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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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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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J., J.-Ch., J.-M Bach : Motetten

Vox Luminis

Sacred Vocal Music - Released May 18, 2015 | Ricercar

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Read the graphics carefully: no motets by Johann Sebastian Bach (except for one piece generally attributed to Johann Christoph Bach, but possibly the work of J.S.) are included here. Instead there are works by three of J.S. Bach's ancestors in the 17th century, including the very first composer in the 250-year Bach musical clan, Johann Bach (1604-1673). It's usually the Bach sons whose music is recorded, and all three of these composers qualify as obscure. Considering the fact that J.S. Bach set himself the task of compiling this music and obviously admired some of it, there will be reason enough for many buyers to acquire this Outhere release. There are certainly flashes of the characteristic Bach genius in a few of these works. Try the Johann Michael Bach motet Halt, was du hast (CD 1, track 7), and note the complexity with which the chorale Jesu, meine Freude is treated: it's hard not to think that the younger Bach had this in mind when he approached the chorale himself in the motet medium. The music on the album traces the passage of Italian styles across Germany while remaining firmly rooted in the chorale tradition, and the composers' flexibility in combining these elements must have had a general impact on the most talented Bach of them all. The performances of the small Vox Luminis choir with the Scorpio Collectief -- a quintet of winds and brasses with organ continuo -- are generally sparse, with one voice per part. This is questionable in music that took the great cathedral choirs of Venice for its performance model, but it's listenable and puts across the stylistic distinctions effectively. Recommended for Bach fans.© TiVo
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Brahms & Bruckner: Motets

Anton Bruckner

Classical - Released October 30, 2015 | Signum Records

Hi-Res Booklet Distinctions 5 de Diapason
Maybe the combination of Brahms and Bruckner with the British choir Tenebrae sounds a little strange: the choir has specialized in Renaissance music and generally in music built on that sound ideal. Maybe the combination of the abstract, devout, and technically demanding Bruckner with the friendly and humanist Brahms sounds a little strange, too. But it all works out very nicely. In the 19th century, when choral music was a bigger part of everyday musical life than it is now, this would have been a program any good municipal choir would have loved to present. And Tenebrae bulks up its style a bit. They hit Bruckner's punishing high notes with the requisite perfect chill, and you can sample one of the large motets at the beginning, such as Ecce sacerdos (track three), for the full range of this choir's remarkable technical control under director Nigel Short. In Brahms pieces like the familiar "How lovely are thy dwellings" from the German Requiem, Op. 45 (track 11), the choir might even be called unusually weighty. Signum hits the ball out of the park sonically with engineering work at London's Temple Church, and the end result is a satisfying and unusual choral disc. A substantial donation from each copy of this album sold goes to Macmillan Cancer Support.© TiVo
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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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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: Vier ernste Gesänge

Christoph Eschenbach

Art Songs, Mélodies & Lieder - Released May 13, 2016 | harmonia mundi

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Schumann: Liederkreis & Dichterliebe etc

Ian Bostridge

Classical - Released December 24, 1997 | Warner Classics

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Brahms: Liebeslieder-Walzer

Edith Mathis

Classical - Released January 1, 1983 | Deutsche Grammophon (DG)

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Brahms Orchestral & Vocal Works

Orquesta y Coro de la Comunidad de Madrid

Classical - Released October 20, 2023 | IBS Classical

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Brahms: Complete Liebeslieder Walzer, Op. 52 & 65, Hungarian Dances

Rias Kammerchor

Choral Music (Choirs) - Released November 4, 2022 | harmonia mundi

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In these love songs in waltz style for chorus or solo voices accompanied by piano four hands, Brahms freely indulged his taste for Viennese folk music. The RIAS-Kammerchor instils a wonderful inner life in these musical landscapes, sometimes cheerful, sometimes melancholy, punctuated here by a selection from the Hungarian Dances – also eminently popular in their inspiration. © harmonia mundi
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Mahler: Songs of a Wayfarer; 5 Rückert-Lieder - Zemlinsky: Six Songs to Poems by Maurice Maeterlinck

Anne Sofie von Otter

Art Songs, Mélodies & Lieder - Released January 1, 1996 | Deutsche Grammophon (DG)

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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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Johannes Brahms: Sonatas & Liebeslieder for Cello and Piano

Emmanuelle Bertrand

Chamber Music - Released July 23, 2021 | harmonia mundi

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Emmanuelle Bertrand and Pascal Amoyel celebrate their twenty years together as a cello and piano duet. It is hardly surprising that they chose to mark this anniversary with the music of Brahms, a composer who has been a constant on their beautiful journey together: beyond his two ultra-romantic sonatas, they take the listeners to an even deeper emotional realm, that of his lieder, splendidly “sung” here by the cello! © harmonia mundi
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Brahms: Cello Sonatas & Songs

Antônio Meneses

Chamber Music - Released June 3, 2022 | Avie Records

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In 2022, legendary cellist Antonio Meneses celebrates his 65th birthday and the 40th anniversary of winning first prize and the gold medal at the 1982 Tchaikovsky Competition. Shortly after that triumph Antonio made a renowned recording of Brahms’ Double Concerto with conductor Herbert von Karajan. He revisits the composer’s music on his eleventh recording for AVIE Records and his first of Brahms’ two Cello Sonatas, generously paired with a selection of lieder arrangements. Antonio mines Brahms’ baritonal sound world, extracting the full expressive range of the cello. Similar qualities infuse a selection of seven Lieder in arrangements that sound so effective on the cello that one cannot help but wonder whether somewhere in the back of his mind Brahms had the sound of the instrument – he was, after all, an accomplished player in his youth, and it would remain central to his chamber music output throughout his life. © AVIE Records
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Mahler: Kindertotenlieder / Brahms: Liebeslieder-Walzer

Kathleen Ferrier

Classical - Released January 1, 1992 | Decca Music Group Ltd.

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Johannes Brahms: Liebeslieder Walzers Op. 52a for piano four hands

Duo Ping Ting

Classical - Released March 9, 2017 | Duo Ping Ting

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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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Brahms: The Final Piano Pieces, Op. 116-119

Stephen Hough

Classical - Released January 3, 2020 | Hyperion

Hi-Res Booklet
By the early 1890s, Johannes Brahms began thinking that his career was approaching its end, perhaps because of his growing awareness of his mortality, due to the deaths of several close friends. In spite of that, encouragement from Brahms' publisher Fritz Simrock and a renewed burst of creativity brought about the major works of his final years, which included chamber pieces for clarinetist Richard Mühlfeld; a collection of arrangements of German Folk Songs; the Four Serious Songs; the 11 Chorale Preludes; and the piano pieces published as the Fantasias, Op. 116, the Intermezzos, Op. 117, the Clavierstücke, Op. 118, and the Clavierstücke, Op. 119. This group of 20 keyboard pieces collectively represent the autumnal and sometimes gloomy moods that dominated Brahms' thoughts in his last decade, and have even retroactively colored the overall character his music, suggesting a nostalgic attitude in his work as a whole. Yet there is a balance between melancholy and exuberance in Brahms, and while much can be made of the sorrowful events in his life that influenced him, particularly in the Intermezzos, Op. 117 (which he considered to be lullabies for his sorrows), expressions in the late piano music are artfully conceived and perhaps less a measure of Brahms' emotional state than of his genius. Stephen Hough has recorded Brahms' piano concertos, and some of the chamber works, but this 2019 Hyperion album is his first album since 2001 devoted to Brahms' solo piano works. At this stage of his career, Hough seems to have found the right approach to these character pieces, which can be just as fiery and passionate as they are sad or sentimental. However, just as important are their structures and formal designs, which show an active and lively imagination, especially in Brahms' use of chromatic harmony and his sometimes expansive treatment of the Romantic "miniature."© TiVo