release Date: 2000-03-15

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!

Music Track:

Music Track

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