You can almost see the embittered curl of his upper lip as he speaks of the broken ring entwined around the lovers’ names. When it comes to the first set of Impromptus, D899, you’re not going to prise Edwin Fischer’s or Krystian Zimerman’s versions out of my hand, but Lewis’s is absolutely up there with them. Her desire to avoid an undue or cloying romanticism sees her moving swiftly through the con motoof the D major Sonata. The opening Moderato is sempre energico indeed, its central Etwas langsamer so sensitively and precisely gauged that all possible criticism is silenced. Download. ‘Frühlingsliedchen’ has a simple, spring-like joy to it, and an appealingly varied, strophic form. Böhm never feels the need to do anything clever but just quietly sees to it that this superb orchestra plays at its best. Title. If only certain other artists could be so forbearing. Thursday, July 2, 2015, Ten great Schubert recordings that would grace any collection. Güra himself has probably the most elegantly ingratiating voice of all the present-day Lieder-singing tenors and it has often seemed that he prefers to use it for any purpose rather than elegant ingratiation; but this is certainly a performance to take to heart. Order from your preferred classical music CD store - ArkivMusic. Recordings. Royal Philharmonic Orchestra / Sir Thomas Beecham. His ‘Ständchen’, taken at an easy, mobile tempo, is likewise all caressing charm, while ‘Abschied’ is blithely insouciant, the wistfulness of the final verse lightly touched – and how well the delicate, slightly veiled sonorities of Staier’s fortepiano complement the voice, here and elsewhere. Erlkönig, Gretchen am Spinnrade, Die Forelle etc. The song emerges less as melodrama than as a mysterious human tragedy. Even the final ‘Der Leiermann’ is forthright rather than haunted, ending with a vehement challenge to himself and the hurdy gurdy man. Such persuasive advocacy and vivid recording can’t fail to give the listener great pleasure. (By chance I heard him play these two sonatas live in the Royal Festival Hall last spring, when he stepped in at a moment’s notice after Mitsuko Uchida had had to withdraw. Its restoration in 1965 was carefully done and András Schiff acquired it in 2010; since then its home has been the Beethoven Haus in Bonn, on loan, where this fine recording was made a year ago. Explanations for its suppression vary. Orfeo provide no texts, let alone translations, but the delightful ‘Spinnerlied’ must be about spinning: it’s an artlessly charming song. His lightness of touch, his delight in the beauty of the sound he was summoning, the directness of his approach to melody and his general high spirits will all dominate our memory of these performances. The zest comes from the stylish Berlin string-­playing; melodically, it’s the woodwinds (every one a Lieder singer) who catch the beauty of Schubert’s melodies and the skirl of the attendant descants. That’s because this is one of those rare instances where they are not needed, do not illuminate the argument. Sometimes his tone hardens when he’s depicting the deserted lover present in so many of these pieces but that’s hardly inappropriate to the depth of feeling being expressed. Hickox scores over most rivals with his extra choral firepower at climaxes and the wonderfully pungent sonorities of Collegium Musicum 90, whether in the dry, fearful rattle of period timpani in the Credo, the lovely ‘woody’ oboe and clarinet in the ‘Et incarnatus est’ or the steely, scything trumpets in the Agnus Dei. So he’s up there with Sokolov in terms of rarity value. Perhaps as a consequence, they play the Adagio second movement at an unusually fast tempo. They set a winningly jaunty mood for the finale, which is maintained whenever the main theme reappears, even though, as always with late Schubert, much happens to vary the music’s mood and atmosphere. The haunted ppp colour he finds for the close of ‘Frühlingstraum’ is heart-rending. Or an Andante just slow, just nonchalant enough for the Rosamunde theme of the D935 B flat major to give each variation space and breath enough to sing out its own sharply defined character. Schreier was never the most honeyed of tenors but in the lighter songs of Schwanengesang he compensates for a touch of reediness and a tendency to harden on high notes with the supple grace of his phrasing and his ultra-keen response to the text. Gerhaher and Huber end their programme with a real rarity, ‘Der Sänger am Felsen’, a strophic song of rather formal, classical cut. Christine Schäfer sop John Mark Ainsley ten Richard Jackson bar London Schubert Chorale; Graham Johnson pf. Nowhere does he stretch beyond the bounds of the possible, everything expressed in eager then doleful tones. The sum of their joint efforts is a deeply satisfying experience. Schnabel's account of D960 is a necessary acquisition for any representative collection of piano music on record. Another superb performance then from the Florestans, penetrating, yet full of spirited spontaneity, and in spite of the moments of sadness, much Schubertian bonhomie. Well, it was worth the wait: in the intervening time he has developed into arguably the finest Schubert interpreter of his generation (as anyone who has heard him live recently will know, not to mention the remarkable disc of duets released in 2010 with Steven Osborne – Hyperion, 12/10). Zimerman, quite simply, sounds like no one else. For one thing, managing a deep, bulky voice tends to entail slow speeds, with a loss of Schubert’s gehende Bewegung, the walking motion crucial to several of the songs. In Schubert he has a claim to be considered sovereign among today’s players, carrying forward the reading and interpretation of him into areas that others have not fully explored. We use cookies to ensure that we give you the best experience on our website. The slight but charming setting of ‘Das war ich’ is appealingly done by the light-voiced Daniel Norman, and Ann Murray brings her usual charisma and dramatic conviction to the pathetic Italian scena Didone abbandonata. In the booklet-note – fashioned as a conversation between Kaufmann and pianist Helmut Deutsch – the tenor cites the wanderer’s abiding death wish and his incipient insanity. Rather, it was a set of seven lieder on poems by Ludwig Rellstab, another set of six lieder on poems by Heinrich Heine, plus what is generally regarded as Schubert’s last song, Die Taubenpost, assembled into a single grouping by the publisher Tobias Haslinger after the composer’s death. All of these lists are, of course, subjective, but every recording here has received the approval of Gramophone's critics and are artistic and musical benchmarks. The 1991 recital by Peter Schreier and András Schiff is highly desirable, though the sound is not quite on the same level. Very good. Pires’s characteristic impassioned absorption in all she plays – that concentration which makes the listener appear to be eavesdropping on secrets shared between friends – could hardly find a truer soulmate than Schubert. Less daringly slow in the Andante than Arcadi Volodos (though the Russian, perhaps more than any other pianist of today, has the range of tone colour to back this up), Lewis is particularly impressive in the driving third movement, which contrasts so vividly with the hushed Trio section; it’s playing that is reminiscent of Sviatoslav Richter’s way with Schubert, though without his penchant for sometimes questionable tempi. The Hagen’s account of Beethoven’s Grosse Fuge is polished and sensitive, and it vividly conveys the difference between Beethoven’s and Schubert’s compositional means. Catalogue No: 82876777162. Savour and enjoy it here.' Six of the best Schubert songs; The best classical music for winter; The Best Recording of Schubert’s Winterreise. He can be charming, too, as in the lazy barcarolle ‘Der Schiffer’ and the pastoral sway of ‘Abendlied an die Entfernte’, where Huber gives a delightful lift to the 6/8 rhythms. That’s what I call luxury casting.). Dietrich Fischer-Dieskau bar Jörg Demus, Gerald Moore pfs. The first movement of the B flat Sonata is surely among the most subtle and haunting of all Schubert interpretations, the sing-a-song-of-sixpence finale of the D major Sonata a marvel of teasing wit and inwardness. Bryn Terfel bass-bar Malcolm Martineau pf. 2 from Zwölf Lieder von … A charismatic presence, he embraces everything with the passion of a devoted horticulturist tending his most precious flowers, and that his love extended beyond the realms of music to mankind itself surely enriched his art even further. Listening to his interpretation is like coming home to base after many interesting encounters away from the familiar. Read the review, The Florestan Trio (Anthony Marwood vn Richard Lester vc Susan Tomes pf), 'Another superb performance then, penetrating, yet full of spirited spontaneity, and in spite of the moments of sadness, much Schubertian bonhomie.' But Werner Güra negotiates what one of Schubert’s friends called ‘the damnably high’ tenor solo in Nachthelle gracefully and with no sense of strain. Ainsley interprets his songs with the tonal beauty, fine-grained phrasing and care for words that are the hallmarks of his appreciable art, even if his voice sometimes lacks a difficult-to-define individuality of timbre. The Scherzo and Allegro giusto frolic within the bounds of propriety (some will favour an extra shot of animal vigour), whereas the first, second and fourth movements are rich in subtle – as opposed to fussy – observations. 19 from Die schone Mullerin - D. 795) (Elisa Elizza) European Archive Schubert - Lieder on Record - Die junge … Between them they give a fair conspectus of Schubert’s achievement in the part-song genre, ranging from the mellifluous, Biedermeier Die Nacht, forerunner of many a Victorian glee, and the gently sensuous Gondel-fahrer to the eerie, harmonically visionary Grab und Mondand the brooding Gesang der Geister über den Wassern. The Drei Klavierstücke, D946, that end the set are one of many highlights. The pianist gives a delicious bounce to ‘Fischerweise’ and has an unexpected, almost spiky way with the introduction to ‘Gruppe aus dem Tartarus’. Then there’s the clarity of contour within the most subtly graded undertones of the G flat major of D899 which recreates it as a seemingly endless song. The ideal Hyperion recording catches everything in very present terms. With his lyric high baritone at its freest, Gerhaher has the uncommon gift of making everything alive, specific, while always sounding natural. Here is a disc that should grace every musician’s shelf. The sum of their joint efforts is a deeply satisfying experience.' Handel: ‘Pensieri, voi mi tormentate’ “Agrippina”; Joyce DiDonato, mezzo-soprano; Il Pomo d’Oro; … They also judge transitions beautifully so that the two works unfold in a completely natural way: just sample the finale of the Quintet, at the point where the second idea, with its slightly wincing Viennese gaiety, gradually yields to the return of the troubled opening idea. Now we can enjoy a reading that’s absolutely spontaneous, daring in its dramatic effects – bold extremes of dynamics, for instance – and full of even more subtle detail than in Fischer-Dieskau’s other recordings. However, these recordings may also serve as a reminder of the wonderful heights of musicianship that his players achieved, as in the Trio of the Third. Such is the intensity of the playing that by the end of the disc you, too, are quite exhausted. In 1987, Hyperion Records began a colossal project: the recording of all of Franz Schubert’s songs (or lieder), a total of 729 songs performed by over 60 soloists. The Hagen include the exposition repeat in a movement that lasts almost 20 minutes. Other highlights here include the alfresco Nachtgesang, with its quartet of echoing horns, Ständchen, a delicious nocturnal serenade, the austere, bardic Scott setting Coronach and the serenely luminous Nachthelle. — Penguin Guide, 2010 edition, Release Date: 28th Feb 2003. I suspect Capell would have given the nod to Gerhaher, in close partnership with the sentient Gerold Huber. But though there’s plenty of humanity in these recordings, there’s nothing sentimental about the playing; they make Schubert sound symphonic, and a sense of drama and tensile strength underlines everything, even a movement as luscious as the Andante of the Rosamunde Quartet, which is based on the theme that gives this quartet its name. Also included is the Notturno, D897, a raptly emotive short piece played here with a remarkable depth of feeling that recalls the gentle intensity of the glorious slow movement of the String Quintet. The change in pianists makes the recordings even more interesting. They preface the quasi-cycle with the bleak, windswept Rellstab setting ‘Herbst’, which Schubert unaccountably omitted from the Rellstab sequence that opens Schwanengesang. His peculiarly beseeching voice enshrines the vulnerability, tender feeling and obsessive love of the youthful miller, projecting in turn the young lover’s thwarted passions, self-delusions and, finally, inner tragedy. His enunciation may be deadpan, almost expressionless, or it may stab emphatically – and the pianist will do the same. The deceptive sweetness of ‘Die Krähe’, the giddy disorientation of ‘Letzte Hoffnung’, the subdued feverish excitements of ‘Täuschung’ find an almost holy stability in ‘Das Wirtshaus’, but still the external world exists, felt as almost an intrusion in ‘Mut’. For Volodos and for his listeners this is a true dance of the gods. This Winterreise-man is, if not ‘mad’, then seriously ‘disturbed’ or unhinged. The singer seems to think it has something to do with its technical quality: the booklet-note, slightly more credibly, tells us that it was planned before DG decided to include the cycle in its ‘complete’ Schubert with the baritone and Gerald Moore, which caused this performance to be put on the back burner. In Lewis’s hands the symphonic range of thinking is raptly caught, as is the ambiguity and changeability of mood, together with the twisting shifts of key: how very un-C major this piece is. The Hagen Quartet’s performance of the first movement, which presents remarkably clear textural detail, is broad and expansive. Courage? Pollini’s Schumann is no less memorable. Throughout there’s a pleasing sense of contrast between the Johnson’s sharply drawn contributions and Appl’s serene vocalism and gentle musicality (listen to the way he colours the phrase ‘Schwester Seele’ in ‘Verklärung’, around 1'20", for an example).

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