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Schubert/Schumann Songs

Elly Ameling

Classical - Released January 1, 1980 | deutsche harmonia mundi

Distinctions The Qobuz Ideal Discography
It's not that the songs are fantastic, although Schubert and Schumann's songs are fantastic. It's not that Elly Ameling was young and full of spunk, although the young Elly Ameling was quite full of spunk. It's not that Jörg Demus is not a congenial accompanist, although he is as comfortable as a sofa and a tumbler of port. No, the reason that this disc is so terrific is that it disproves every rotten thing anyone's ever said about performances of Romantic music on period instruments because this is simply one of the most enchanting discs of echt Romantische Lieder ever recorded. Ameling's voice is so fresh and sweet, her tone so light and her technique so supple that she seems less a singer of the songs than the songs themselves given voice. And Demus' playing is so delicate but so strong, so lightly drawn, and so richly colored that one does not miss the sound of a concert grand, but rather revels in the sonorities of a hammerflugel. Only clarinetist Hans Deinzer in Schubert's Der Hirt auf dem Felsen (D. 965) takes some getting used to, and that's mostly because his tone is so wonderfully ripe and his playing is so marvelously dexterous. If all recordings of Romantic music played on period instruments sounded like this, all recordings of Romantic music would be played on period instruments. This is an exquisitely beautiful recording.© TiVo
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Schubert : Lieder, Schöne Müllerin, Winterreise...

Dietrich Fischer-Dieskau

Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
This collection of all of Schubert's songs for low voice is one of the landmark recordings of the 20th century because it features two of the greatest Schubertians of their era, baritone Dietrich Fischer-Dieskau and pianist Gerald Moore. The recordings, made by Deutsche Grammophon between 1966 and 1972, come from Fischer-Dieskau's prime, when he was in his early to mid-thirties, his voice fully mature and its youthful bloom gloriously resplendent. He brought an acute, probing intelligence to everything he performed, as well as a penetrating, unmannered musicality, and those qualities are everywhere apparent in his Schubert lieder. Moore was primarily known as an accompanist, and in that role he was perhaps unsurpassed, but his contribution to the music is no way secondary. His playing has interpretive distinctiveness as well as the instinctive musicality of a performer deeply immersed in Schubert's sound world. The singer and pianist made multiple recordings of many of these songs and while aficionados may prefer a version of a song or cycle other than the one offered here, the version here is never less than superb.The set, which includes 463 songs on 21 discs, should be of utmost interest to any fans of the singer and pianist, and to anyone who loves Schubert, and to anyone who loves collaborative music-making of the highest order. The value of the limited edition set released in celebration of the singer's 85th birthday makes it a terrific bargain. The remastering is mostly exemplary and the sound is immaculate, warm, and present. There are a few technical glitches, like a slight click and skip in the introduction to "Wasserflut," but overall the sound is first-class. The balance is just about ideal; it's easy to shut one's eyes and imagine the performers there in the same room. Very highly recommended.© TiVo
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Franz Schubert : Sonate Arpeggione

Anne Gastinel

Chamber Music - Released September 20, 2005 | naïve classique

Hi-Res Booklet Distinctions Gramophone Editor's Choice - RTL d'Or - Victoire de la musique
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525 Years Anniversary Concert

Wiener Sängerknaben

Classical - Released November 24, 2023 | Universal Music GmbH

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Elysium - A Schubert Recital

Carolyn Sampson

Classical - Released March 3, 2023 | BIS

Booklet
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Elysium (the Elysian Fields) was a Greek notion of the positive afterlife that dates back as far as Homer. The early Romantics were fascinated by its resonances, and if the organizing principle of this recital by the increasingly Schubert-oriented soprano Carolyn Sampson seems a bit vague, well, so was the concept in Schubert's time. It extended into realms of sleep, ghost stories, the moon and stars, and really many kinds of spirituality -- religious and otherwise. CD buyers get an enlightening booklet note by the song historian Susan Youens that amplifies the tightly woven sequence of songs Sampson offers here. There are a few Schubert hits, but also some lieder that only Schubert buffs will have heard, such as the title track, setting a lengthy ode by Schiller. The program is one that Sampson and accompanist managed to perform in recital at the height of the pandemic, and it is clear that she has lived in the songs for a while and knows their little turns. In general, it is a delightfully moody set that features deep interaction between Sampson and Joseph Middleton, with the latter grabbing the listener's attention right from the opening bars. Sampson's voice in mid-career has developed a slight and not unpleasant metallic tinge that she deploys well in the reflective moods of these songs and that blooms startlingly in the final melodrama Abschied von der Erde, D. 829. Consider the knife's-edge opening long note in Nacht und Träume, D. 827, also a splendid example of Middleton's art. With excellent Potton Hall sound, this is an absorbing Schubert recital that will bring new insights.© James Manheim /TiVo
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Schubert in Love

Rosemary Standley

Classical - Released September 11, 2020 | Alpha Classics

Hi-Res Booklet
A few years after the success of her album crossing Baroque music with folk, "Love I Obey", the Franco-American singer Rosemary Standley visits Schubert, this time with the complicity of the Ensemble Contraste: “We all have a few notes of Schubert buried deep inside us,” say the artists, who have got together around his music and brought it to an original sound texture, the result of their varied influences- classical, pop, jazz, folk. They have picked some of the best-known lieder and universally loved instrumental pieces, incorporating in them rhythms from other countries and instruments unusual in this repertory: the jazz trumpet of Airelle Besson, the guitar of Kevin Seddiki, the percussion of Jean-Luc Di Fraja join forces with the viola of Arnaud Thorette, the piano, cello and double bass of Ensemble Contraste - not forgetting the exceptional participation of the soprano Sandrine Piau, who joins Rosemary Standley for several duets. The arrangements are by Johan Farjot. © Alpha Classics
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Schubert: Arpeggione, Sonatina & Lieder Transcriptions

Anne Gastinel

Classical - Released September 20, 2005 | naïve

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Schubert: "Wanderer - Fantasie" / Schumann: Fantasie Op. 17

Maurizio Pollini

Classical - Released January 1, 1996 | Deutsche Grammophon (DG)

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Schubert: Arpeggione Sonata / Schumann: 5 Stücke in Volkston / Debussy: Cello Sonata

Mstislav Rostropovich

Classical - Released July 27, 2016 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Franz Schubert : Wanderers Nachtlied (Lieder, vol. 8)

Matthias Goerne

Lieder (German) - Released February 10, 2014 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or / Arte - Choc de Classica
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Schubert: Song Recital

Elisabeth Schwarzkopf

Classical - Released January 1, 1953 | Warner Classics

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This compilation of 12 Lieder and Six Moments Musicaux performed by soprano Elisabeth Schwarzkopf and pianist Edwin Fischer is old-fashioned in every sense of the word. Recorded in 1950 and 1952, the sound is old-fashioned: clear but distant, heard across all the intervening decades as if through a dark glass. But, more significantly, the performances are old-fashioned. The slight but sweet quiver in Schwarzkopf's voice was typical of its time but unlike anything any contemporary soprano would attempt. In the An die Musik, she flirts with preciousness. In Im Frühling, she comes close to coyness. In Ganymed, she touches on parody. In Gretchen am Spinnrade, she almost but not quite distorts the music with her breathless delivery. And in every performance, Schwarzkopf seems fond of Schubert but not unreservedly fond, as if Schubert's songs needed special pleading to make them succeed, a truly old-fashioned approach compared to the unreservedly affectionate performances of contemporary singers. Similarly, Edwin Fischer's playing is equally old-fashioned, albeit in an entirely different way. Fischer obviously loves Schubert's music and his playing is warm-hearted and true. Unfortunately, Fischer's playing is technically old-fashioned. He drops notes, slurs lines, fudges arpeggios, and smudges rhythms in a manner that no contemporary pianist would dare let stand in a recording. Whether this approach works depends on the listener. Older listeners full of nostalgia for a time long since past will no doubt love it. Younger listeners with no tolerance for sentimentality may have trouble accepting it.© TiVo
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Franz Liszt: Schubert & Wagner Transcriptions

Jean-Nicolas Diatkine

Classical - Released May 27, 2022 | Solo Musica

Hi-Res Booklet
Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations. Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire. © solo musica
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My Mother's Songbook

Elena Rozanova

Classical - Released March 18, 2022 | Evidence (LTR)

Hi-Res Booklet
Liszt devoted more than half his output to the transcription. This latter covers a vast field of compositions, from the symphonies of Beethoven to Berlioz, Bach, Lassus and his contemporaries, as well as his own works. Here Elena Rozanova brings together some of his transcriptions of lieder by Schubert, Schumann and Chopin, well-known or not so well-known, that have cradled her childhood. From these virtuoso pieces we can feel the art of Liszt, who manages to preserve the quintessence of the original works and to transcend the words. © Evidence
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Schubert Sessions: Lieder with Guitar

Franz Schubert

Vocal Music (Secular and Sacred) - Released October 14, 2016 | Groupe Analekta, Inc

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Lass irre Hunde heulen

Gisbert Zu Knyphausen

Germany - Released September 10, 2021 | Neue Meister

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Saint-Saëns, Schubert & Others: Works (Arr. for Cello & Harp)

Hitomi Niikura

Chamber Music - Released February 15, 2017 | ART_INFINI

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Elégie

Irina Lankova

Classical - Released March 21, 2021 | Irina Lankova

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Franz Schubert : Fierrabras

The Chamber Orchestra of Europe

Full Operas - Released January 1, 1990 | Deutsche Grammophon (DG)

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12 Lieder von Franz Schubert, S.558: No. 2 Auf dem Wasser zu singen

Sergey Tanin

Chamber Music - Released December 24, 2021 | Prospero Classical

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Chopin: Mélodies - Schubert: Mignon

Raquel Camarinha

Classical - Released November 13, 2020 | Mirare

Hi-Res Booklet