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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

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Soirée

Magdalena Kožená

Chamber Music - Released September 1, 2019 | PentaTone

Hi-Res Booklet
This is an album fit to satisfy the most refined and demanding gourmets. Magdalena Kožená and friends, including husband Sir Simon Rattle on the piano, have carefully concocted a programme of choice melodies for voice and various instrumental ensembles. Ranging from rarities (Chanson perpétuelle by Ernest Chausson opens the album) to curiosities (Arias by Dvořák, the wonderful Two Songs, Op.91 by Brahms with a bewitching solo viola played by Yulia Deyneka), the record takes in a series of treats (childish rhymes, Říkadla, by Leoš Janáček) and also affords us the precious Chansons madécasses by Ravel, an unusually lascivious and sensual denunciation of slavery and colonialism, and the very rare Three Songs from William Shakespeare, written in 1953 by a Stravinsky who had been converted to hardcore serialism by his friend Robert Craft. The excellent English soloists accompanying Magdalena Kožená show a little humour by ending this Soirée at the first rays of morning, with a transcription of Morgen by Richard Strauss for mezzo-soprano, violin and piano. English humour, for sure. © François Hudry/Qobuz
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Beethoven: Piano Concerto No. 5; Piano Sonata No.28 in A, Op.101

Hélène Grimaud

Classical - Released January 1, 2007 | Deutsche Grammophon (DG)

Hélène Grimaud's performances on this disc -- a coupling of Beethoven "Emperor" Piano Concerto with his Piano Sonata in A major, Op. 101 -- are truly fantastic. Her technique is essentially untouchable and her tone is surprisingly colorful. And, as in her previous recordings, her interpretations are outrageous. With Vladimir Jurowski and the Dresden Staatskapelle in the Concerto, Grimaud is unafraid to do whatever she wants with balance and tempos. And alone in the Sonata, she is even more audacious, bending, shaping, sculpting the music with no restraint applied except her own taste. And, while there is no guarantee that Grimaud's tastes will suit your own, you owe it to yourself to hear and judge for yourself. One might have thought Beethoven's strongly architectural music wouldn't be susceptible to such blandishment. But Grimaud's willfulness matches the composer's own broad streak of ornery individuality, and her sensual shapes and malleable tempos do the same. Jurowski gets the Dresden Staatskapelle to follow where Grimaud leads in the Concerto, and the results in both cases are perhaps the most persuasive recording of the pianist's career. Deutsche Grammophon's sound is exceptional.© TiVo
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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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The Gulda Touch, Vol. 2

Friedrich Gulda

Classical - Released August 18, 2023 | Jube Classic

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R. Strauss: Complete Tone Poems

SWR Sinfonieorchester Baden-Baden und Freiburg

Classical - Released February 12, 2021 | SWR Classic

Booklet
While composers like Schumann and Brahms held fast to the classical concept of the symphony, it was composers of the New German School, such as Wagner and Liszt, who preferred the tone poem as a modern means of expression for orchestral music. It tries to convey non-musical topics, like legends, tales, myths, and sometimes novels, in musical terms: programme music in its best sense. Strauss’ boisterous self-confidence allowed him the conviction that a different ‘formula’ would enable him to roll out his musical imagination with inimitable style. His success in doing so has ensured the popularity of these works to the present day. The SWR Sinfonieorchester Baden-Baden and Freiburg under the baton of its former chief conductor Francois-Xavier Roth recorded all ten tone poems, as well as Strauss’ musical epitaph Metamorphosen, between 2012 and 2016. These recordings are now re-released. © SWR Classic
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Das heiße Herz

Christian Immler

Classical - Released July 1, 2022 | Alpha Classics

Hi-Res Booklet
Bass-baritone Christian Immler, accompanied by the pianist Andreas Frese, juxtaposes the contemporary composer Jörg Widmann with the Romantic Schumann in three cycles of lieder written between 1849 and 2013. "For us, Jörg Widmanns song cycle Das heiße Herz ("The Burning Heart") is to be numbered among the very greatest song cycles, and not just among those of this century. During our intensive rehearsals with Jörg Widmann, the many questions we had (and what a joy to be able to ask them!) often had surprisingly simple answers. The combination with Schumann’s late Harper and Lenau song cycles seems absolutely perfect, for similar situations permeate these cycles as well. Das heiße Herz is recorded here for the first time. © Alpha Classics
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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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The Art of English Horn

Dominik Wollenweber

Classical - Released October 15, 2021 | Supraphon a.s.

Hi-Res Booklet
"The English horn needs a soft, round vibrato ... We are among those who can move people to tears", says Dominik Wollenweber about his instrument. Let us not be misled by the humble conduct, and the absence of laudatory articles and glossy photographs. Wollenweber is one of the world's finest cor anglais players. Claudio Abbado has even labelled him the "best player of all time". Since 1993, Dominik Wollenweber has been with the Berliner Philharmoniker, members of which keep him company throughout the present recording. Conducted by Sir Simon Rattle, the orchestra accompany Wollenweber in Sibelius's wonderful tone poem The Swan of Tuonela. It is difficult to imagine an album dedicated to the English horn without the Largo from Dvořák's New World Symphony or without the solo from Wagner's Tristan und Isolde. On the other hand, Bach's Concerto in G major and Schubert's Impromptu No. 3 may come as a surprise, while Jean Françaix's Quartet is simply bound to lift the listener's spirit. If you love the English horn's singularly dark velvety colour, which otherwise can only be heard rather as a gleam of a gem stone on the large canvases of symphonic pieces, then this album is definitely for you. And those who have yet to discover the beauty of the cor anglais will undoubtedly savour the musical menu drawn up by a true master of the instrument. © Supraphon
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Schubert/Schumann Songs

Elly Ameling

Classical - Released January 1, 1980 | deutsche harmonia mundi

Distinctions The Qobuz Ideal Discography
It's not that the songs are fantastic, although Schubert and Schumann's songs are fantastic. It's not that Elly Ameling was young and full of spunk, although the young Elly Ameling was quite full of spunk. It's not that Jörg Demus is not a congenial accompanist, although he is as comfortable as a sofa and a tumbler of port. No, the reason that this disc is so terrific is that it disproves every rotten thing anyone's ever said about performances of Romantic music on period instruments because this is simply one of the most enchanting discs of echt Romantische Lieder ever recorded. Ameling's voice is so fresh and sweet, her tone so light and her technique so supple that she seems less a singer of the songs than the songs themselves given voice. And Demus' playing is so delicate but so strong, so lightly drawn, and so richly colored that one does not miss the sound of a concert grand, but rather revels in the sonorities of a hammerflugel. Only clarinetist Hans Deinzer in Schubert's Der Hirt auf dem Felsen (D. 965) takes some getting used to, and that's mostly because his tone is so wonderfully ripe and his playing is so marvelously dexterous. If all recordings of Romantic music played on period instruments sounded like this, all recordings of Romantic music would be played on period instruments. This is an exquisitely beautiful recording.© TiVo
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Christian Gerhaher - The Art of Song

Christian Gerhaher

Classical - Released November 1, 2013 | Sony Classical

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Schubert / Schumann: Songs

Elly Ameling

Classical - Released January 1, 1980 | deutsche harmonia mundi

It's not that the songs are fantastic, although Schubert and Schumann's songs are fantastic. It's not that Elly Ameling was young and full of spunk, although the young Elly Ameling was quite full of spunk. It's not that Jörg Demus is not a congenial accompanist, although he is as comfortable as a sofa and a tumbler of port. No, the reason that this disc is so terrific is that it disproves every rotten thing anyone's ever said about performances of Romantic music on period instruments because this is simply one of the most enchanting discs of echt Romantische Lieder ever recorded. Ameling's voice is so fresh and sweet, her tone so light and her technique so supple that she seems less a singer of the songs than the songs themselves given voice. And Demus' playing is so delicate but so strong, so lightly drawn, and so richly colored that one does not miss the sound of a concert grand, but rather revels in the sonorities of a hammerflugel. Only clarinetist Hans Deinzer in Schubert's Der Hirt auf dem Felsen (D. 965) takes some getting used to, and that's mostly because his tone is so wonderfully ripe and his playing is so marvelously dexterous. If all recordings of Romantic music played on period instruments sounded like this, all recordings of Romantic music would be played on period instruments. This is an exquisitely beautiful recording.© TiVo
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Richard Strauss : Lieder

Jonas Kaufmann

Art Songs, Mélodies & Lieder - Released August 15, 2007 | harmonia mundi

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Telemann: Christmas Cantatas, Vol. 3

Mirko Ludwig

Classical - Released January 4, 2019 | CPO

Booklet
Between 1717 and 1765 Georg Philipp Telemann composed more than 1 700 cantatas for performance on all the Sundays of the church year. Some dozen annual cycles from his period as music director in Frankfurt am Main and above all those from his Hamburg years have come down to us. In quantitative terms, the four Sundays of Advent and the three days of Christmas are the most strongly represented – with almost about two hundred cantatas. Apart from the cantatas for solo voice and solo instrument with basso continuo from his anthology Harmonischer Gottesdienst of 1725, only a few compositions for larger ensembles from this treasure trove have been edited and recorded. This album features four cantatas by Telemann that may be regarded as world-premiere recordings. They are musical gems that impress us with their melodic originality and musical character and even after more than 250 years are very much worth being performed again! © CPO
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Beethoven : Sonates 4 & 28 - Rondos

Grigory Sokolov

Classical - Released October 25, 2005 | naïve classique

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Dvořák: Piano Works

Radoslav Kvapil

Classical - Released February 26, 2010 | Supraphon a.s.

Dedicated Dvorák fans will want this four-disc set of the composer's complete piano works played by Radoslav Kvapil. Dating from the late '60s, the performances are subtle, sensitive, and played as well as one could hope. Kvapil seems to not only know the pieces, he appears to like them, and he gives each one his undivided attention and complete commitment. Dvorák was not at his best writing for the piano, and most of the music here could be best described as salon music: poetic, evocative, tender, and very small scale. Imagine Grieg's Lyric Pieces but with a bit less charm and a lot less character and you'll have some idea of what to expect. The best pieces are the later ones -- the Suite in A, Op. 98; the Humoresques, Op. 101; and the Poetic Moods, Op. 85 -- and as he does with everything here, Kvapil neither over- nor under-interprets them, but lets them speak for themselves. Whether this approach succeeds in making this music more than entertaining is up to the individual listener. Supraphon's stereo sound is perhaps too distant and possibly too boxy, but still serviceable.© TiVo

Brahms: Lieder

Margaret Price

Classical - Released January 1, 2016 | Orfeo

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Clara & Robert Schumann: Lieder und Duette

Petra-Maria Schnitzer

Classical - Released February 27, 2004 | Orfeo

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