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Brahms: Complete Songs, Vol. 1

Christoph Prégardien

Vocal Music (Secular and Sacred) - Released December 3, 2021 | Naxos

Hi-Res Booklet
At the age of sixty-five, one might have feared for the voice of tenor Christoph Prégardien when he undertook to record all of Johannes Brahms's Lieder. Listening to this first volume, recorded in 2020, these fears have been allayed by a voice that has remained intact and a flawless technique.Christoph Prégardien's programme here spans Brahms' entire life, from the Vier Gesänge, Op. 43 from 1857 to the Fünf Lieder, Op. 105 of 1888. Brahms's popularity as a symphonist and chamber musician, not to mention his piano works, has somewhat overshadowed the three hundred and eighty Lieder, for one, two or four voices, in his catalogue. It is the melodic line that Brahms favours in this intimate art: here, its form is often symmetrical and regular, and always of great beauty.These qualities are particularly evident in Christoph Prégardien's performance, supported by Ulrich Eisenlohr's dreamy piano, with which he converses in perfect harmony. The text is enhanced with great romantic intensity. This is evident from the start of the recording with the famous Mainacht ('May Night'), the splendid Über die Heide ('On the Heath') and the joyous Versunken ('Engulfed') based on a famous poem by Goethe. In fact, all twenty-four Lieder of the four cycles presented here deserve mention, both for the music and for their inspired performance. © François Hudry/Qobuz
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Beethoven Songs

Matthias Goerne

Classical - Released March 20, 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
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Brahms: Lieder

Bernarda Fink

Art Songs, Mélodies & Lieder - Released November 6, 2007 | harmonia mundi

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Mendelssohn: Elijah, Op. 70, MWV A 25

Bayerisches Staatsorchester

Classical - Released September 15, 2023 | Bayerische Staatsoper Recordings

Hi-Res Booklet Distinctions Choc de Classica
The labels lately established by performing organizations have mostly been devoted to new releases, but there is a lot to be said for using them to resurrect historical performances and recordings. These tend to be ones that have hung in people's memories for years, well after newer recordings have become available. There couldn't be a better example than this, the first historical release from the Bayerische Staatsoper Recordings label. It reproduces a 1984 live performance of Mendelssohn's Elijah, Op. 70 (as Elias, in the original German) from the Nationaltheater München, with the Bayerisches Staatsorchester conducted by Wolfgang Sawallisch and the Chor des städtischen Musikvereins zu Düsseldorf. (The latter got involved because the Bayerischer Staatsopernchor was unavailable, but the choir acquits itself very well, unsurprisingly inasmuch as Mendelssohn himself was one of its former directors.) Sawallisch was noted for his way with Mendelssohn, to which he brought a noble Germanic tinge that makes a nice contrast with the usual English performances. He never did better than here, and upon hearing that tapes of this performance had been preserved, he is said to have exclaimed, "Thank God they're safe!" The soloists, led by baritone Dietrich Fischer-Dieskau in the title role and tenor Peter Schreier as Obadiah, are superb. Another attraction is the hardbound booklet, delving deep into Mendelssohn's philosophical place in German society (really philosophical -- Hegel and his dialectic come into it). The live sound from 1984 is impressive indeed, with crowd noise kept to an absolute minimum in a superb display of discipline. A wonderful historical reissue that catches the intense drama in Mendelssohn's oratorio.© James Manheim /TiVo
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Mahler: Das Lied von der Erde, 3 Rückert Lieder (1952)

Kathleen Ferrier

Classical - Released January 1, 1952 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Burnished Gold

Robyn Allegra Parton

Classical - Released June 23, 2023 | Orchid Classics

Hi-Res Booklet
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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Mahler : Das Lied von der Erde - Busoni : Berceuse élégiaque

Susan Graham

Lieder (German) - Released March 7, 2014 | RCA Red Seal

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Heimweh: Schubert Lieder

Anna Lucia Richter

Classical - Released February 1, 2019 | PentaTone

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Lieder (Beethoven, Brahms, Schubert, Schumann...)

Fritz Wunderlich

Lieder (German) - Released September 14, 2018 | SWR Classic

Booklet Distinctions Diapason d'or
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Das Lied Von Der Erde

Carlos Kleiber

Classical - Released July 10, 2023 | Nar Classical

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SCHUMANN, R.: Lieder - Opp. 25, 42, 51, 64, 98a (Auger, Olbertz)

Arleen Auger

Classical - Released January 1, 1979 | Eterna

Minnesota Orchestra Showcase

Minnesota Orchestra

Classical - Released October 17, 2000 | Reference Recordings

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Brahms: Symphony No. 4

Orchestre Révolutionnaire et Romantique

Classical - Released September 23, 2010 | SDG

Hi-Res Booklet
Several conductors associated with period-style performances of Baroque and Classical music have turned their batons to Romantic works, trying out what is known of authentic 19th century practices on repertoire that has otherwise been burdened by 20th century interpretations. In this 2010 release by John Eliot Gardiner and the Orchestre Revolutionnaire et Romantique, attention is focused on the Symphony No. 4 in E minor by Johannes Brahms, notwithstanding the first nine tracks, which offer shorter works by Beethoven, Gabrieli, Schütz, Bach, and Brahms as a warm-up. These tracks serve as an excellent sampler of what Gardiner, the Monteverdi Choir, and the orchestra of original instruments usually record, with an emphasis on early music and particularly choral works. All the same, approach the performance of the symphony with the foreknowledge that Gardiner likes his tempos quite brisk, a string tone with minimal vibrato and a characteristic timbral sheen, and a lean and transparent ensemble sound -- all features that are apparent in the opening selections -- and then decide if this is too jarring a transformation for this work. Many who grew up with conventional readings of Brahms will miss the rich, burnished tone that was fostered for decades by many eminent conductors. Gardiner's version is really spare in textures and even busy-sounding, as if the musicians are in a hurry to zip through the work. As a result, many things are glossed over, especially Brahms' brilliant interplay of rhythms. There is precious little of the glowing sonorities that have become associated with Brahms' final symphony, and Gardiner's clipped accents and fast tempos seem almost too brusque for this famous autumnal work. Listeners who feel that a streamlined approach to the Brahms symphonies is long overdue will rejoice, but for others, Gardiner's choices will be controversial, perhaps even more than his daring innovations in performing Beethoven. © TiVo
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Father & Son (Schubert, Brahms, Schumann...)

Christoph Prégardien

Lieder (German) - Released November 21, 2014 | Challenge Classics

Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Mahler: Das Lied von der Erde by Bruno Walter

Bruno Walter

Classical - Released December 13, 2021 | Alexandre Bak - Classical Music Reference Recording

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Mahler: Das Lied Von Der Erde

Jessye Norman

Classical - Released January 1, 1998 | Deutsche Grammophon (DG)

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Mahler: Das Lied von der Erde

Christian Gerhaher

Classical - Released May 5, 2023 | Sony Classical

Hi-Res Booklet
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Richard Strauss : Also sprach Zarathustra... (Live)

Riccardo Chailly

Classical - Released September 6, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions Diapason d'or / Arte
Leading the Lucerne Festival for two summers running, conductor Richardo Chailly has honoured composers that the musicians had never yet recorded: Igor Stravinsky in 2018, and Richard Strauss in 2019. The sumptuousness of the orchestration of the latter here affords a glittering clarity, just as much in the concertante parts as in the tutti. The writing conjures a Straussian atmosphere: a marvellously apt terrain for the Lucerne orchestra. In Zarathustra, the strings, in particular the double-basses, rumble away as under one bow, with gobsmacking precision in Von der großen Sehnsucht ("Of the Great Yearning") and Genesende ("the Convalescent"). Richard Strauss deploys a romantic counterpoint in his writing – in particular in Von den Hinterweltlern ("Of the Backworldsmen") – and the strings of Lucerne brilliantly bring his limitless lyricism to life. The following works, (Tod und Verklärung, Till Eulenspiegel and finally The Dance of the Seven Veils) bring to mind other epithets that we might apply to this perfect recording: epic majesty, burlesque humour, serpentine voluptuousness: all ingredients of Strauss's symphonic poems. The sound quality does justice to the beauty of the orchestra, and the mix doesn't leave anyone out: every counterpoint is defined, every pizzicato twangs appropriately and we hear even the softest touch of the timbal. Demanding in their extremity (in both nuance and difficulty), these scores make a perfect fit for the Lucerne orchestra, a meeting of the greatest soloists of the international stage, brought together by the festival. The only drawback comes from precisely this concentration of quality. While we are gripped by Salome's Dance of the Seven Veils, we are perhaps more impressed than moved by a piece that has been stripped of some of its finest orchestral ornamentation. © Elsa Siffert/Qobuz
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Schütz: Schwanengesang, Op. 13

La Capella Ducale

Classical - Released October 28, 2023 | CPO

Hi-Res Booklet Distinctions Diapason d'or