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Accentus: The a capella Recordings

Accentus

Classical - Released December 9, 2016 | naïve classique

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Transcriptions (Vol. I & II)

Accentus, Laurence Equilbey

Classical - Released January 28, 2003 | naïve

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Wolf, H.: Gedichte Von Eduard Morike (Excerpts)

Mitsuko Shirai

Vocal Music (Secular and Sacred) - Released January 1, 1998 | CapriccioNR

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Transcriptions I

Accentus, Laurence Equilbey

Classical - Released January 28, 2003 | naïve classique

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Transcriptions

Accentus, Laurence Equilbey

Classical - Released February 15, 2010 | naïve

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Lieder & Balladen

Stéphane Degout

Art Songs, Mélodies & Lieder - Released March 6, 2020 | harmonia mundi

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The mystery of the ballad comes from the way it is told.’ (Goethe). Epic to the point of hallucination, this genre calls for skill in narrative, word-painting, evocation. And it is as a peerless storyteller that Stéphane Degout tackles this repertory which the German Romantics raised to unequalled heights. Who would have believed, before listening to this disc, that a French baritone could pay such eloquent tribute to the language of Goethe? © harmonia mundi
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Accentus

Accentus, Laurence Equilbey

Classical - Released December 13, 2010 | naïve

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Wolf: Kennst du das Land

Sophie Karthäuser

Art Songs, Mélodies & Lieder - Released April 29, 2016 | harmonia mundi

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Wolf: Das verlassene Mägdlein, Op. 64 No. 2

Abby Mettry

Classical - Released January 4, 2019 | Abby Mettry

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Echo: Schubert, Loewe, Schumann & Wolf

Georg Nigl

Classical - Released May 5, 2023 | Alpha Classics

Hi-Res Booklet Distinctions 4F de Télérama
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Burnished Gold

Robyn Allegra Parton

Classical - Released June 23, 2023 | Orchid Classics

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The title of this release by soprano Robyn Allegra Parton refers not only to a general mood of circa-1900 Vienna but specifically to the frequent use of burnished gold-leaf in the paintings of Gustav Klimt, whose Vienna Secession movement in art had many affinities to what was happening in the musical world. Parton uses the gold as lipstick in the graphics; one may or may not go for this, but the package here is coherent and satisfying in several ways. Richard Strauss is present on the program, and Parton, writing her own notes, correctly points out that his influence loomed large on all the composers heard here. But in a way, the interest of Parton's program lies in the differences among the styles of the composers on the program. Parton puts the listener in the place of an audience member at a vocal recital of the time, hearing the Impressionist hints of Joseph Marx, the new simplicity of the young Erich Korngold, the decisive steps toward atonality in the Seven Early Songs of Berg (at the time Schoenberg's student), and the works of two female composers, the quite playful experimental Johanna Müller-Hermann and Alma Mahler-Schindler, both of whom were heard fairly frequently at the time but were later forgotten. Parton's voice is an absolutely distinctive soprano, with a bit of rough texture flashing unexpectedly into a brilliant top. Quite a few recordings lately have explored the rich repertory of Austrian vocal music of this period, but this one is especially well thought-out and executed; it appeared on classical best-seller charts in the summer of 2023. © James Manheim /TiVo
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The Complete Recitals on Warner Classics

Christa Ludwig

Classical - Released March 9, 2018 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or
This eleven hour box set marks the 90th birthday of German mezzo-soprano Christa Ludwig, whose phenomenal career, which ran from 1950 to 1990, still inspires admiration in her colleagues (of course) and a growing number of music fans. She has collaborated with the greatest musicians of her age, most notably Herbert von Karajan, Leonard Bernstein and Otto Klemperer. She also shone in the genre of the Lied, with a brilliance comparable to Elisabeth Schwarzkopf's or Dietrich Fischer-Dieskau's – and of course she regularly performed with both – and these recordings with Gerald Moore and Geoffrey Parsons bear witness to her talents. A note on the brand-new releases that form part of this edition: some performances are published here for the first time*: these are Lieder with orchestra by Alban Berg (tracks 144 to 146), Max Reger (track 137) and Richard Wagner (track 124) as well as Lieder with piano by Hugo Wolf (track 14), Franz Schubert (tracks 15 and 16, 62 to 66) and Stille Nacht (track 89), which were left aside when they were first recorded, either because of the limits of the 33rpm format, or just because of a decision by the artistic director. This collection also sees some pieces re-published for the first time since their release on LP, such as the piece by Gluck (track 88), several of Brahms' Lieder (tracks 15 to 19, tracks 104 and 107). The recital of Brahms which Christa Ludwig would record alongside Walter Berry appears here in its entirety for the first time since it was first released (from track 67 to track 89, see above). © Qobuz
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Zemlinsky: Lieder

Barbara Bonney

Classical - Released January 1, 1989 | Deutsche Grammophon (DG)

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50 of the Best Classical Music: Schumann

Karine Georgian

Chamber Music - Released June 3, 2014 | Naxos Special Projects

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Hello Darkness

Jan Philip Schulze

Classical - Released January 14, 2022 | Challenge Classics

Hi-Res Booklet
Dedicating a recording to the dark side of the "Lied" might seem inappropriate in these times of Covid, climate change and refugee crises, but as a mezzo-soprano Olivia has always been drawn to the darker roles in opera, the sad arias in oratorio and the deep laments in song. After our recent recording ("Dirty Minds"), which focused on "la petite mort", it seemed a natural progression to turn our attention to "la grande mort"! Darkness in the outside world and the inner self has always been – alongside Love – one of the chief themes of vocal music, and compositions and songs about death are legion during every period of musical history. The music on this recording is extremely diverse and Olivia Vermeulen as Jan Philip Schulze relished the idea of programming songs from different centuries in different styles and genres. They begin with a collection of songs about melancholia, inner abysses, longing for death and murderous lust. But the programme is also rich in songs about comfort and hope, light instead of despair – with lashings of black humour! Composers down the ages have used innovative approaches to render the theme of death. Chromaticism is used tellingly by Monteverdi and Schubert. Duparc’s sensuous Extase (1878), is nothing short of a miniature "Liebestod". Korngold and Wolfgang Rihm play with translucent semitone sighs, Schumann’s Nachtlied is characterized by hovering harmonies; Strauss and Korngold use late-romantic opulence; while tonality with Charles Ives and Alban Berg begins to lose its hold - Berg indeed abandons tonality entirely. John Cage goes a step further and directs the pianist to drum the notes on the lid of a completely closed piano. Randy Newman’s In Germany before the war is wreathed in mystery, etyc. A captivating recording. © Challenge Records

Wolf: Gedichte von J.W. v. Goethe (Live)

Dietrich Fischer-Dieskau

Classical - Released May 23, 2000 | Orfeo

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Wagner: Götterdämmerung

Wiener Philharmonic Orchestra

Classical - Released June 30, 2023 | Decca Music Group Ltd.

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Strauss: Also sprach Zarathustra, Till Eulenspiegel

Herbert von Karajan

Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

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Strauss: Also sprach Zarathustra

Rundfunk Sinfonieorchester Berlin

Symphonies - Released August 11, 2023 | PentaTone

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Richard Wagner: Famous Opera Scenes

Nikolai Lugansky

Classical - Released March 8, 2024 | harmonia mundi

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It shouldn't take listeners long to get over the novelty of hearing Wagner on the piano. After all, piano transcriptions were the primary way opera, in general, and Wagner specifically, were spread around Europe in the 19th century, and the composer's primary champion in this medium was none other than the greatest pianist of the age, Franz Liszt. Liszt's own transcription of the Liebestod from Tristan und Isolde is the pièce de résistance on this release by pianist Nikolai Lugansky; it is not terribly often played, and it has lost none of its imposing scope over the decades. Lugansky leads up to this with transcriptions by Louis Brassin, upon which Lugansky has elaborated, and with a quartet of transcriptions from Götterdämmerung that come from his own hand. These are quite artfully done, incorporating the familiar leitmotifs of the Ring cycle while filling them in with technically fearsome connective tissue. Lugansky has done nothing less than put the listener in the place of an audience that might have heard Liszt play Wagner in the composer's own day, and ideal sound from the small Scuola della Carità reproduces the aristocratic Paris salons where Liszt would often have held forth. A bold, fresh release from Lugansky that made classical best-seller lists in early 2024.© James Manheim /TiVo