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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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Vanitas - Beethoven, Schubert & Rihm
Georg Nigl
Classical - Released November 13, 2020 | Alpha Classics
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Booklet
Like the paintings of the Flemish Baroque painters, the ‘vanities’ presented here can be approached in two ways: on the one hand, as manifestations of doubts and anxieties at the fragility of human life; on the other, as delights to be savoured without moderation, celebrating earthly life through the senses and the pleasure that human beings can derive from them. After two critically acclaimed recordings each for Alpha, the baritone Georg Nigl and the pianist Olga Pashchenko explore the tortuous meanders of the human soul with vocal works by Schubert (an ‘existentialist’ composer if ever there was one), Beethoven (whose torments hardly need stressing) and the contemporary composer Wolfgang Rihm, whose highly expressionistic Jakob Lenz Nigl performed on stage in 2019. His piece Vermischter Traum, here given its world premiere, is dedicated to the Austrian singer. © Alpha Classics
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Schubert: Schwanengesang/Beethoven: An die Ferne Geliebte
Matthias Goerne
Classical - Released January 1, 2005 | Decca Music Group Ltd.
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Schubert: Schwanengesang - Beethoven: An die ferne Geliebte
Roderick Williams
Mélodies - Released May 1, 2020 | Chandos
Hi-Res
Booklet
Although only twelve years separate the composition of Beethoven’s An die ferne Geliebte and Schubert’s Schwanengesang, the ethos and sound world of the two works are markedly different. Pairing them on the concert platform seemed an obvious choice on one hand, but I was reminded not to try to perform Beethoven in the way I perform Schubert. For one thing, the former still has the ring of the late classical, while the latter explores the darkness of the early romantic. For this reason, we decided to record the two works in slightly different soundscapes. In An die ferne Geliebte, the inventiveness of Beethoven is best expressed in the piano writing, while the vocal part is deliberately simple, strophic (the music is repeated for each stanza), and folk-like. ...the sixth song states that these songs are offered ‘ohne Kunstgepräng’. And so we have set the voice slightly more distantly in the balance, giving the piano due prominence; the effect is almost as if I were singing over Iain’s shoulder. Schwanengesang is recorded more traditionally: in these most extraordinary and progressive songs the vocal line is supported by the piano, in equal partnership. © Roderick Williams/Chandos
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Schubert: Schwanengesang - Beethoven: An die ferne Geliebte
James Gilchrist
Classical - Released October 1, 2010 | Orchid Classics
Booklet
Beethoven's An die ferne Geliebte, Op. 98 (To the Distant Beloved), and Schubert's Schwanengesang, D. 957 (Swan Song), are two of the most prominent landmarks of the entire repertory of art song cycles, and they've been recorded by quite a variety of heavyweights. Singers approaching these works must find it tempting to try out atypical readings in order to stand out from the crowd, and that's what British tenor James Gilchrist does here. In a word, he tries to recapture the chamber dimensions of works that have resided for a century mostly in good-sized concert halls (even with the relative lack of popularity of art song as compared to other classical genres). Gilchrist has a gorgeous sound that will no doubt attract listeners on its own. He keeps it to moderate dimensions here, and, more important, he avoids grand gestures and takes a relaxed, varied attitude toward tempo. Parts of the Beethoven -- listen to "Diese Wolken in den Höhen" (These High Clouds), track 4 -- are quite brisk, and even the gloomier corners of Schubert's cycle are dispatched without too much fuss. You may miss the sentiment. But it's not a mechanical performance; it's easy to imagine Gilchrist singing the cycles for audiences that knew them well, such as the circle of close friends for which Schubert wrote much of his vocal music. It's a valid reading, if an unorthodox one, supported very well by pianist Anna Tilbrook, by the engineers of Orchid Classics (working at the acoustically superb Potton Hall), and by the unorthodox but convincing graphic design of the project. Recommended for those wanting to try out something new with some well-worn classics.
© TiVo
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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 - 50 of the Best
Budapest Failoni Chamber Orchestra
Classical - Released June 11, 2013 | Naxos Special Projects
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Schubert: Goethe Lieder
Matthias Goerne
Classical - Released January 1, 1997 | Decca Music Group Ltd.
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