Liederbuch [Import]

1. Im Badehaus

2. Pferdesegen (Contra Uerme

3. Tobacco-Lob

4. Ouwe Wie Jaemerliche...

5. Der Blinde Und Der Lahme

6. Merseburger (A: Zauberspr

7. Es Stuont Ein Frouwe Alle

8. Nieman Kan Mit Klagen

9. Kommt Ihr Jungfern Helft

10. Enzio

11. Totus Floreo

12. Gerhart Atze

13. Ronde

14. Wol Mich Der Stunde

15. Fur Irene

16. Hinweg, Die Besten Streit

17. Bald Anders

18. Zu Frankfurt, An Dem Main

19. Denunziantenlied

Tracks:

Renaissance Song & Dance
Dance Suite - Eramus Widmann - Collection Of1613
Three English Songs For Voices And Instruments
Instrumental Music Of The Early Barogue
Festive Sounds
Trouvere Tunes
The Cabinet Organ
Lauda And Motet
Minstrel Melodies
Medieval Dances

Customer Reviews:

A very nice album for SCAdian ears.......2007-04-25

This is a fun album. it's festive, playful, and a real joy to listen to. There is something for everyone in this album--including and especially SCAdians. In fact there's probably at least one piece on this album that every SCAdian dancer, musician, and/or bard will recognize. There's courtly songs, love songs, and get out of your chair dances, even formal pieces you associate with concert halls.

Whether you play in the SCA or just love great historical music, this is one of the better albums I've ever bought--on amazon or anywhere else!

Recording is defective.......2007-04-06

The first one I got had a lot of popping and crackling, and some digital defects that cause the CD player to skip. I liked the music so I bought another copy and it was the same. Both wound up in the trash. Don't waste your money on this disk.

adequate performances but totally inadequate information.......2005-04-27

It is perhaps unfair to judge the performances on this recording (presumably made in the late 1950s/early 60s? - we are not given a date) by modern standards of early music performance. Yes, there are moments when the experimental nature of the approach is all too apparent, both in terms of the [im]plausibility of the interpretations and in the [at times] excruciating intonation (a particularly pertinent example is the shawm playing in track 10). But what is in fact by far the most deplorable feature of this recording is the utter sparsity of information provided - about the performers, the instruments, the composers, the repertoire, etc. Worse still, what little that is provided is often hopelessly inaccurate: sometimes in the form of blatant spelling errors (eg the Coventry Carol becomes here 'Lully Lullary', etc), at other times factual blunders (the medieval 'Estampie' in track 10 is in fact a 16th cent [ie Renaissance] tourdion, 'Quand je bois du vin clairet', whilst John Dowland's 'Frogg Galliard', c.1597, is here given an anonymous attribution...etc, etc, etc).

In short, for those not acquainted with pre-Baroque music, this is NOT a good place to start!!! Seasoned Early Music connoisseurs, on the other hand, may find a perverse pleasure in some atrocious moments, or perhaps take interest in its value as an example of historically informed performance style in the pioneering years - but you have been warned!!

For those interested, here are some alternative recommendations if you are new to this music: firstly, 2 wide-ranging compilations by 2 well-known ensembles -

1. Sinners and Saints - The New London Consort/Philip Pickett (Decca 48559)
2. Portrait ('Moyen Age et Renaissance') - Hesperion XX/Jordi Savall (Auvidis Fontalis 'Portrait' ES9904), or either of the 2 new compilations by Savall and his ensemble(s) on Alia Vox ('Harmonie Universelle', AV9810; 'Harmonie Universelle II', AV9839).

and a compilation (mostly of early music) featuring a number of different groups -

'Pastime with Good Company' (Alpha, A901) [includes groups like L'Arpegiatta, Le Poeme Harmonique, Diabolus in Musica...]

A nice overview of very early music.......2003-12-02

This was one of the first recordings of early music I ever bought. It's a broad survey of styles and periods, from the 12th to 17th centuries. I've become a more sohisticated listener since then, but I still get this one out fairly regularly. The recording is apparently old and the digital remastering was not done extraordinarily well, but those who are more interested in music than in audio equipment should be able to listen through the occasional (minor) vinyl surface noise. My major complaint (why I gave it 3 stars instead of 4) is the lack of documentation--there is no information about the musicians, and many of the composers are uncredited (some because they actually are anonymous, but sometimes out of apparent laziness). Still, at this price it's a bargain.

Don't Be Affraid.......2003-11-19

This cd is worth picking up. Yes the first couple of tracks have pops and crackles in it. And yes it sounds as if the music was transfered directly from a vinyl source. But the performances and selections on this cd are fabulous. And you get use to the flaws in the recordings. Which I find minor.

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

Stadtpfeiffer: Music of Renaissance Germany

Average customer rating:

"Kind of Blue," 16th-Century Style
Lively, intricate and artful music from Piffaro!
Exquisite!
It made me cry!

Stadtpfeiffer: Music of Renaissance Germany
Paul Hofhaimer , Heinrich Isaac , Heinrich Finck , Ludwig Senfl , Caspar Othmayr , Adam Gilbert , Johann Jakob Walther , Michael Praetorius , Anonymous , Gregorian Chant , Adam von Fulda , Georg Forster , Mack Ramsey , Christa Patton , and Piffaro
Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music

Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Chansons et Danceries (French Renaissance Wind Music)
Music From the Odhecaton
Canzoni e Danze: Wind Music from Renaissance Italy

ASIN: B000056OE8
Release Date: 2001-02-27

Tracks:

Greyner, Zanner - Piffaro/Mack Ramsey
Greiner, Zancker, Schnopfitzer - Piffaro/Mack Ramsey
Greiner, Zanner - Piffaro/Mack Ramsey
Ach Elshein, Liebes Elselein Mein - Piffaro
Im Maien - Piffaro/Mack Ramsey
Was Wird Es Doch Des Wunders Noch - Piffaro/Mack Ramsey
Was Wird Es Doch Des Wunders Noch - Piffaro
Was Wird Es Doch Des Wunders Noch - Piffaro
Ein Maidlein Zue Dem Brunnen Gierg - Piffaro
Quisquis Requiem Quaeris - Piffaro/Mack Ramsey
Non Argus Largus - Piffaro/Mack Ramsey
Non Somnos Requiem - Piffaro/Mack Ramsey
Ein Feste Burg Ist Unser Gott - Piffaro
Der Grabentanz - Piffaro
Will Neimand Singen - Piffaro/Christa Patton
Philou & Ho, Herders - Piffaro/Mack Ramsey
Der Pfauen Schwantz - Piffaro/Mack Ramsey
Bonum Vinum Cum Sapore - Piffaro/Mack Ramsey
In Feuers Hitz/Mole Gravati Criminum - Piffaro
Pange Lingua Gloriosi - Piffaro
T' andernaken A 4 - Piffaro
German Tunes Of The Early 16th Century - Piffaro
Den Besten Vogel - Piffaro/Benjamin Harms
Presulem Sanctissimum - Piffaro/Mack Ramsey
Patientiam Sanctissimum - Piffaro/Mack Ramsey
Patientiam Mueb Ich Han (A 4) - Piffaro
Patientiam Mueb Ich Han - Piffaro
Patientiam Mueb Ich Han (A 5) - Piffaro/Mack Ramsey
O Du Armer Judas - Piffaro/Mack Ramsey
Veni Sancte Spiritus - Piffaro/Mack Ramsey

Customer Reviews:

"Kind of Blue," 16th-Century Style.......2007-01-07

Most devotees of the great Miles Davis album Kind of Blue know its story from the liner notes by Bill Evans: Miles comes to the studio with a pocketful of modal scales and changes, shows them to the illustrious group - Cannonball Adderley, John Coltrane, Wynton Kelly, Bill Evans, Paul Chambers, and Jimmy Cobb - and everyone simply blows, unrehearsed. The result is the consensus "most influential" or "most beautiful" or simply "the greatest" (and certainly best-selling) jazz album of the '50s and perhaps the entire post-World War II period (and some say "ever"). It popularized "modal jazz," essentially a modal "cantus firmus" ("fixed song") around which players shaped their improvisations.

Lovers of early music - and admirers of "the Renaissance Band" Piffaro - will know exactly where I'm going here. The precision with which early music ensembles like Piffaro perform their repertoire leads most listeners to conclude that every single note is scored as it is played. Nothing could be further from the truth. Generally, such pieces are also built around a modal cantus firmus and consist of ensemble members finding polyphonic, often contrapuntal, lines that harmonize or embellish the main melody.

Thanks to Guenther Schuller and other jazz historians, we associate "early jazz" with pioneering, pre-swing era, early 20th century Buddy Bolden/King Oliver/Louis Armstrong/Jelly Roll Morton "spontaneous composition" jazz music. That said, most music lovers know the familiar great players (and often composers) of earlier centuries - Bach, Mozart, Beethoven, Brahms, etc. - were all prodigiously talented spontaneous improvisers. Few of their improvisations have been written down (except as cadenzas to their scored compositions), and we don't connect classical improvisation to jazz music. Nor do we generally connect it to "early music" - that is, music that precedes the Baroque - nor does it seem we should, really: jazz is jazz, and in a distinct way, uniquely American, and Renaissance improvisation is vastly less "free."

And now (I know: "at last!") the point: Piffaro's "Stadtpfeiffer: Music of Renaissance Germany" is a glorious tutorial is the Renaissance style of cantus-firmus-plus-improvisation musical composition and performance, as beautiful and surprising in its way as Miles' classic is in its. Each member of this Philadelphia-based ancient-instruments wind ensemble is a technically flawless, multi-instrument musician. And each of the thirty tracks on this generous CD builds from simplicity through several incremental layerings to a thrilling, gyring, soaring, perfectly harmonious multi-voiced conclusion. The scholarship of the group - on display in the attractive, informative notes - is impeccable and results in satisfying arrangements that run through the full diversity of early wind-instrument settings (with occasional percussion, lute, and harp accompaniments).

Moreover, as other reviewers have noted, those who think early music wind instrumentation consists solely of the familiar recorders, shawms, crumhorns, serpents, and the like will be stunned by the presence of bagpipes in Piffaro's kitbag. Bagpipes traversed Europe from the Middle East and wound up in the British Isles (and known to most solely via sonic clichés like "Amazing Grace" and "Danny Boy"). Here they're a force of nature, blowing out from a primordial past, pitched higher than Scottish pipes, in swirls of glorious polyphony. If you enjoy Celtic music, or bluegrass, or the Baroque, or the Hot Fives and Sevens, or the Chieftains, or the Lord of the Rings soundtrack, find a copy of this CD and let the ingenuity of Renaissance masters such as Ludwig Senfl and Caspar Othmayr wash over you via the vituoso improvisational playing of Piffaro. "Early jazz" indeed.

Stadtpfeiffer (literally, "city piper" or "city musician") is, by the way, still available; you can at least order it from the Piffaro website. I stumbled across mine while Christmas shopping; the attractive cover art caught my eye, I like early music, had some Michael Praetorius but little else from Germany, and so selfishly gave myself a gift, sound unheard. What a find, like pulling down a random book at the library that, once read, has changed your life. I haven't stopped playing it. Neither will you.

Lively, intricate and artful music from Piffaro!.......2002-11-25

"Across early Renaissance Europe," begins commentator Robert Kendrick in the insert introduction, "the best-known wind ensembles consisted largely of players from Germanic lands, who took their craft with them to Italy, Spain, and France." This CD features sophisticated, contrapuntal compositions of Senfl, Isaac, Othmayer and Finck, interspersed with delightfully direct arrangements of simpler tunes by the Piffaro musicians themselves. Alternating consorts of recorders and reeds are enhanced by brass, lute, harp and percussion. Core Piffaro members Adam and Rotem Gilbert, Grant Herreid, Tom Zajac, and co-directors Joan Kimball and Robert Wiemken are joined by guests Benjamin Harris on percussion, Christa Patton on harp, and Mack Ramsey on wind instruments. This is my favorite Piffaro recording so far, because of the variety of distinctive sounds and composition styles. There's a bit of everything on here, and all of it very enjoyable to listen to! Done in a similar vein is the group's 2002 Dorian release, "Music from the Odhecaton: Celebrating the 500th Anniversary of the First Printed Music".

Exquisite!.......2001-12-25

This CD contains beautiful songs of German Renaissance. The music is performed in a very sensitive way. I consider impossible not to be touched by the wonderful sounds of the wind instruments. I highlight the 5 track, very beautiful. The musicians of Piffaro play the instruments with love and passion. The result is a great emotion.

It made me cry!.......2001-03-27

I tuned to the classical radio when I ran errands the other day and heard music like none I've heard before. Perfect bagpipes, yet I verified that it was indeed German Rennaisance music. I nearly had to pull over with the tears that came to my eyes!

Average customer rating:

Most important lieder cycle in the 20th century
Goerne works wonders yet again.

Eisler: The Hollywood Songbook

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Wolpe: Zeus und Elida Op5a; Schöne Geschichten Op5b
Deutsche Sinfonie, Op. 50 (German Symphony)
Kálmán: Die Herzogin von Chigago
Stefan Wolpe: Dr. Einstein's Address About Peace in the Atomic Era, Songs: 1920-1954
Ignace Strasfogel: Piano Music

ASIN: B00000DLUG
Release Date: 1998-11-10

Tracks:

Der Sohn: I Wenn sie nachts lag und dachte
Der Sohn: II Mein junger Sohn fragt mich
An den kleinen Radioapparat
In den Weiden
Fruhling
Speisekammer 1942
Auf der Flucht
Ueber den Selbstmord
Die Flucht
Gedenktafel fuer 4000 (Soldaten , die im Krieg gegen Norwegen versenkt wurden)
Epitaph auf einen in der Flandernschlacht Gefallenen
Spruch
Ostersonntag
Der Kirschdieb
Hotelzimmer 1942
Die Maske des Bosen
Zwei Lieder nach Worten von Pascal: Despite These Miseries
Zwei Lieder nach Worten von Pascal: The Only Thing Which Consoles Us
Die letzte Elegie
Winterspruch
Funf Elegien: I Unter den grunen Pfefferbaumen
Funf Elegien: II Die Stadt ist nach den Engeln gennant
Funf Elegien: III Jeden Morgen, mein Brot zu verdienen
Funf Elegien: IV Diese Stadt hat mich belehrt
Funf Elegien: V In den Hugeln wird Gold gefunden
Nightmare
Hollywood-Elegie Nr. 7
Der Schatzgraber
Panzerschlacht
Automne californien
Anakreontische Fragmente: I Geselligkeit
Anakreontische Fragmente: II Dir auch wurde Sehnsucht
Anakreontische Fragmente: III Die Unwurde des Alterns
Anakreontische Fragmente: IV Spater Triumph
Anakreontische Fragmente: V In der Fruhe
Erinnerung an Eichendorff und Schumann
Hoelderlin-Fragmente: I An die Hoffnung
Hoelderlin-Fragmente: II Andenken
Hoelderlin-Fragmente: III Elegie 1943
Hoelderlin-Fragmente: IV Die Heimat
Hoelderlin-Fragmente: V An eine Stadt
Hoelderlin-Fragmente: VI Erinnerung
Der Mensch
Vom Sprengen des Gartens
Die Heimkehr
Die Landschaft des Exils

Amazon.com

Hanns Eisler was a composer with a social conscience, but, like the poet in one of these songs, he reaped only anguish. Driven from his native Germany where his music was banned by the Nazis, he went to California and wrote excellent film scores, but was unable to reconcile himself to Hollywood's mass culture, leaving him a stranger in a foreign land. These songs--like so much in the extraordinary Entartete Musik series--express the experience of actual and spiritual exile, with its aching yearning for a home that no longer exists. Most of the texts are by Eisler's friend and fellow exile, Bertolt Brecht; together they create a grim picture of bleak desolation in the midst of material plenty. The songs are connected by a feeling of isolation and despair at the state of the world, as well as a pervasive strain of desperate humor and irony. The sense of rootlessness is most clearly reflected in the songs' abrupt, incomplete-sounding endings. The musical language is eclectic but highly original, ranging from echoes of Schubert, intimations of the serialism Eisler learned from Schönberg, to cabaret songs. Eisler was finally deported back to Germany during the McCarthy era, having never attained the stature he deserved. Matthias Goerne's incomparably velvety, variable, expressive voice and riveting inward concentration give the tragedy of the uprooted exile's loneliness a shattering emotional impact, and pianist Eric Schneider is terrific. It is interesting to compare Goerne's approach to that of baritone Wolfgang Holzmair, who uses a much drier sound and very pointed diction, underlining the songs' cabaret style to give them a stinging, sardonic sarcasm with stiletto-like sharpness. --Edith Eisler

Customer Reviews:

Most important lieder cycle in the 20th century.......2002-09-14

Eisler was trained by Schoenberg in the great classical tradition but during the turbulent years of the Weimar Republic repudiated "art for art's sake" and turned his attention towards music with a social conscience. You would expect to see him only on the barricades, not in the recital hall, but Eisler was also a man of contradictions, and here he produces what Viennese musicologist Erwin Ratz described as the greatest cycle of German lieder in the 20th century.

Goerne is one of the rising stars of German classical song, and in this recording his velvety but intense style is showcased in the only complete recording of Eisler's "Hollywood Songbook."

The style is diverse ... ranging from lieder that are "almost Schubertian in their tenderness" (according to one reviewer) to songs in the twelve-tone style Eisler pioneered along with other great students of Schoenberg.

Most of the songs are set to poems from the wartime exile years written by Bertolt Brecht. These compact but powerful texts testify to Brecht's significance not only as a revolutionary playwright but as a great poet whose eyes were fixed on the world around him.

Goerne told one reviewer why he chose to record and perform lieder by a composer who until recently was virtually unknown outside of Germany: "For me, this chance discovery of this huge body of work by a real 20th century composer was a revelation, in that here was an artist comparable, in my opinion, to Brahms. The integrity, the consciousness of the times is so very great in Eisler that I was inspired to combine his songs with those of Schubert. The language of both composers, and you might also say the aim, is essentially the same despite superficial differences, and one might say that the 'Hollywood Liederbuch' is the 'Winterreise' of our times."

Goerne works wonders yet again........1998-12-24

Eisler hasn't yet found his audience, but maybe this disk can rectify that. All the songs in this collection are inspired compositions, even if some seem like unfinished ideas and don't necessarily merit repeated listenings. However, Goerne makes all the songs seem special and meaningful, and he does truly seem to identify with Eisler the outcast. Eric Schneider's accompaniment is engaging and witty. The overall effect of the disk is very moving, and as always, Goerne's voice just melts me.

Wolf: Italienisches Liederbuch / Bonney, Hagegard, Persons

Average customer rating:

A husband-wife team in a lovely reading

Wolf: Italienisches Liederbuch / Bonney, Hagegard, Persons
Hugo Wolf , Barbara Bonney , Hakan Hagegard , and Geoffrey Parsons
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Bonney, Barbara | Divas | Opera & Vocal | Styles | Music
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Goethe Lieder
Songs by Robert & Clara Schumann
Mozart: Lieder
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The Bach Album

ASIN: B000000SE2
Release Date: 1994-06-07

Tracks:

Italienisches Liederbuch: Auch kleine Dinge
Italienisches Liederbuch: Mir ward gesagt, dur reisest in die Ferne
Italienisches Liederbuch: Ihr seid die Allerschonste
Italienisches Liederbuch: Gesegnet sei, durch den die Welt enstand
Italienisches Liederbuch: Selig ihr Blinden
Italienisches Liederbuch: Wer rief dich denn?
Italienisches Liederbuch: Der Mond hat eine schwere Klag' erhoben
Italienisches Liederbuch: Nun lass uns Frieden schliessen
Italienisches Liederbuch: Dass doch gemalt
Italienisches Liederbuch: Du denkst mit einem Fhen mich zu fangen
Italienisches Liederbuch: Wie lang schon war immer mein Verlangen
Italienisches Liederbuch: Nein, junger Herr
Italienisches Liederbuch: Hoffig seid Ihr, sch Kind
Italienisches Liederbuch: Geselle, woll'n wir uns in Kutten h
Italienisches Liederbuch: Mein Liebster ist so klein
Italienisches Liederbuch: Ihr jungen Leute
Italienisches Liederbuch: Und willst du deinen Liebsten sterben sehen
Italienisches Liederbuch: Heb' auf dein blondes Haupt
Italienisches Liederbuch: Wir haben beide lange Zeit geschwiegen
Italienisches Liederbuch: Mein Liebster singt
Italienisches Liederbuch: Man sagt mir, deine Mutter woll' es nicht
Italienisches Liederbuch: Ein Stchen Euch zu bringen
Italienisches Liederbuch: Was f Lied soll dir gesungen werden
Italienisches Liederbuch: Ich esse nun mein Brot nicht trocken mehr
Italienisches Liederbuch: Mein Liebster hat zu Tische mich geladen
Italienisches Liederbuch: Ich liess mir sagen
Italienisches Liederbuch: Schon streckt' ich aus
Italienisches Liederbuch: Du sagst mir, dass ich kleine F sei
Italienisches Liederbuch: Wohl kenn' ich Euern Stand
Italienisches Liederbuch: Lass sie nur gehn
Italienisches Liederbuch: Wie soll ich frch sein
Italienisches Liederbuch: Was soll der Zorn
Italienisches Liederbuch: Sterb' ich, so hn Blumen
Italienisches Liederbuch: Und steht Ihr frMorgen auf
Italienisches Liederbuch: Benedeit die sel'ge Mutter
Italienisches Liederbuch: Wenn du, mein Liebster, steigst zum Himmel auf
Italienisches Liederbuch: Wie viele Zeit verlor ich
Italienisches Liederbuch: Wenn du mich mit den Augen streifst
Italienisches Liederbuch: Gesegnet sei das Gr
Italienisches Liederbuch: O w dein Haus
Italienisches Liederbuch: Heut' Nacht erhob ich mich
Italienisches Liederbuch: Nicht ler kann ich singen
Italienisches Liederbuch: Schweig' einmal still
Italienisches Liederbuch: O Wt du, wie viel ich deinetwegen
Italienisches Liederbuch: Verschling' der Abgrund
Italienisches Liederbuch: Ich hab' in Penna einen Liebsten wohnen

Customer Reviews:

A husband-wife team in a lovely reading.......2005-09-24

People who like Wolf lieder already know what braind of caviar they prefer, but if Shcwarzkopf and Fischer-Dieskau are too mannered for you in their classic recording, this lovely, more straightforward performance is one of the best, and perhaps the veyr best, from the modern era.

Dominick Argento: From the Diary of Virginia Woolf

Average customer rating:

A Valiant Try
Miraculous

Dominick Argento: From the Diary of Virginia Woolf

Manufacturer: D'note Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Argento: Casa Guidi / von Stade / Minnesota Orchestra
Robert Ward: The Crucible
Melinda Wagner: Concerto for Flute, Strings, and Percussion; Poul Ruders: Concerto in Pieces (Purcell Variations)
Notturno: Music by Donald Martino
Zwilich: Symphony No. 1 / Celebration / Prologue & Variations

ASIN: B000003YNN
Release Date: 1997-04-22

Tracks:

From The Diary Of Virgina Woolf: The Diary
From The Diary Of Virgina Woolf: Anxiety
From The Diary Of Virgina Woolf: Fancy
From The Diary Of Virgina Woolf: Hardy's Funeral
From The Diary Of Virgina Woolf: Rome
From The Diary Of Virgina Woolf: War
From The Diary Of Virgina Woolf: Parents
From The Diary Of Virgina Woolf: Last Entry
From Spanisches Liederbuch: Nun wander Maria
From Spanisches Liederbuch: Die ihr Schwebet
From Spanisches Liederbuch: Ach des Knaben Augen
From Spanisches Liederbuch: Herr, was tragt der Boden hier
Apres un reve, Opus 7, No.1
Le secret, Opus 23 No. 3
Le Manoit de Rosemonde
Phidyle
Mandoline
Air de Lia

Customer Reviews:

A Valiant Try.......2000-05-10

Dame Janet is clearly the greatest postwar mezzo-soprano the British isles have ever produced. She had just about everything one could wish for in a singer: taste, sensitivity, passion, nuance, acting ability, superb vocal control, flexibility, an instantly recognizable timbre, and a dedication to championing lesser known works. She is the very definition of the serious-minded, committed artist who luckily also had great natural ability. She performs at her usual unassailable standards on this recording but somehow things don't add up to much. Perhaps the choice of material was to blame. The Argento songs are of that modern, atonal variety that, with the exception of a few original bars, sound pretty much like every other modern, atonal piece you've ever heard. And their straightforward passions don't evoke the cerebral, luminous Virginia Woolf at all (although, the liner notes indicate that the composer sought to exempt himself from criticism by claiming that he intended not to evoke Woolf specifically but suffering womankind in general). The Wolf Spanish lieder are instantly forgettable (he's one composer, along with Brahms, whose perhaps too subtle charms I have long been deaf to). Things perk up with the concluding French airs, but the Argento songs must have left an unpleasant residue because Baker is here uncharacteristically heavy and emphatic where she should be light and elliptical. By comparison, Regine Crespin's recording of Apres un Reve is appropriately dreamily sensuous whereas Baker's here is a tad emotionally overwrought and puritannical, as if the song were about Dido or Mary Stuart's dream. There's a currently unavailable recording of Baker singing Ravel, Chausson, and Delage that is one of the best things she's ever done, full of light arabesques and the right amount of French ivresse. Until that recording becomes available, I would not suggest this as a viable alternative.

Miraculous.......2000-03-30

Obviously the art songs are all at the superior level you expect from Dame Janet, but you will be blown away by the Argento. A stunning miracle of breath, technique, dramatic expressiveness, and emotional force. And it was recorded live- few other singers would dare these feats of phrasing in a studio, let alone in front of an audience. Don't worry that it's a live recording- the audience is utterly under Dame Janet's spell; it may sound cliched, but time absolutely stops while she is singing.

Tracks:

German Secular Songs And Instrumental Music From The Time Of Luther: Carmen a 5
German Secular Songs And Instrumental Music From The Time Of Luther: Stat ('tsatt) ein meskin
German Secular Songs And Instrumental Music From The Time Of Luther: Will niemand singen
German Secular Songs And Instrumental Music From The Time Of Luther: Ein Maidlein zue dem Brunnen ging
German Secular Songs And Instrumental Music From The Time Of Luther: In meinem Sinn
German Secular Songs And Instrumental Music From The Time Of Luther: Erst weis ich, was die Liebe ist
German Secular Songs And Instrumental Music From The Time Of Luther: In meinem Sinn
German Secular Songs And Instrumental Music From The Time Of Luther: In meinem Sinn
German Secular Songs And Instrumental Music From The Time Of Luther: Dort oben auf dem Berge
German Secular Songs And Instrumental Music From The Time Of Luther: Zenner greyner
German Secular Songs And Instrumental Music From The Time Of Luther: Greiner zancker
German Secular Songs And Instrumental Music From The Time Of Luther: Greiner Zanner
German Secular Songs And Instrumental Music From The Time Of Luther: Die Megdlein sind von Flandern
German Secular Songs And Instrumental Music From The Time Of Luther: Greiner Zanner
German Secular Songs And Instrumental Music From The Time Of Luther: Nun wollt ihr horen neue mar
German Secular Songs And Instrumental Music From The Time Of Luther: Mein Freud allein
German Secular Songs And Instrumental Music From The Time Of Luther: Ich soll und muess ein'n Buehlen
German Secular Songs And Instrumental Music From The Time Of Luther: Oho, so geb der Mann
German Secular Songs And Instrumental Music From The Time Of Luther: So trinken wir alle
German Secular Songs And Instrumental Music From The Time Of Luther: Heth sold ein meisken garn om win
German Secular Songs And Instrumental Music From The Time Of Luther: Es wollt ein Maidlein Wasser holn
German Secular Songs And Instrumental Music From The Time Of Luther: Es wollt ein Frau zuem Wein gahn
German Secular Songs And Instrumental Music From The Time Of Luther: Gloria laus
German Secular Songs And Instrumental Music From The Time Of Luther: Lamentatio
German Secular Songs And Instrumental Music From The Time Of Luther: Bicinium germanicum
German Secular Songs And Instrumental Music From The Time Of Luther: Ich stund an eineum Morgen
German Secular Songs And Instrumental Music From The Time Of Luther: Ich stund an einem Morgen
German Secular Songs And Instrumental Music From The Time Of Luther: Ich stuend an einem Morgen
German Secular Songs And Instrumental Music From The Time Of Luther: Albrecht mirs schwer
German Secular Songs And Instrumental Music From The Time Of Luther: La mi la sol
German Secular Songs And Instrumental Music From The Time Of Luther: Min ainigs A
German Secular Songs And Instrumental Music From The Time Of Luther: Mein einigs A
German Secular Songs And Instrumental Music From The Time Of Luther: Zucht, eer und lob
German Secular Songs And Instrumental Music From The Time Of Luther: Zucht, eer und lob
German Secular Songs And Instrumental Music From The Time Of Luther: Las rauschen
German Secular Songs And Instrumental Music From The Time Of Luther: Es ging ein Landsknecht uber Feld
German Secular Songs And Instrumental Music From The Time Of Luther: Ich weiss nicht was er ihr verhiess
German Secular Songs And Instrumental Music From The Time Of Luther: Ich weiss nicht was er ihr verhiess

Customer Reviews:

Authentic as can be !.......2001-03-31

This recording should be in every early music lover's collection! It's a landmark performance of secular song, as close as any modern interpretation can come to recreating not the rarefied music of the court, but the everyday songs of the people. The performances are both heartfelt and erudite- you'll want to hear this CD over and over.

Generous survey of music from 16th Century Germany.......1999-03-23

Berger and Convivium Musicum hail from the School of Musicology at the University of Gothenburg in Sweden, but this CD is far from dry and academic. It is probably at present the best survey of Senfl, Isaac and Hofhaimer's secular works in the catalogue.

The songs vary from sincere lover's plaints to the moderately bawdy, and are nicely distributed among Berger's vocalists.

Tracks:

Moerike-Lieder: 8. Begegnung
Moerike-Lieder: 38. Lied vom Winde
Moerike-Lieder: 15. Auf einer Wanderung
Moerike-Lieder: 41. Rat einer Alten
Spanisches Liederbuch: 12. In dem Schatten meiner Locken
Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
Spanisches Liederbuch: 6. Ach, des Knaben Augen
Spanisches Liederbuch: Nun wandre, Maria
Moerike-Lieder: 46. Gesang Weylas
Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
Italiensches Liederbuch: 1. Auch kleine Dinge
Moerike-Lieder: 7. Das verlassene Maegdlein
Eichendorff-Lieder: 4. Das Staendchen
Spanisches Liederbuch: Wenn du zu den Blumen gehst
Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
Italiensches Liederbuch: 16. Ihr jungen Leute
Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
Italiensches Liederbuch: 12. Nein, junger Herr
Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr

Tracks:

Goethe-Lieder: 49. Prometheus
Goethe-Lieder: 50. Ganymed
Goethe-Lieder: 18. Beherzigung
1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
Moerike-Lieder: 19. Um Mitternacht
Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
Moerike-Lieder: 45. Nixe Binsefuss
Spanisches Liederbuch: Moegen alle boesen Zungen
Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
Spanisches Liederbuch: 26. Bitt ihn, o Mutter
Italiensches Liederbuch: 6. Wer rief dich denn?
Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
Italiensches Liederbuch: 43. Schweig einmal still
Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
Goethe-Lieder: 51. Grenzen der Menschheit
Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
Italiensches Liederbuch: 31. Wie soll ich froehlich sein
Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
Italiensches Liederbuch: 26. Ich liess mir sagen
Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf

Tracks:

Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
Italiensches Liederbuch: 39. Gesegnet sei das Gruen
Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
Italiensches Liederbuch: 15. Mein Liebster ist so klein
Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
Spanisches Liederbuch: 15. Auf dem gruenen Balkon
Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
Spanisches Liederbuch: 29. Trau nicht der Liebe
Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
Moerike-Lieder: 22. Seufzer
Moerike-Lieder: 28. Gebet
Moerike-Lieder: 23. Auf ein altes Bild
Moerike-Lieder: 32. An die Geliebte
Moerike-Lieder: 12. Verborgenheit
Moerike-Lieder: 39. Denk es, o Seele!
Moerike-Lieder: 51. Bei einer Trauung
3. Ein Stuendlein wohl vor Tag
Moerike-Lieder: 16. Elfenlied

Tracks:

Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
Goethe-Lieder: 14. Cophtisches Lied 1
Eichendorff-Lieder: 2. Der Musikant
Eichendorff-Lieder: 5. Der Soldat
Eichendorff-Lieder: 9. Der Schreckenberger
Moerike-Lieder: 44. Der Feuerreiter
Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
Moerike-Lieder: 29. An den Schlaf
Moerike-Lieder: 36. Liebe wohl
Spanisches Liederbuch: 30. Ach, im Maien war's
Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
Moerike-Lieder: 30. Neue Liebe
Moerike-Lieder: 48. Storchenbotschaft
Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
Sechs Gedichte: 6. Zur Ruh, zur Ruh
Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
Moerike-Lieder: 24. In der Fruehe
Moerike-Lieder: 25. Schlafendes Jesuskind

Tracks:

Goethe-Lieder: 20. Sankt Nepomuks Vorabend
Goethe-Lieder: 12. Ritter Kurts Brautfahrt
Moerike-Lieder: 47. Die Geister am Mummelsee
Moerike-Lieder: 10. Fussreise
Moerike-Lieder: 43. Lied eines Verliebten
Moerike-Lieder: 25. Schlafendes Jesuskind
Moerike-Lieder: 4. Jaegerlied
Moerike-Lieder: 17. Der Gaertner
Moerike-Lieder: 50. Auftrag
Moerike-Lieder: 9. Nimmersatte Liebe
Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
Goethe-Lieder: 10. Der Saenger
Eichendorff-Lieder: 13. Der Scholar
Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
Eichendorff-Lieder: 15. Unfall
Vier Gedichte: 1. Wo wird einst (Heine)
Vier Gedichte: 3. Sonne der Schlummerlosen
Vier Gedichte: 4. Keine gleicht von allen Schoenen
Eichendorff-Lieder: 1. Der Freund
Eichendorff-Lieder: 2. Der Musikant
Sechs Gedichte: 1. Waechterlied auf der Wartburg
Moerike-Lieder: 40. Der Jaeger
Goethe-Lieder: 32. Phaenomen
Eichendorff-Lieder: 3. Verschwiegene Liebe
Vier Gedichte: 1. Wo wird einst (Heine)
Ueber Nacht (Sturm)

Amazon.com

EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed Distler

Customer Reviews:

The Hugo Wolf Society Recordings.......2005-12-28

The songs of Hugo Wolf (1860 -- 1903)combine great attention to textual detail with closely intertwined writing for the voice and the piano. In this small form, Wolf was a master and took song in a different direction from that of Schubert, Schumann and Brahms. He wrote most of his songs in bursts of activity in five large collections, devoted to the poetry of Morike, Eichendorff, Goethe, and to collections of Spanish and Italian texts. He also composed a number of songs in shorter sets.

In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.

The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.

The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.

Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.

There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.

This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.

Robin Friedman

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.

About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song titled "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Wolf sung by various Lieder singers.......2000-08-15

This is an extraordinary collection of Wolf songs. It is frustrating that the project was not completed, as the quality of what was recorded is so extraordinarily revelatory. My personal favourites are the Michelangelo settings sung by the bass Alexander Kipnis, although he uncharacteristically makes some textual errors. The contributions of Hüsch are numerous and thoughtfully sung, and Karl Erb, Herbert Janssen, Ludwig Weber, Rita Ginster and Marta Fuchs are all caught on extraordinary form, with accompanists of admittedly variable quality, ranging from the sublime Gerald Moore to some very interesting contributions from some accompanists who did not really capture the true essence of Lieder accompanying, which surely cannot permit the piano to be subservient to the voice!

These precious recordings offer us so much. They are a document of a golden age of Lieder singing, and they are superb recitals, sung by a variety of voices, never allowing the listener to tire of listening to a single voice for too long. They are also, of course, examples of some of the most wonderful Lieder writing of any time. These 5 cds are a must for a Lieder specialist, and can open new doors to the novice. Buy them, and never regret having this treasure trove which will give you pleasure all your life.

Wolf: Italienisches Liederbuch
Average customer rating:

A perfect achievement

Hugo Wolf's Italian Songbook

Wolf: Italienisches Liederbuch

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Wolf | Wolf, Hugo | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Similar Items:

Wolf: Spanish Songbook

Strauss: Four Last Songs/12 Orchestral Songs

The Hugo Wolf Society - The Complete Edition 1931-1938

Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch

Schubert: 24 Lieder

ASIN: B0000CG8EU
Release Date: 2003-10-07

Tracks:

Auch Kleine Dinge B
Mir Ward Gesagt S
Ihr Seid Die Allerschonste B
Gesegnet Sei B
Selig Ihr Blinden B
Wer Rief Dich Denn? S
Der Mond Hat Eine Schwere Klag Erhoben B
Nun Lass Uns Frieden Schliessen B
Dass Doch Gemalt B
Du Denkst Mit Einem Fadchen
Wie Lange Schon S
Nein, Junger Herr S
Hoffartig Seid Ihr B
Geselle, Woll'n Wir B
Mein Liebster Ist So Klein S
Ihr Jungen Leute S
Und Willst Du Deinen Liebsten
Heb' Auf Dein Blondes Haupt B
Wir Haben Beide S
Mein Liebster Singt S
Man Sagt Mir S
Ein Standchen Euch Zu Bringen
Was Fur Ein Lied B
Ich Esse Nun Mein Brot S
Mein Liebster Hat Zu Tische S
Ich Liess Mir Sagen S
Schon Streckt' Ich Aus B
Du Sagst Mir S
Wohl Kenn' Ich Euren Stand S
Lass Sie Nur Geh'n B
Wie Soll Ich Frohlich Sein S
Was Soll Der Zorn S
Sterb' Ich, So Hullt In Blumen B
Und Steht Ihr Fruh B
Benedeit Die Sel'ge Mutter B
Wenn Du, Mein Liebster S
Wie Viele Zeit Verlor' Ich B
Wenn Du Mich Mit Den Augen Streifst B
Gesegnet Sei Das Grun S
O War' Dein Haus Durchsichtig S
Heut' Nacht Erhob Ich Mich B
Nicht Langer Kann Ich Singen B
Schweig' Einmal Still S
O Wusstest Du B
Verschling' Der Abgrund S
Ich Hab' In Penna S

Customer Reviews:

A perfect achievement.......2007-06-28

It would be remarkable if the two arguably finest exponents of Lieder did not make something extraordinarily magical of this group of songs, called the "Italienisches Liederbuch" (Italian Songbook). There can be few lovers of classical vocal singing who do not admire or love the singing and blessedly high intelligence of Dietrich Fischer-Dieskau (baritone) and Elisabeth Schwarzkopf (soprano), and they are quite simply matchless in this repertoire.

The Italienisches Liederbuch is Hugo Wolf's setting of poems by Paul Heyse. Heyse was born in Berlin, but his first success as a poet was a collection of translations of Spanish poems in partnership with Emanuel Geibel. That success prompted his Italian Songbook, poems from various regions of Italy, translated into German. The translations are delightful - mostly love songs, but some with a little sting in them.

In Hugo Wolf's setting of these German "Italian" songs, a profound and perfect matching of music to words is achieved. Who can fail to be moved by the infinitely tender "O wär dein Haus durchsichtig wie ein Glas" (O, if only your house were as transparent as glass"? Who does not smother a sudden grin or giggle at the little whining finale of "Wie lange schon war immer mein Verlangen"? The hesitant amateur playing of the violin sketched out so cruelly in the deliciously written piano part is a masterpiece of meaning. And what of the wickedly sexy "Ich hab' in Penna einen Liebsten"?

There are some very lovely recordings of the Italianisches Liederbuch. I have, I think, most of them... but it's this recording that I consider the most glowingly meaningful, the most superbly sung, the most sympathetically played. Fischer-Dieskau is indupitably a great artist, and one of the best Lieder singers in the world. Schwarzkopf remains utterly unsurpassed as a Lieder singer among the many sopranos of quality. And Gerald Moore is rightly considered the king of Lieder accompanists. His playing is a miracle.

All in all, this is the recording of the Italianisches Liederbuch that I consider the very best. If you already have a recording of these marvellous miniatures in song, please don't hesitate - this recording also deserves a place in your collection.

Strongly recommended.

Hugo Wolf's Italian Songbook.......2004-11-18

Hugo Wolf (1860 --1903) ranks with Schubert, Schumann, and Brahms as a composer of art songs. But particularly in the United States, his work remains little known. Wolf's achievement, unlike his predecessors, is almost entirely in the realm of song. (He composed a string quartet and an opera but little else beyond the songs that is much remembered.) In addition, Wolf brought something new and creative to the art song. His songs are generally short and thorough-composed in form. Wolf pays close attention to his text and tries to make every note and every nuance tell. He sets texts line-by-line with great attention to detail. To simplify, I think he is in a tradition that begins with Gluck and runs through Berlioz and Wagner in an attempt to shape his music tightly around the written word. His songs do not have the spontaniety or lyric flow of Schubert's, but they speak in their own voice. They are intimate and moving creations.

Wolf worked in spurts, and most of his songs are gathered into several lengthy songbooks. Thus, he composed the first half of his Italian Songbook in 1891 and only returned to compose the second half in 1896. It is probably the greatest of Wolf's song collections.

Wolf set a series of anonymous Italian poems which had been translated into German in 1860 by a man named Paul Heyse. The verses consist mostly of short, simple poetry all of which deal with human love in its many aspects. There are 46 songs in the collection closely divided between songs for a man and songs for a woman. There is little, if anything, specifically Italian in the poems or in Wolf's settings. They have a quality which is both universal and personal.

The songs for male voice in the Italian Songbook tend to be intense songs of devotion extolling the beauty and character of the beloved. They are highly romantic and charged. But there are some lighter songs as well, such as no. 14 which is in the voice of a lecherous monk attempting to secure access to the home of an ill young girl in order to seduce her.

A minority of the songs for woman's voice also are in the language of passionate love. But the larger number of these songs deal with matters such as betrayal, rebuffs, anger, mockery, promiscuity, or coldness and inability to love. One of the best known songs in the collection is the last, no. 46, which is a short "catalogue song" similar to Leporello's in Don Giovanni in which the singer boasts her many conquests. Some of the songs are "paired" in that there are songs for one voice which seem to be answers to a song that was heard earlier in another voice. A bit of listening with the text will make this clear.

The songs are in a variety of styles but all feature a close, winding interplay between the piano and voice as they wrap around the text. Wolf's many preludes and postludes for the solo piano are integral parts of these songs.

There are not many available recordings of the entire Italian Songbook, but we are blessed with this reissue of a 1969 release with Dietrich Fischer-Dieskau, baritone, Elizabeth Schwarzkopf, soprano, and Gerald Moore, the incomparable pianist of lieder. This CD amply deserves its billing as one of the "Great Recordings of the Century." Fisher-Dieskau and Schwarzkopf are rare masters of this difficult music. Fisher-Dieskau sings with smooth passion while Schwarzkopf rasps, snarls, cries, and dramatizes the many different moods in the woman's songs in this collection.

This CD comes with texts and translations for the songs. It is essential to follow the text while listening to Wolf.

This recording will be most enjoyed by those listeners who have some exposure to songs, such as Schubert's, and want to explore further the development of this unique type of art music.

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