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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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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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Summer In Berlin

Schiller

Pop - Released February 12, 2021 | NITRON concepts

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Two deluxe versions of Schiller, one after the other. After Colors in autumn 2020 (accompanied by two live records and extras), under the name Christopher von Deylen, now the German returns with his most famous alias, stolen from the writer Friedrich Schiller in 1998. He read the latter's famous poem Das Lied von der Glocke  while he was preparing the release of his first single – indeed, his first hit – Das Glockenspiel. In these times of quarantine, Schiller offers a big dose of music, with 28 tracks in total, cut between the studio album Summer in Berlin and a live recording that takes in his greatest hits, also recorded in the German capital. As ever, Schiller is flanked by vocalists on this new offering, which is filled with nods to Jean-Michel Jarre, the Pet Shop Boys or Tangerine Dream. The latter's Thorsten Quaeschning appears on Dem Himmel so nah. We also find Tricia McTeague on the American quarter-hour of Miracle. McTeague accompanies Schiller on tour and is one of the great voices of electronic music from her side of the Rhine, who also notably performs for trance legend Paul van Dyk. The high point of the album is of course the title track, Summer in Berlin. It's a little happening that brings Schiller together with the pioneering German new wave band Alphaville, represented by an impeccable Marian Gold. It evokes a sweaty club in the heart of summer in the 80s © Smaël Bouaici / Qobuz
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Richard Strauss: Four Last Songs; 6 Orchestral Songs

Jessye Norman

Lieder (German) - Released January 1, 1983 | Philips

Distinctions The Qobuz Ideal Discography
When she recorded this sublime farewell to life in 1983, Jessye Norman was 38 years old. She was at the height of her glory, and the summit of her vocal power and of her art. At the time, some wondered if there wasn't a contradiction between that voice, so bursting with life, and the crepuscular, delicious morbidity of the late Strauss. As time went by, this record became a confirmed classic. The incandescence of this sumptuous voice is a perfect fit for the "red sky at night" of Im Abendrot that Eichendorff describes in the final poem of this cycle. With Jessye Norman's passing, this performance takes on an almost-metaphysical dimension. Her voice glides into a drawn-out breath in tormented melismas which sound almost like incantations. It speaks to us of life, of death, of the beauty of nature and the passage of time. At her side, Kurt Masur accompanies her with infinite subtlety, following the slightest melodic twists of the score with the superb Leipzig Gewandhaus Orchestra, which has a history of performing Strauss's work. The style, the perfect intonation, the colours from every stand all mix together with this voice of sunlight and honey. If you're bound for a proverbial desert island, be sure to pack this record in your luggage. © François Hudry/Qobuz
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Strauss: Four Last Songs

Dame Felicity Lott

Symphonies - Released April 1, 2003 | 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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STRAUSS, R.: 4 Last Songs / Orchestral Songs (Isokoski)

Soile Isokoski

Vocal Music (Secular and Sacred) - Released January 1, 2002 | Ondine

Booklet Distinctions Gramophone Editor's Choice
In this collection of orchestral songs by Richard Strauss, including the Four Last Songs, Finnish soprano Soile Isokoski demonstrates that this is obviously repertoire in which she is fully at ease and which is ideally suited to her voice. Strauss demands a nuanced command of a broad range of vocal colors and weights, and Isokoski shows an idiomatic mastery of his style. She has the suppleness and lightness to make "Säusle, liebe Myrte" really sparkle, and she brings a rich warmth to "September" and "Im Abendrot." And she can radiantly soar over the orchestra in "Befreit," and in all the Four Last Songs. Isokoski's voice doesn't have the natural luminosity or openness to put this in the very top ranks of recordings of these songs, but hers is a very fine performance; it should delight her fans and also be of interest to listeners who love the songs and who savor hearing a variety of interpretations. Marek Janowski leads Rundfunk-Sinfonieorchester Berlin in a rhythmically supple performance, although the strings don't have the richness of the most acclaimed orchestras. He doesn't fully capture the twilight glow of the Four Last Songs, and the ending of "Im Abendrot" comes across as flaccid rather than evocative. The sound of Ondine's 2001 recording is warm and nicely ambient, but it tends to slightly favor the orchestra, so that Isokoski doesn't always shine with the brightness of which she is clearly capable.© TiVo
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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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Im Abendrot: Songs by Wagner, Pfitzner, Strauss

Matthias Goerne

Classical - Released April 16, 2021 | Deutsche Grammophon (DG)

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Shrouded in an awkward acoustic which is hardly customary for Berlin's Teldex Studio, the latest recording by Matthias Goerne and Korean pianist Seong-Jin Cho (First Prize in the 2015 Chopin Competition) is devoted to twilight Lieder by Wagner, Pfitzner and Richard Strauss.Twilight ("Abendrot" in German), an essential component of German Romanticism, expresses the deep, dark side of the human soul, often in a tragic or dramatic tone, barely tempered by an oppressive light that prematurely withers the flowers of memory. The famous Wesendonck-Lieder, for which Wagner was inspired by an impossible love whose harmonies foreshadow those of Tristan and Isolde, find in Matthias Goerne's deep voice a performer to equal their inspiration. The German baritone has long been a supporter of the music of Hanz Pfitzner, a contemporary of Richard Strauss who is often rather academic for Latin ears. What a pleasure to discover this bouquet of Lieder, which evoke the ever-renewed miracle of nature, and in which seasons and landscapes are robed in strong nostalgia.Richard Strauss follows through the metaphors of the sun: darkening (Traum durch die Dämmerung), promising great future joys (Morgen) or eternal rest (Ruhe, meine Seele!); dreams of peace and beauty (Freundliche Vision) and the weariness of a fading life (Im Abendrot). This album reflects the black diamond of melancholy, and its three composers complement each other delightfully. © François Hudry/Qobuz
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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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R. Strauss: Vier letzte Lieder & Orchestral Lieder

Elisabeth Schwarzkopf

Classical - Released October 1, 1998 | Warner Classics

Distinctions 4 étoiles Classica - The Qobuz Ideal Discography
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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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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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Brahms, Schumann & Mahler: Lieder

Renée Fleming

Classical - Released June 14, 2019 | Decca Music Group Ltd.

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A long break. In the fall of 2018, Renée Fleming sang for Broadway musicals under the BBC Concert Orchestra led by Rob Fisher including the likes of Jerome Kern, Richard Rogers, Andrew Lloyd Webber, Stephen Sondheim, and some lesser-known names. A little unexpected yet welcome, with this new work, the American soprano returns to a more traditional repertoire. To be precise, she puts forward a very beautiful selection of Brahms’ Lieder, the entirety of Schumann’s Fraueliebe und -Leben Op. 42, and finally Mahler’s Rückert-Lieder in an orchestral interpretation led by Christian Thielemann with the Münchner Philharmoniker. Today, Renée Fleming’s tone is perfectly crepuscular, autumnal and suitable for these Lieders filled with melancholy. Harmut Höll’s accompaniments are beautiful (especially in Brahms), and the direction of Thielemann is often poetic
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Schubert: Orchestrated Songs

Anne Sofie von Otter

Classical - Released January 1, 2013 | Deutsche Grammophon (DG)

How could it be less than ideal? The songs are among the greatest ever written: Gretchen am Spinnrade, Erlkönig, Nacht und Träum. The orchestrators are all superb composers: Brahms, Berlioz, Liszt, Webern, Reger. The singers are as good as it gets right now in German Lieder: the brilliant and sensual Anne-Sofie von Otter and the powerful and insightful Thomas Quasthoff. The conductor is arguably the greatest living conductor and the orchestra is his own trained instrument. How could it be less than ideal? It is ideal. Von Otter is terrifying in Gretchen am Spinnrade and terrified in Erlkönig, delightfully sly in An Sylvia and endlessly rapt in Nacht und Träum. Quasthoff is infinitely touching in Tränenregen and magnificently imperious as Prometheus, deeply affectionate in Du bist die Ruh and relentlessly heroic in An Schwager Kronos. Abbado brings out the best in every orchestration, but he particularly shines in the Brahms and sings in Webern and orchestrations. The Chamber Orchestra of Europe plays superbly and DG's sound is wonderful. This is an ideal Schubert recording.© TiVo
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Heavenly Bach - Arias & Cantatas of J.S. Bach

Amanda Forsythe

Classical - Released November 18, 2022 | Avie Records

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Jeannette Sorrell, baroque orchestra Apollo’s Fire, soprano Amanda Forsythe and the music of J. S. Bach create a divine musical partnership. "Heavenly Bach" pairs two of the composer’s most popular cantatas, interspersed with two sublime arias from the St. John Passion. In Jauchzet Gott in allen Landen!, Forsythe’s dazzling virtuosity hits the high notes whilst the secular "Wedding Cantata" exudes a joyous and evocative marriage in springtime, for a result that is heavenly indeed. © AVIE Records

Das Beste aus 35 Jahren

Kastelruther Spatzen

Germany - Released June 15, 2018 | Electrola

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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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Brahms: Deutsche Volkslieder, WoO 33

Elisabeth Schwarzkopf

Classical - Released January 1, 1966 | Warner Classics

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