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Schubert Revisited: Lieder Arranged for Baritone and Orchestra
Matthias Goerne
Classical - Released January 6, 2023 | Deutsche Grammophon (DG)
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Pianist Alexander Schmalcz has performed alongside many famous singers during his career and is also a talented arranger. At the request of Matthias Goerne, he orchestrated Schubert’s lieder in the spirit of similar works by Berlioz, Reger, Liszt and Webern. Matthias Goerne has performed these orchestrations in numerous concerts, both in Europe and in New York, as part of the Mostly Mozart Festival.Schmalcz’s arrangements are both rigorous and conscientious. They’re perfect for Matthias Goerne’s dark tone, which is particularly graceful on this recording made in October 2019 with the Deutsche Kammerphilharmonie Bremen. Over the years, the German baritone’s voice has become even more well-rounded, finding deep golden bass tones.The orchestration gives these 20 lieder exceptional weight, further emphasised by the mellowness of the strings, the darkness of the trombones and the sometimes ominous use of the timpani. This orchestration plunges Schubert’s music into a romantic universe similar to lieder by Brahms and even Wolf, especially in Songs of the harpist (Gesänge des Harfners), The Erl-King (Erlkönig) and the famous lieder Death and the maiden (Der Tod und das Mädchen). The anachronism of these arrangements is magnified by the silky accompaniment of the Deutsche Kammerphilharmonie Bremen and Matthias Goerne’s stunning vocals. © François Hudry/Qobuz
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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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Franz Schubert : Nacht und Träume
Accentus - Laurence Equilbey
Lieder (German) - Released November 3, 2017 | Erato
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4F de Télérama -
Gramophone Editor's Choice -
5 étoiles de Classica
“Nacht und Träume” takes its name from one of Schubert’s best-loved lieder, which is joined on the album by a further 10 of the composer’s songs. All performed in orchestral versions by such masters as Berlioz, Liszt, Brahms, Strauss, Webern, Britten and Schubert himself, they are complemented by three choral numbers and an orchestral interlude. The singers are rising stars – German mezzo-soprano Wiebke Lehmkuhl and French tenor Stanislas de Barbeyrac – and Laurence Equilbey conducts two ensembles she founded: the Insula orchestra and the choir Accentus. © Warner Classics
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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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Schubert Sessions: Lieder with Guitar
Franz Schubert
Vocal Music (Secular and Sacred) - Released October 14, 2016 | Groupe Analekta, Inc
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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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Schubert: Lieder - Ave Maria
Elly Ameling
Classical - Released January 1, 1987 | Decca Music Group Ltd.
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Schubert Revisited: Lieder Arranged for Baritone and Orchestra
Matthias Goerne
Classical - Released January 6, 2023 | Deutsche Grammophon (DG)
Booklet
Pianist Alexander Schmalcz has performed alongside many famous singers during his career and is also a talented arranger. At the request of Matthias Goerne, he orchestrated Schubert’s lieder in the spirit of similar works by Berlioz, Reger, Liszt and Webern. Matthias Goerne has performed these orchestrations in numerous concerts, both in Europe and in New York, as part of the Mostly Mozart Festival.Schmalcz’s arrangements are both rigorous and conscientious. They’re perfect for Matthias Goerne’s dark tone, which is particularly graceful on this recording made in October 2019 with the Deutsche Kammerphilharmonie Bremen. Over the years, the German baritone’s voice has become even more well-rounded, finding deep golden bass tones.The orchestration gives these 20 lieder exceptional weight, further emphasised by the mellowness of the strings, the darkness of the trombones and the sometimes ominous use of the timpani. This orchestration plunges Schubert’s music into a romantic universe similar to lieder by Brahms and even Wolf, especially in Songs of the harpist (Gesänge des Harfners), The Erl-King (Erlkönig) and the famous lieder Death and the maiden (Der Tod und das Mädchen). The anachronism of these arrangements is magnified by the silky accompaniment of the Deutsche Kammerphilharmonie Bremen and Matthias Goerne’s stunning vocals. © François Hudry/Qobuz
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Schubert: Nacht und Träume
Accentus - Laurence Equilbey
Classical - Released November 3, 2017 | Warner Classics
Booklet
The French conductor Laurence Equilbey has specialized in radical recontextualization of classical repertory standards with her choir Accentus, producing such novelties as a texted version of the Adagietto movement from Mahler's Symphony No. 5. This group of orchestral versions of Schubert songs might seem to be more of the same, but in fact this release is a bit less radical: most of the transcriptions here are from the 19th and early 20th centuries, although a few, by Franck Krawczyk, are contemporary. The latter occur toward the end of the program and include Accentus, but mostly these are solo orchestral songs, and the orchestrators include such familiar names as Britten, Strauss, Reger (who wrote a lot of these, although Equilbey disparages most of them), Webern, Brahms, and Berlioz, whose version of Erlkönig ought to be more familiar than it is. Equilbey picks the songs well, avoiding the truly intimate, lyric Goethe settings and gravitating toward already potentially operatic songs like the Brahms Gruppe aus dem Tartarus, D. 583. It's not entirely clear why so many of these orchestrations were made for Schubert, seemingly more often than for other composers; perhaps it was simply the ongoing fascination among the Romantics regarding this short-lived wonder. The arrangements work well, and the period 19th century instruments of the Insula Orchestra, playing at A = 438 hz, add the right balances. One could wish that mezzo-soprano Wiebke Lehmkuhl seemed a little less stressed by the material, but overall this is an intriguing rediscovery of some Schubert-related material, and one that reflects Equilbey's distinctive musical personality.© TiVo
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The Path of Life
Ilker Arcayürek
Classical - Released March 5, 2021 | Prospero Classical
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Franz Schubert : Nacht und Träume (Lieder, vol. 5)
Matthias Goerne
Art Songs, Mélodies & Lieder - Released January 4, 2011 | harmonia mundi
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5 de Diapason -
4 étoiles Classica
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Hope@Home
Daniel Hope
Classical - Released August 14, 2020 | Deutsche Grammophon (DG)
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It's not entirely clear where Daniel Hope's 2020 album Hope@Home was recorded: the location, except for one track recorded at the Frauenkirche in Dresden, is given merely as "Berlin." If it was indeed recorded at the violinist's home, he has a space with an unusually live acoustic that is somewhat at odds with the impression of intimacy that he seeks to convey. That's one of the few complaints here, however, for Hope has, in many ways, made a virtue of necessity. His program is built around a long list of guests, as if in the manner of a home musical soirée, including both instrumentalists and singers. The pianist on the majority of the tracks is Christoph Israel, who also serves as arranger, and it is the variety of these that really makes the album. Hope manages to pull off the idea of having a large group of talented house guests experimenting at the piano, and this is not easy to do with a convincing quality of spontaneity. Consider the unusual combination of Falla's "Asturiana" with Rudyard Kipling's poem "If," spoken by Iris Berben, or a yet more unexpected America the Beautiful. The main sequence of the program consists of a mix of classical (Schubert and Brahms) and popular American, British, and continental European songs. It may be calibrated to appeal to varied audiences, but it is relaxed, fun, often ingenious, and quite lovely.© James Manheim /TiVo
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Schubert: Lieder
Bernarda Fink, Gerold Huber
Classical - Released September 2, 2008 | harmonia mundi
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Haydn, Schubert, Ravel
Anne Sophie von Otter
Classical - Released January 31, 2012 | New York Philharmonic
Booklet
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Schubert: Hymne an Die Nacht, Hymne À la Nuit
Brigitte Engerer
Classical - Released January 10, 2008 | Mirare
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Schubert: Die schöne Müllerin
Samuel Hasselhorn
Art Songs, Mélodies & Lieder - Released September 22, 2023 | harmonia mundi
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Diapason d'or
This 2023 release inaugurates an ongoing series from baritone Samuel Hasselhorn and pianist Ammiel Bushakevitz, performing Schubert works two centuries on from their date of composition, and slated to culminate in 2028, the bicentennial of the composer's death. The project begins with one of the most famous Schubert song cycles of all, Die schöne Müllerin, D. 795, depicting the crackup and despair of a young wanderer who falls in love with a beautiful miller's daughter. Hasselhorn has plenty of recent competition in this cycle; listeners can sample the 2017 recording by Christian Gerhaher and Gerold Huber for another approach, but this one promises well for the ongoing project. Die schöne Müllerin is a work in which Schubert took vast strides toward the emancipation of the piano in the lied, and Bushakevitz leans into this aspect, with details that illuminate and often foreshadow themes developing in the text. Hasselhorn has a warm baritone with an appealing conversational tone that turns chilly and quiet toward the cycle's downer conclusion. Another draw is Harmonia Mundi's sound from the b-sharp studio in Berlin; the engineers put Bushakevitz just a bit forward in the mix, not so much as to sap energy from Hasselhorn's singing, but enough to highlight his perceptive performance. This release bodes well indeed for the duo's future work.© James Manheim /TiVo
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Lebensmuth
Signum Quartett
Quartets - Released May 19, 2023 | PentaTone
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This is (apparently) the last in a series of releases from the Signum Quartett combining string quartets by the composer with arrangements of Schubert songs by the group's violist, Xandi van Dijk. That idea is unusual nowadays but wouldn't have been in Schubert's day. The idea is to put a personal flavor to Schubert's music, and quiet, clear recording ambiance of the Sendesaal Bremen contributes nicely to the effect. Here, the group's aim is right on the surface, for the album contains Schubert's first string quartet and his last one. Each seems to be on the verge of new breakthroughs. The String Quartet in G major, D. 18, written when Schubert was no more than 14, is an odd work, with each of its four movements in different keys. The movements may have been written at different times, but even the act of calling it a string quartet was an ambitious one. That work is nicely integrated with the songs by the group, which sets a quiet chamber atmosphere consistent with everything we know about the way Schubert's music was performed during his own lifetime. The String Quartet in G major, D. 887, is something else again, a large work stretching the boundaries of the genre as it was known. It was Schubert's last work in the genre. Yet even this fits with the general idea of the album; at the end of his life, with death a definite presence, he was striving toward new dimensions for the string quartet, just as he had at the beginning. The work stands out sharply from the others on the album and is played in a much more full-blooded way, but this is really the idea on a release that plunges the listener into Schubert's own life.
© James Manheim /TiVo
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Desprez: Tant vous aime
Doulce Mémoire - Denis Raisin Dadre
Classical - Released May 6, 2022 | Ricercar
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Booklet
Josquin Desprez, princeps musicorum, the prince of musicians, as his contemporaries called him, is best known today for his sacred works, the masses and motets, which have been widely performed and recorded. Surprisingly, his chansons have received little attention from performers, except for the pieces for five and six voices, printed after his death by the Antwerp publisher Tilman Susato in his seventh book of 1545. Doulce Mémoire has chosen to focus on the chansons for three and four voices, which are probably the earliest in the Hainault master’s output; with their diversity of language and themes (sometimes folk-derived), these songs constitute a varied programme that is at once serious and bawdy, a testament to the unequalled art of Josquin Desprez. © Ricercar
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Schubert : Lieder, Schöne Müllerin, Winterreise...
Dietrich Fischer-Dieskau
Classical - Released January 1, 2005 | Deutsche Grammophon (DG)
Booklet
Distinctions
Diapason d'or -
4F de Télérama -
Choc de Classica
This collection of all of Schubert's songs for low voice is one of the landmark recordings of the 20th century because it features two of the greatest Schubertians of their era, baritone Dietrich Fischer-Dieskau and pianist Gerald Moore. The recordings, made by Deutsche Grammophon between 1966 and 1972, come from Fischer-Dieskau's prime, when he was in his early to mid-thirties, his voice fully mature and its youthful bloom gloriously resplendent. He brought an acute, probing intelligence to everything he performed, as well as a penetrating, unmannered musicality, and those qualities are everywhere apparent in his Schubert lieder. Moore was primarily known as an accompanist, and in that role he was perhaps unsurpassed, but his contribution to the music is no way secondary. His playing has interpretive distinctiveness as well as the instinctive musicality of a performer deeply immersed in Schubert's sound world. The singer and pianist made multiple recordings of many of these songs and while aficionados may prefer a version of a song or cycle other than the one offered here, the version here is never less than superb.The set, which includes 463 songs on 21 discs, should be of utmost interest to any fans of the singer and pianist, and to anyone who loves Schubert, and to anyone who loves collaborative music-making of the highest order. The value of the limited edition set released in celebration of the singer's 85th birthday makes it a terrific bargain. The remastering is mostly exemplary and the sound is immaculate, warm, and present. There are a few technical glitches, like a slight click and skip in the introduction to "Wasserflut," but overall the sound is first-class. The balance is just about ideal; it's easy to shut one's eyes and imagine the performers there in the same room. Very highly recommended.© TiVo
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Franz Schubert : Sonate Arpeggione
Anne Gastinel
Chamber Music - Released September 20, 2005 | naïve classique
Hi-Res
Booklet
Distinctions
Gramophone Editor's Choice -
RTL d'Or -
Victoire de la musique
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