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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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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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Ein Menschliches Requiem

Johannes Brahms

Classical - Released February 11, 2022 | Evil Penguin Classic

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Bent over his writing desk, full of sorrow over his loss, Brahms wanted to write music that would nevertheless offer some support: hope for those near him, comfort for the living – and not with a sombre funeral march. Initially, he gave his composition the title "Ein menschliches Requiem" (A Human Requiem). The monumental composition for orchestra and choir that would become Ein deutsches Requiem (A German Requiem) lies far from that intimate beginning. But Brahms did not forget his initial plan: he even transcribed a version for piano 4-hands, soloists and choir: transparent, intimate, colourful and, most importantly, very personal. In search of the man who was Brahms, Vlaams Radiokoor weaves some childhood memories of his good friend Schumann in between the movements of the Requiem. In his Kinderszenen, Schumann in turn combined various short works that were close to his heart and through which he thought back, filled with nostalgia, to his own childhood. © Evil Penguin Classic Records
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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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Brahms & Schumann A Capella Choruses

Laurence Equilbey/Choeur de Chambre Accentus

Classical - Released January 1, 1995 | Warner Classics

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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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Mendelssohn: Songs without Words Vol.1 (Lieder ohne Worte)

Peter Donohoe

Classical - Released January 7, 2022 | Chandos

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Peter Donohoe CBE is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility, and commanding technique. On this first volume of Mendelssohn’s Songs without Words, he writes: "When I first became conscious of my desire to be a musician, Mendelssohn meant more to me, personally, than almost any other composer – he certainly ranked alongside Haydn, Mozart, Beethoven, and Schubert. My choice of programme for the present recording is based around a large selection from the Lieder ohne Worte, which I preface with the Rondo capriccioso, Op. 14 and the three wonderful Fantaisies ou Caprices. The Rondo capriccioso and Trois Fantaisies ou Caprices are exquisite examples of the extraordinary facility of Mendelssohn (implicitly as a pianist, but also as a composer), of his originality and inspiration, at an age that allows us, in my view, to place him in the same group of wonderfully natural and prodigious composers as Haydn and Mozart. It is always a pleasure to play these works, and they go to the heart of why I became a musician in the first place". © Chandos
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Lieder (Berg, Schumann, Wolf, Shostakovich, Brahms)

Matthias Goerne

Classical - Released June 10, 2022 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Choc de Classica
Matthias Goerne not only performs at the highest level as a baritone himself, but his piano accompaniments also rank among the Champions League of classical music. For his first album, which was dedicated to Beethoven songs, he brought Jan Lisiecki on board. This was followed by the album Abendrot with melodies by Wagner and Strauss, among others, together with the young talent Seong-Jin Cho. Now we may experience the baritone in duo with the world-class Russian pianist Daniil Trifonov, presenting us with a metaphysical program of Berg, Schumann, Wolf, Shostakovich and Brahms.The combination of music and poetry was brought to a climax in the form of the Romantic art song by Franz Schubert. The composers presented here build on this tradition, and despite the wide, temporal span of their publications - there are 135 years between Schumann's Dichterliebe and Shostakovich's Michelangelo Suite - the closeness and significance to the text and its authors is equally evident in all of them. Schumann's Dichterliebe is probably one of the best examples of this: the setting of Heinrich Heine's texts brings together two masters of Romanticism who could not be better interpreted by Goerne and Trifonov. Themes of impossible love and human suffering are unfolded through extremes in the monologue as well as the music, with Goerne maintaining this "strong sensitivity" throughout. In the same vein, the unspoken finds its place on the piano and takes on much more than just an accompanying role in his interpretation - as well as in art song in general. Trifonov is in direct musical dialogue with Goerne, the two artists communicating at eye level.A similar symbiosis is evident in the Michelangelo musical settings by Wolf and Shostakovich. By abandoning tonality in the latter, the connection between piano and spoken word is again reinforced on another level. A unique duo project by two contemporary greats whose paths will hopefully cross more often. © Lena Germann/Qobuz
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Brahms & Schumann - Works for Cello and Piano

Christian Poltéra

Classical - Released February 16, 2024 | BIS

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There is no single radical departure in these performances of Brahms' two sonatas for cello and piano and Schumann's Fünf Stücke im Volkston, Op. 102. Instead, what happens is that various factors come together in performances of rare variety and intensity. Cellist Christian Poltéra and pianist Ronald Brautigam have worked together before and have evolved into a chamber music unit of great cohesion. Brautigam plays a copy of an 1868 Streicher piano; it is not exactly a historical instrument, but it has a precise, penetrating quality that suits the interpretation here beautifully. Póltera has a deep understanding of these works, offering readings that bring out the full range of the music's expressive traits. The Brahms Cello Sonata No. 1 in E minor, Op. 38, loses its usual dour, growling quality; sample the exuberant finale. It has been suggested that the word "Volkston" in Schumann's Fünf Stücke im Volkston might better be translated as "popular style" than "folk style"; annotator Michael Struck suggests that the pieces are related to Schumann's sympathy for the republican movements of 1848, and Póltera imbues them with rare depth and lyricism. Of course, another side of Brahms is the intellectual complexity that gives one the delightful suspicion that one will never emerge from the thicket. The opening material of the Cello Sonata No. 2 in F major, Op. 99, has very rarely seemed so pregnant with implications and had those implications so deeply worked out. There are many available performances of all these works (perhaps a bit fewer of the Schumann), but these are marvelous and worth hearing for anyone. This release made classical best-seller lists in early 2024.© James Manheim /TiVo
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Robert schumann contrasts

Philippe Tondre

Classical - Released October 20, 2023 | Klarthe Records

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
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Schumann : Bunte Blätter / C. Wieck : Variations Op. 20 / Brahms : Variations Op. 9

Claire Désert

Chamber Music - Released November 16, 2010 | Mirare

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A Poet's Love, Prokofiev: Romeo and Juliet - Schumann: Dichterliebe

Timothy Ridout

Duets - Released August 20, 2021 | harmonia mundi

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In this debut recording for harmonia mundi, the young viola prodigy Timothy Ridout and his musical accomplice Frank Dupree celebrate the power of love, with selections from Prokofiev’s Romeo and Juliet, performed in Borisovsky’s popular arrangement, and with their own transcription of Schumann’s Dichterliebe. The voice of the heart and the soul of candour, here the viola displays an astonishing range of emotions and expressive colours – from boisterous to tender or introspective in the Prokofiev excerpts, while also mirroring the myriad nuances of Heine’s poems in Schumann’s sublime musical love letter to his Clara. © harmonia mundi
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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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Schumann: Kinderszenen; Arabesque; Fantasie; Träumerei

Vladimir Horowitz

Classical - Released September 26, 2003 | Sony Classical

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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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Brahms: Symphony No.1, Schicksalslied, Begrabnisgesang

John Eliot Gardiner

Symphonic Music - Released September 1, 2008 | SDG

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Many if not most listeners would say that period instruments and historically informed performance practice are fine in their place, but many if not most listeners would also say their place does not include repertoire from the latter years of the nineteenth century. For those listeners, this disc of John Eliot Gardiner leading the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir in three works of Brahms -- the Begräbnisgesang, Schicksalslied, and C minor Symphony -- and one of Mendelssohn -- the Mitten wir im Leben sind -- will be totally unacceptable. For them, its odd colors, unusual balances, and quirky articulation will seem so utterly unlike the Brahms they know they will categorically reject these performances. That's their choice and their loss. For one thing, no one could doubt that Gardiner's musicians are wholly adept at their tasks. There's not a note wrong or a rhythm misplaced anywhere in these performances. For another, no one would argue that Gardiner and his musicians are not entirely dedicated to the music and to giving it the most powerful reading they can. The choral Begräbnisgesang, Schicksalslied, and Mitten wir im Leben sind are deeply moving and the C minor Symphony is profoundly affecting, especially in its heroic finale. True, the colors, articulation, and balances are strikingly different, with the colors more piquant, the articulation more detached, and the balances more diverse. But since most of these works and in particular the symphony are exceedingly well known and most of these changes are supported by scholarship and musicianship, it seems churlish to protest. Captured in rich, clean but atmospheric digital sound in live performances, this disc may be anathema to some, but it will be ambrosia to others. © TiVo
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Schumann: Liederkreis & Dichterliebe etc

Ian Bostridge

Classical - Released December 24, 1997 | Warner Classics

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Schubert : Lieder

Dietrich Fischer-Dieskau

Lieder (German) - Released January 1, 1978 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Schumann: Dichterliebe

Christian Gerhaher

Classical - Released August 1, 2004 | RCA Red Seal

Christian Gerhaher is the latest in a long line of expressive and intelligent baritones who have made a specialty of German lieder. With recordings of Mahler's Lieder eines fahrenden Gesellen, Brahms' Vier ernste Gesänge, and Schubert's Die schöne Müllerin, Winterreise, and Schwanengesang already to his credit, Gerhaher has already cut a considerable swath through the standard repertoire of German lieder. With this disc of Schumann's setting of Heine's Dichterliebe and of Lenau's poems grouped as a funeral tombeau, Gerhaher has chosen poems about love, madness, and death by the most literate and arguably the most romantic of the German lieder composers. Gerhaher has an appealing voice: strong and agile with a warm tone and a round sound. Gerhaher has a fine sense of the emotions expressed in the music from the heartfelt irony of the Heine lieder to the attenuated sentimentality of the Lenau lieder. And Gerhaher has a firm grasp of the symbiosis of words and music and the levels of meaning commingled in their fusion. If Gerhaher's performances have a flaw, it is his ambition to do it all right now, to infuse his performances with so much significance that they nearly sink under their own interpretive weight. RCA's sound is big and close but perhaps too intimate.© TiVo