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Schubert: Schwanengesang etc
Dietrich Fischer-Dieskau/Gerald Moore
Classical - Released January 1, 2001 | Warner Classics
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Schubert: Schwanengesang D. 957 / Brahms: Vier ernste Gesänge, Op. 121
Thomas Quasthoff
Classical - Released January 1, 2001 | Deutsche Grammophon (DG)
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Schubert: Schwanengesang
Christian Gerhaher
Classical - Released April 30, 1999 | ARTE NOVA Classics
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La symphonie des oiseaux
Shani Diluka
Classical - Released January 27, 2017 | Mirare
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Schubert: Messe No. 6, Octuor & Le Chant du cygne
Various Artists
Classical - Released December 31, 2021 | Les Indispensables de Diapason
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Le Chant du Cygne, D 957
Ernst Haefliger
Vocal Music (Secular and Sacred) - Released January 1, 1986 | Claves Records
Schwanengesang (Chant du cygne)
Benjamin Luxon
Art Songs, Mélodies & Lieder - Released March 1, 2003 | Chandos
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Schubert: Schwanengesang
Andrè Schuen
Classical - Released November 18, 2022 | Deutsche Grammophon (DG)
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OPUS Klassik
After receiving huge praise for his debut album on Deutsche Grammophon, baritone Andrè Schuen continues his Schubert journey. Schubert's enigmatic final collection of songs, Schwanengesang, is the subject of Andrè Schuen and his longstanding accompanist Daniel Heide's second release for Deutsche Grammophon. Schuen calls Schwanengesang "my greatest love among the Schubert lieder. Especially the Heine settings; they move me the most!". © Deutsche Grammophon
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Schubert: Schwanengesang
Mark Padmore
Classical - Released January 27, 2023 | Decca Music Group Ltd.
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This release by tenor Mark Padmore and pianist Mitsuko Uchida, Schubert specialists both, came with strong recital buzz on both sides of the Atlantic and landed on classical best-seller charts in early 2023. This recording was made at Wigmore Hall in London. It is Schubert's not-quite-cycle Schwanengesang (it was assembled into a set after Schubert's death) that gets top billing in the graphics, but the album opens with Beethoven's An die ferne Geliebte, Op. 98, the first true song cycle, shown on the cover in small print. The piano part in Beethoven's songs had an unprecedentedly major role in the proceedings, and the placement of the set at the beginning may serve to advise the listener of the unusual emphasis on Uchida's piano in the main Schubert attraction as well. Sample Ständchen, the most famous song in the set, or Abschied for a taste of the lively, spritely quality that is Uchida's alone. The piano-driven effect is heightened by the engineering, which puts Padmore's voice somewhat into the background, and it is not at all clear that this needed to be done. Padmore remains, however, a terrific Schubert interpreter. His voice is a bit thin in its middle register by now, but his ability to extract fine shades of meaning through slight alterations of tempo is unmatched. In general, this is a fine Schubert recording that lives up to the hype, and it is especially recommended to Uchida fans; they will discover a new facet of her talent.
© James Manheim /TiVo
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Schubert: Schwanengesang & String Quintet
Julian Prégardien
Classical - Released September 10, 2021 | Alpha Classics
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Here are two works composed by Schubert at the very end of his short life. Schwanengesang (Swansong) was written in Vienna in the autumn of 1828. He died on 19 November at the age of thirty-one, and Die Taubenpost (Pigeon post), which closes the collection, is said to be his very last composition. The fourteen songs, by turns light-hearted, sombre and melancholy, are settings of poems by Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl. In the summer of the same year he composed his String Quintet in C major, scored for two cellos, which was not premiered until 1850, at the Vienna Musikverein. The power and orchestral dimensions of the work make it a pinnacle of nineteenth-century chamber music. We could not have dreamt of a finer line-up of musicians to record these two Schubert monuments. Fanny Mendelssohn’s Schwanenlied (also to words by Heinrich Heine) completes the programme, along with Felix Mendelssohn’s Song Without Words No. 1 (for solo piano), composed a year after Schubert’s death and Schubert’s own setting of an unrelated Schwanengesang (D. 744, on a poem by Johann Senn). © Alpha Classics
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Schubert: Schwanengesang
Ian Bostridge
Classical - Released September 23, 2022 | PentaTone
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This 2022 release of Schubert's Schwanengesang, D. 957 ("Swan Song"), which pianist Lars Vogt did not live to see, is one of the pianist's swan songs, and it makes a fitting memorial. This may be one of the factors that propelled the album onto classical best-seller lists in the autumn of 2022, but the album has intrinsic merits on which it can rest. Vogt delivers an exceptional performance as an accompanist in these pieces, which do not form a true song cycle (they were compiled by a published after Schubert's untimely death), but which point to directions Schubert would have explored had he lived and in some cases look deep into the future. To an unusual degree, they emancipate the accompaniment from the melody line, and Vogt's way of setting a whole scene with the introductions is uncanny. Sample the murky opening of Der Doppelgänger for an idea, or the famed Ständchen, which has a unique flavor here. As for the star of the show, tenor Ian Bostridge, those more comfortable with a baritone in these songs may be pleased to note a new richness in his lower register as he approaches his sixth decade, compared with the last time he recorded these songs in 2009. Otherwise, this is trademark Bostridge, with flexible lines tending toward an operatic approach, clear diction, and controlled emotion. One could argue that Vogt made an ideal foil for his style. Another draw is the presence of Einsamkeit, D. 620, a set of connected songs that shows Schubert responding directly to Beethoven's An die ferne Geliebte, Op. 98. The real star here though, perhaps, is Vogt, and it is good to have this release to remember him.© James Manheim /TiVo
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Schubert: Schwanengesang, D. 960
Matthias Goerne
Classical - Released April 1, 2012 | harmonia mundi
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Schubert: Schwanengesang
Werner Güra, Christoph Berner
Classical - Released November 6, 2007 | harmonia mundi
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Franz Liszt: Schubert & Wagner Transcriptions
Jean-Nicolas Diatkine
Classical - Released May 27, 2022 | Solo Musica
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Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations. Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire. © solo musica
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Thomas Quasthoff in Verbier
Thomas Quasthoff
Classical - Released December 1, 2023 | Verbier Festival Gold
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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-Liszt: Lieder Transcriptions
Frederic Chiu
Classical - Released September 8, 1998 | harmonia mundi
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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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Booklet
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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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