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Brahms: Vier ernste Gesänge; Lieder
Dietrich Fischer-Dieskau
Classical - Released January 1, 2000 | Deutsche Grammophon (DG)
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Brahms: Vier Ernste Gesänge, Op. 121
Marie-Claude Chappuis
Classical - Released May 26, 2023 | Prospero Classical
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Telemann: Brockes-Passion
René Jacobs
Sacred Oratorios - Released March 24, 2009 | 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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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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Brahms: Liebeslieder-Walzer, Op. 52 - Schubert: Der Hirt auf dem Felsen, D 965
Rudolf Serkin
Classical - Released January 1, 1961 | Sony Classical
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Händel : Brockes-Passion, HWV 48
Academy of Ancient Music
Classical - Released October 4, 2019 | Academy of Ancient Music
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Booklet
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5 de Diapason
Handel's Brockes Passion, HWV 48, so-called because it sets a distinctive German-language text by Barthold Heinrich Brockes (1680-1747), is not often performed or recorded. The work has been thought to suffer both in comparison to Bach's Passion settings (a judgment Bach himself did not share -- he admired the work and may have included it in the pastiche St. Mark Passion, BWV 247) and to Handel's more Apollonian later choral works. The Brockes Passion might be called operatic: neither the Evangelist nor the chorus has much to do, and the action takes place among a fairly large set of principal singers. The cast, headed by Cody Quattlebaum as Jesus and Gwilym Bowen as Peter, rises to the occasion. However, "operatic" is an incomplete term. Brockes' libretto, drawing on all four gospels, comprises a group of punchy, sharp chunks that convey the Passion story in unusually physical, often even gory terms. Handel responds with music that, whether the work chimes with you or not, fits this text unusually well. There are few da capo arias; instead, there is a sequence of short, dramatic moments that bring out the physicality of Brockes' text. Sample Peter's outburst "Gift und Glut, Strahl und Flut." The work on the first two CDs includes no fewer than 105 tracks. The third CD includes alternate versions and the like, and extensive essays about the work are included. Egarr's large continuo group adds to the drama, but he doesn't overdo the gore; he lets it speak for itself. A convincing reading that makes a strong case for the Brockes Passion as a neglected masterwork.
© TiVo
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Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt
Lóránt Najbauer
Classical - Released March 19, 2021 | Glossa
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The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, "Wer ist der, so von Edom kömmt", a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where – contrary to many passions of the time – the events of the last days of Jesus’ life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part: the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece. © Glossa
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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer
Otto Klemperer
Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording
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J.S. Bach : Matthäus-Passion, BWV 244 (Passion selon saint Matthieu)
Philippe Herreweghe
Classical - Released July 31, 2007 | harmonia mundi
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J.S. Bach: St. Matthew Passion, BWV 244
Bach Collegium Japan
Classical - Released February 7, 2020 | BIS
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“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
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Brahms: La belle Maguelone
Stéphane Degout
Classical - Released October 6, 2023 | B Records
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4F de Télérama
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J.S. Bach: St. Matthew Passion, BWV 244
Gaechinger Cantorey
Classical - Released March 5, 2021 | Accentus Music
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Booklet
"The St. Matthew Passion by Johann Sebastian Bach is one of the greatest works in the history of music. Whenever I study this epochal composition, I always ask myself the question: How can a work of music, which is performed each year in thousands of performances, has been scientifically and artistically interpreted for decades, and worshiped for centuries, remain a new, contemporary, and at the same time universal and supreme idea? It can be achieved if that which is defined as established and comprehensive, and appears or is accepted as unshakeable, is set in motion without capping the connections to the work itself and its musical- historical, intellectual and theological foundations", says Hans-Christoph Rademann about one of the monumental sacred works of music history. In November 2020, Rademann and the Gächinger Cantorey ensemble and chorus, together with an extraordinary group of soloists, set out to lend a new and fresh perspective to Bach's timeless masterpiece of raging choirs, intimate chorales, and emotionally charged arias, which, with its drama and pictorial quality, allows the listener to experience the well-known Passion story again and again as something completely new and unheard-of. © Accentus Music
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Brahms, J.: Symphony No. 3 / Gesang Der Parzen / Nanie
John Eliot Gardiner
Classical - Released September 22, 2009 | SDG
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Heimat (Schubert, Wolf, Brahms, Reger, Grieg, Britten...)
Benjamin Appl
Art Songs, Mélodies & Lieder - Released March 10, 2017 | Sony Music Classical Local
Booklet
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Gramophone Award -
Gramophone Editor's Choice -
5 Sterne Fono Forum Klassik
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Sacred Arias
Aafje Heynis
Classical - Released January 1, 2001 | Universal Music Australia Pty. Ltd.
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Bach: St. Matthew Passion
Choir of King's College, Cambridge
Classical - Released March 27, 2020 | Kings College Cambridge
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Booklet
The retirement of the knighted Stephen Cleobury as the director of the Choir of King's College, Cambridge, in 2019 brought with it various valedictory events, including this Easter 2019 live performance of Bach's St. Matthew Passion, BWV 244. The big Bach works aren't necessarily in the wheelhouse of the English collegiate choirs, but Cleobury and the choir have performed the St. Matthew Passion on various occasions, including at least once with Sophie Bevan, the present fine soprano soloist. All of the soloists are strong, obviously welcoming the chance to participate in what was something of a landmark in English choral music. Lovers of the Cambridge choirs will want this in their collections regardless, but how about general followers of the St. Matthew Passion and its performances? Certainly, this is quintessentially English Bach, although the all-male boys-and-men choir of about 25 members is probably closer to what Bach intended than the warmer small adult groups that are the norm these days. If you're looking for a sense of awe at the events of the Crucifixion, this may not be the place to find it, but Cleobury's careful work may grow on listeners. In a rather cavernous King's College acoustic, he achieves good separation of the work's double choirs, and the lengthy instrumental introductions of the work's glorious arias are sharp and full of detail that connects to the vocal line. Although this is not an intensely dramatic St. Matthew Passion, it is one that unfolds according to its own logic, and it will reward multiple hearings.
© TiVo
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