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Brahms: 4 Serious Songs, Op. 121 & Other Lieder

André Previn

Classical - Released May 10, 2019 | Warner Classics

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Schubert : Goethe Lieder

Dietrich Fischer-Dieskau

Classical - Released January 1, 1960 | Deutsche Grammophon (DG)

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Brahms: Lieder

Bernarda Fink

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

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Encounter

Igor Levit

Classical - Released September 11, 2020 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte
The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz
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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 / Schumann: Songs

Elly Ameling

Classical - Released January 1, 1980 | deutsche harmonia mundi

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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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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Beethoven: Complete Symphonies & Concertos

The Netherlands Symphony Orchestra

Classical - Released October 9, 2020 | Challenge Classics

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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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Schubert: Lieder with Orchestra

Munich Radio Orchestra

Classical - Released October 6, 2023 | BR-Klassik

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One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Beethoven: Symphonies Nos. 5 & 6

Antonello Manacorda

Classical - Released October 11, 2023 | Sony Classical

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Enigma

Sarah Aristidou

Classical - Released October 27, 2023 | Alpha Classics

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Mein Traum. Schubert, Weber, Schumann

Pygmalion

Opera - Released October 7, 2022 | harmonia mundi

Hi-Res Booklet
One morning in 1822, Schubert wrote down an enigmatic text in which all his ghosts seem to take shape: wandering, solitude, consolation, disappointed love. Inspired by this dreamlike narrative, Raphaël Pichon, Pygmalion and Stéphane Degout have devised a vast Romantic fresco, combining resurrection of unknown treasures with rediscovery of established masterpieces. © harmonia mundi
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Lost Paradises

Jodyline Gallavardin

Classical - Released June 10, 2022 | Scala Music

Hi-Res Booklet Distinctions Choc de Classica - Qobuzissime
It's a revelation. Not one of those spectacular ones that leave you stunned like after a boxing match. No, Jodyline Gallavardin is not the type of person to go overboard, preferring to rely on her airy phrasing, her sense of resonance and her skilful understanding of the scores of Cowell, Sibelius, Granados and all the other composers in this programme. After all, her first album, Lost Paradise, was "intended as a refuge from the hustle and bustle of our times, from the pervasive noise." Her recital invites contemplation and relaxation. If there is a revelation then, it is gentle, bewitching, almost hypnotic. The pianist, who graduated in 2015 from the CNSMD in Lyon, has very quickly woven her web in the piano forest and emerges, charming and enchanting, on the French, Italian and Swedish stages. There is a certain audacity in opening this disc with the millennial, even archaic, outbursts of Cowell's Three Irish Legends. It takes a solid coherence of style to then branch off into Sibelius' sylvan walks (Five Trees Op.75) with such naturalness. Jodyline Gallavardin, a mark of immense talent, manages to bring together the worlds of seven composers, who are in fact very different, while maintaining a strong guideline, that of suspended time and dreamlike meditation. Under her fingers, Sibelius' pieces conjure up a magnificent pastoral universe of trees, streams and mossy rocks, while Amy Beach's Hermit Trush becomes a free and dreamy walk. As for Schubert, he has never been so romantic and languid. The pages of Granados, Séverac and Ravel that follow benefit from the same choice of treatment. Gallavardin combines the intelligent construction of the programme with a total dedication to the emotion contained in each of the works she performs here with the utmost sensitivity to offer us an album that has certainly not stolen its Qobuzissime. © Pierre Lamy/Qobuz
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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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Schubert: Winterreise

Joyce DiDonato

Classical - Released April 9, 2021 | Warner Classics

Hi-Res Booklet
World famous mezzo-soprano Joyce DiDonato and conductor-pianist Yannick Nézet-Séguin join forces to take on one of the most brilliant song cycles ever written: Schubert's Winterreise. DiDonato, however, casts a different light on this beloved cycle of 24 songs in telling their story from the perspective of the woman, the lost love. Nancy Plum, from Town Topics (Princeton) writes: "The question of what happened to the woman who sent the narrator on a tortuous journey was not answered in the Wilhelm Müller poetry from which Schubert drew the text, but DiDonato created a scenario onstage of being that woman, reading from the narrator's journal and responding to the inherent despair". "What stood out was the heavy emotion that came through in her singing, as she lingered on a syllable here, pressed her tone there. She created vivid feelings with her contrasts", wrote The New York Classical Review about Joyce Didonato's interpretation. © Warner Classics
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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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Brahms: La belle Maguelone

Stéphane Degout

Classical - Released October 6, 2023 | B Records

Hi-Res Booklet Distinctions 4F de Télérama
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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