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Wolf, H.: Gedichte Von Eduard Morike (Excerpts)
Mitsuko Shirai
Vocal Music (Secular and Sacred) - Released January 1, 1998 | CapriccioNR
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Echo: Schubert, Loewe, Schumann & Wolf
Georg Nigl
Classical - Released May 5, 2023 | Alpha Classics
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4F de Télérama
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Lieder & Balladen
Stéphane Degout
Art Songs, Mélodies & Lieder - Released March 6, 2020 | harmonia mundi
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The mystery of the ballad comes from the way it is told.’ (Goethe). Epic to the point of hallucination, this genre calls for skill in narrative, word-painting, evocation. And it is as a peerless storyteller that Stéphane Degout tackles this repertory which the German Romantics raised to unequalled heights. Who would have believed, before listening to this disc, that a French baritone could pay such eloquent tribute to the language of Goethe? © harmonia mundi
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The Complete Recitals on Warner Classics
Christa Ludwig
Classical - Released March 9, 2018 | Warner Classics
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This eleven hour box set marks the 90th birthday of German mezzo-soprano Christa Ludwig, whose phenomenal career, which ran from 1950 to 1990, still inspires admiration in her colleagues (of course) and a growing number of music fans. She has collaborated with the greatest musicians of her age, most notably Herbert von Karajan, Leonard Bernstein and Otto Klemperer. She also shone in the genre of the Lied, with a brilliance comparable to Elisabeth Schwarzkopf's or Dietrich Fischer-Dieskau's – and of course she regularly performed with both – and these recordings with Gerald Moore and Geoffrey Parsons bear witness to her talents. A note on the brand-new releases that form part of this edition: some performances are published here for the first time*: these are Lieder with orchestra by Alban Berg (tracks 144 to 146), Max Reger (track 137) and Richard Wagner (track 124) as well as Lieder with piano by Hugo Wolf (track 14), Franz Schubert (tracks 15 and 16, 62 to 66) and Stille Nacht (track 89), which were left aside when they were first recorded, either because of the limits of the 33rpm format, or just because of a decision by the artistic director. This collection also sees some pieces re-published for the first time since their release on LP, such as the piece by Gluck (track 88), several of Brahms' Lieder (tracks 15 to 19, tracks 104 and 107). The recital of Brahms which Christa Ludwig would record alongside Walter Berry appears here in its entirety for the first time since it was first released (from track 67 to track 89, see above). © Qobuz
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Burnished Gold
Robyn Allegra Parton
Classical - Released June 23, 2023 | Orchid Classics
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The title of this release by soprano Robyn Allegra Parton refers not only to a general mood of circa-1900 Vienna but specifically to the frequent use of burnished gold-leaf in the paintings of Gustav Klimt, whose Vienna Secession movement in art had many affinities to what was happening in the musical world. Parton uses the gold as lipstick in the graphics; one may or may not go for this, but the package here is coherent and satisfying in several ways. Richard Strauss is present on the program, and Parton, writing her own notes, correctly points out that his influence loomed large on all the composers heard here. But in a way, the interest of Parton's program lies in the differences among the styles of the composers on the program. Parton puts the listener in the place of an audience member at a vocal recital of the time, hearing the Impressionist hints of Joseph Marx, the new simplicity of the young Erich Korngold, the decisive steps toward atonality in the Seven Early Songs of Berg (at the time Schoenberg's student), and the works of two female composers, the quite playful experimental Johanna Müller-Hermann and Alma Mahler-Schindler, both of whom were heard fairly frequently at the time but were later forgotten. Parton's voice is an absolutely distinctive soprano, with a bit of rough texture flashing unexpectedly into a brilliant top. Quite a few recordings lately have explored the rich repertory of Austrian vocal music of this period, but this one is especially well thought-out and executed; it appeared on classical best-seller charts in the summer of 2023.
© James Manheim /TiVo
Wolf: Gedichte von J.W. v. Goethe (Live)
Dietrich Fischer-Dieskau
Classical - Released May 23, 2000 | Orfeo
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Hugo Wolf: Lieder von Mörike
Locky Chung
Classical - Released April 20, 2020 | Leeway Music & Media, Inc
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Nicholas Angelich: Hommage
Nicholas Angelich
Classical - Released September 1, 2023 | Warner Classics
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Pianist Nicholas Angelich, even more admired in Europe than in his native U.S., passed away tragically early in 2022 at the age of 51. One way to look at this Hommage is to note that it took quite a bit of research power, much of it apparently donated, to put together this massive seven-volume tribute, assembled from live performances and radio broadcasts between 1995 and 2019. That is a lot of Angelich, but fans here will find much that sheds new light on his genius. Consider the Brahms Variations and Fugue on a Theme by Haydn, Op. 24, which Angelich rarely played in concert. It receives a wonderfully controlled performance in which the tricky architecture of this work comes to the surface. Angelich was a fine virtuoso, and the Liszt Transcendental Etudes and the big Russian works generally have a layer of excitement added by the live performance. However, Angelich is equally effective in subtler pieces, thoughtful in the likes of Zemlinsky and the Bach Goldberg Variations, BWV 988, where the sequence of events feels somewhat different from in the pianist's 2011 studio recording even as the über-Romantic slow tempos are retained. His opening aria is even slower than on the studio version. The mastering of these immensely diverse sound sources from Erato is as good as such a thing can be, and physical album buyers get some fine reflections on the pianist's work. This is, in short, an effective tribute to a pianist whose life and work were brutally cut short.© James Manheim /TiVo
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Schumann: Lieder
Bernarda Fink
Classical - Released November 24, 2009 | harmonia mundi
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Mozart & Strauss: Lieder
Sabine Devieilhe
Vocal Music (Secular and Sacred) - Released March 29, 2024 | Warner Classics
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4F de Télérama
Neither Mozart nor Strauss is much known for songs, but their pairing here, nicely framing the golden age of the German lied, succeeds in showing the virtues of both as song composers. Soprano Sabine Devieilhe has often taken up Mozart's music. She is new to Strauss, but she catches his Classical, or neo-Classical, side in the selections on this album, wisely avoiding heavier material. The elegant little structures of Mozart's songs seem to bloom into Strauss' more elaborate treatments of similar structures, and when Strauss does open up his range, as in the wildly flowery Amor, Devieilhe, known for her interpretation of the Queen of the Night's "Der Hölle Rache" in Die Zauberflöte, K. 620, is ready. Mozart, in turn, is ennobled by this program, with small melodic details emerging nicely in the work of Devieilhe and the lively and timbrally varied accompanist Mathieu Pordoy. The whole project has the feel of small treasures known to performers who take pleasure in sharing them, an impression reinforced by the photos of the pair in the graphics and also by the acoustic environment of a small hall at the Paris Opera. A delightful song recital that rightly made classical best-seller charts in the spring of 2024.© James Manheim /TiVo
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Telemann: A Christmas Oratorio
Kleine Konzert, Das
Classical - Released November 11, 2023 | CPO
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Georg Philipp Telemann never wrote a Christmas oratorio, but that hasn't stopped performers from assembling them out of holiday-season cantatas. The one here by veteran choral conductor Hermann Max and his instrumental group Das Kleine Konzert isn't the first one. It is not even the first one on the CPO label. There is no basis for objecting to this kind of creative repertory expansion, for Bach's Christmas Oratorio, BWV 248, was put together in basically the same way. Telemann isn't Bach, though most listeners will find satisfying listening here for the holiday season or any other time, and this album, in fact, made classical best-seller lists in early 2024. Max and company program five Telemann cantatas, unfailingly tuneful and well-made in the composer's characteristic way. One striking thing is that there are two quite late works from the 1750s and 1760s; the others are from earlier in Telemann's career, yet the style remains consistent. In some genres, Telemann caught on to the emerging light styles coming from Italy, but in church cantatas, he seems to have played it straighter. Max is not known as an adherent of the one-voice-per-part philosophy, yet here, his choruses are taken by the four soloists from his fine Rheinische Kantorei choir; there is no chorus. This is less than ideal. From what we know of Telemann's late occasional works, they were big, festive affairs. However, the decision was likely the result of COVID-era restrictions (the album was recorded in December of 2020), and in the airy acoustic of Cologne's Trinitatiskirche, one doesn't miss the choir much. Moreover, the choruses are mostly not simply chorales but are more complex polyphonic pieces; one quotes the old In dulci jubilo hymn, a pure Telemann move. The interpretations generally have Max's characteristic warmth, and the soloists (in the solos) are idiomatic and direct. Telemann lovers will enjoy this release.© James Manheim /TiVo
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Wer hat hier schlechte Laune
Max Raabe
Pop - Released October 14, 2022 | We Love Music
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Schumann & Brahms Lieder
Elina Garanca
Classical - Released November 6, 2020 | Deutsche Grammophon (DG)
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Mezzo-soprano Elina Garanča has been known primarily as an operatic singer. This 2020 release on Deutsche Grammophon marks her debut on recordings in song repertory, although she and accompanist Malcolm Martineau performed these songs often in the months leading up to the recording, and there's nothing tentative about the performances. It's not saying too much to observe that Garanča here, more than in operatic recordings, brings the great Christa Ludwig to mind, although Ludwig sang lieder at all stages of her career. There's the gradual way in which Ludwig's voice matured over time, the sense of discovering things in it that one never knew were there. The overall richness of the voice, the depth in the lower register, the effortless power at the top: all these aspects will sound familiar to those who remember the German soprano, but none of it means that Garanča uses vocal beauty to skate across the meanings of the texts. She has a dramatic soprano's insight into Schumann's Frauenliebe und Leben, Op. 42, which brings out the arc of the cycle rather than letting it disintegrate into a set of individual songs. The individual Brahms lieder, mostly familiar numbers, have a real freshness here. Garanča's voice soars through it all, and it remains a wonder. May one hear more song repertory from this artist!© TiVo
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3.15.20
Childish Gambino
Pop - Released March 22, 2020 | Wolf+Rothstein - RCA Records
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He has been everywhere these last two years: on TV in Atlanta or Saturday Night Live, in cinemas with Star Wars, and on all the radio shows with his latest global hits Feels Like Summer or This Is America, and his superb video denouncing racism and violence in the country. After a period of confinement, Donald Glover came back without warning, uploading his fourth album, soberly titled 3.15.20. The track listing is just as detached, with tracks composed of numbers indicating the length of time since the beginning of the record, with the exception of Algorhythm, a cranky industrial P-funk that launches the album after a psychedelic prologue, and Time, with a very discreet Ariana Grande (Feels like Summer also returns under the title 42.26). Assisted in production by the faithful Ludwig Goransson and DJ Dahi (Kendrick Lamar, Vince Staples...), Childish Gambino revisits black music with a twist (53.49) and pushes it to its limits, mixing rap, rave and industrial on 32.22 or on the eight minutes of 24.19, somewhere between Prince and Bohemian Rhapsody. These sonic and cultural collisions create great moments, such as the synthetic pop song of the future 19.10 or 12.38 with 21 Savage and Khadja Bonet, the climax of an album that still has the power to upset the applecart. © Smaël Bouaici/Qobuz
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MTV Unplugged
Max Raabe
Pop - Released November 22, 2019 | We Love Music
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MTV Unplugged 2: Live vom Atlantik
Udo Lindenberg
Germany - Released December 14, 2018 | WM Germany
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Beethoven Songs
Matthias Goerne
Classical - Released March 20, 2020 | Deutsche Grammophon (DG)
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STRAUSS, R.: 4 Last Songs / Orchestral Songs (Isokoski)
Soile Isokoski
Vocal Music (Secular and Sacred) - Released January 1, 2002 | Ondine
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Gramophone Editor's Choice
In this collection of orchestral songs by Richard Strauss, including the Four Last Songs, Finnish soprano Soile Isokoski demonstrates that this is obviously repertoire in which she is fully at ease and which is ideally suited to her voice. Strauss demands a nuanced command of a broad range of vocal colors and weights, and Isokoski shows an idiomatic mastery of his style. She has the suppleness and lightness to make "Säusle, liebe Myrte" really sparkle, and she brings a rich warmth to "September" and "Im Abendrot." And she can radiantly soar over the orchestra in "Befreit," and in all the Four Last Songs. Isokoski's voice doesn't have the natural luminosity or openness to put this in the very top ranks of recordings of these songs, but hers is a very fine performance; it should delight her fans and also be of interest to listeners who love the songs and who savor hearing a variety of interpretations. Marek Janowski leads Rundfunk-Sinfonieorchester Berlin in a rhythmically supple performance, although the strings don't have the richness of the most acclaimed orchestras. He doesn't fully capture the twilight glow of the Four Last Songs, and the ending of "Im Abendrot" comes across as flaccid rather than evocative. The sound of Ondine's 2001 recording is warm and nicely ambient, but it tends to slightly favor the orchestra, so that Isokoski doesn't always shine with the brightness of which she is clearly capable.© TiVo
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Bach: Cantatas 54, 82 & 170 "Widerstehe", "Ich habe genug" & "Vergnügte Ruh"
Iestyn Davies
Classical - Released December 30, 2016 | Hyperion
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