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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

Hi-Res Booklet Distinctions 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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Franz Schubert : "Erlkönig" (Lieder, vol. 7)

Matthias Goerne

Art Songs, Mélodies & Lieder - Released February 25, 2013 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Le Choix de France Musique - 4 étoiles Classica
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Insomnia

Katharina Konradi

Classical - Released April 28, 2023 | Berlin Classics

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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

Bernarda Fink, Gerold Huber

Classical - Released September 2, 2008 | harmonia mundi

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Schubert: Lieder

Elly Ameling

Classical - Released January 1, 1974 | Universal Music Australia Pty. Ltd.

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Haydn, Schubert, Ravel

Anne Sophie von Otter

Classical - Released January 31, 2012 | New York Philharmonic

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Schubert: Im Abendrot, D. 799 (Transcr. for Cello and Piano)

Kian Soltani

Classical - Released November 11, 2022 | Deutsche Grammophon (DG)

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Father & Son (Schubert, Brahms, Schumann...)

Christoph Prégardien

Lieder (German) - Released November 21, 2014 | Challenge Classics

Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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Schubert: Abendbilder

Christian Gerhaher

Classical - Released January 1, 2005 | RCA Red Seal

While not all of the 17 Schubert songs collected here under the title Abendbilder (Evening Images) deal specifically with the evening, most are at least tinged with the melancholy that's associated with the end of the day in the romantic imagination, and baritone Christian Gerhaher's passionate sensibility brings that melancholy to the fore. Gerhaher's voice has matured since his fine 2001 recording of Der Winterreise and his interpretive skills have deepened. He is becoming a master of an effortless, creamy legato that's especially evident in the long floating lines of "Du bist die Ruh." The way Gerhaher's voice materializes out of nothing in "Im Abendrot" is magical, and the simplicity and directness of his singing is heartbreakingly poignant. He is at much at home in the more energetic and vociferous songs, such as "Bei dir allein," "Auf der Bruck," and "Der Musensohn," but it's in the more introspective pieces, where he can caress the words, that he is most unaffectedly moving. Gerold Huber provides supple and nuanced accompaniment, and the partnership of voice and piano is one of the album's greatest strengths. The sound is warm, present, and well balanced, with just enough resonance to maximize Gerhaher's ringing tone.© TiVo
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Schubert: Lieder

Dietrich Fischer-Dieskau

Classical - Released November 1, 1983 | Decca Music Group Ltd.

Schubert: Lieder

Elly Ameling

Classical - Released January 1, 1974 | Decca Music Group Ltd.

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Schubert: Nacht und Träume

Accentus - Laurence Equilbey

Classical - Released November 3, 2017 | Warner Classics

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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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Schubert: Lieder

Hans Hotter

Classical - Released June 1, 1994 | Warner Classics

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Im Abendrot D 799

Franz Schubert

Classical - Released September 22, 2023 | Challenge Classics

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Schubert: Im Abendrot, D. 799 (Transcr. for Cello and Piano)

Kian Soltani

Classical - Released November 11, 2022 | Deutsche Grammophon (DG)

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Vanitas - Beethoven, Schubert & Rihm

Georg Nigl

Classical - Released November 13, 2020 | Alpha Classics

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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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Wanderer

Andreas Scholl

Classical - Released January 1, 2012 | Decca Music Group Ltd.

Hi-Res Distinctions 5 de Diapason - 4 étoiles Classica
German countertenor Andreas Scholl is known not only for his gorgeous voice, but gutsy programming, and he may never have been more gutsy than in this set of German Romantic and proto-Romantic (an important distinction of which more in a moment) songs. It's pretty clear that any of the composers included on this album would have doubled over with laughter at the idea of hearing his music sung by a countertenor, and the highly gendered quality of the music of the 19th century is one of its primary motivating forces. Thus there's real excitement in hearing that Scholl does, in fact, pull it off. Quoted in the notes, he offers the expected platitudes about how what matters in singing lieder is not voice type but connection with the music. Yet there's more than that to what's happening here. Scholl does not simply program a typical lieder recital; rather, he tailors his repertoire to his unusual voice. Haydn, with three songs, and Mozart (two) are overrepresented, and this helps bridge the acceptance gap: the simple, folklike melodies of these songs (Haydn's are in English) require less suspension of disbelief than do the full-blown Romantic pieces. Moving into Schubert, Scholl makes some interesting choices. The famed Ave Maria is a piece of sheer Italianate melody that works beautifully in Scholl's voice; it's of a piece with any number of his earlier recordings. In Der Tod und das Mädchen, D. 531 (Death and the Maiden, the source of a tremendous set of variations in one of Schubert's string quartets), Scholl sings both of the dialogic parts himself: the Maiden is his usual countertenor voice, while he sings Death as a baritone. The strangeness of this leapfrogs, as it were, that of hearing a countertenor sing Schubert. Add to these the fact that Scholl mostly avoids songs with romantic and erotic themes, and it adds up to an album that continually surprises rather than one that is trying to force something into a mold where it doesn't belong. Accompanist Tamar Halperin stays mostly out of the way, which is the right thing to do, and in all Scholl can claim another in his string of triumphs, even if it's maybe not the first one for newcomers to start out with.© TiVo