Special offer. The Hyperion Schubert Edition - Complete Songs Volume 34
Schubert, 1817-1821
Lorna Anderson, Lynne Dawson, Patricia Rozario (sopranos), Marjana Lipovsek (mezzo soprano), Martyn Hill, Philip Langridge, Daniel Norman, Michael Schade (tenors), Gerald Finley, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Stephan Loges, Christopher Maltman (baritones), Neal Davies (bass),...
In his guise as a wizard of an impresario, Graham Johnson has gathered together four baritones and one bass-baritone (Neil Davies) to give us a feast of finely wrought, intelligent interpretations....
Special offer. The Hyperion Schubert Edition - Complete Songs Volume 34
Schubert, 1817-1821
Lorna Anderson, Lynne Dawson, Patricia Rozario (sopranos), Marjana Lipovsek (mezzo soprano), Martyn Hill, Philip Langridge, Daniel Norman, Michael Schade (tenors), Gerald Finley, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Stephan Loges, Christopher Maltman (baritones), Neal Davies (bass),...
Purchase product
In his guise as a wizard of an impresario, Graham Johnson has gathered together four baritones and one bass-baritone (Neil Davies) to give us a feast of finely wrought, intelligent interpretations....
About
Another fascinating Schubertiad, this time comprising songs from the period 1817 to 1821. As before, it contains some familiar masterpieces, some unknown masterpieces, rarities and fragments, many of them receiving their first recording. Particularly fetching are the Singbungena wordless singing exercise for two sopranos, and ber allen Zauber Liebe (Love above all magic) which, of all the Schubert fragments, is the most alluring. (Only four bars of music were needed to complete the setting and if the composer had provided the missing bars himself, and the piece subsequently published, it is hard to imagine what could have prevented the song from being known throughout the world, treasured and hummed by connoisseurs.) All of the music on this album is also available as part of the specially priced box set The Complete Songs of Franz Schubert: This is an archive of glorious Lieder singing as much as it is a definitive treasury of the greatest Lieder ever composed (The Guardian).
Artists
Lorna Anderson, Lynne Dawson, Patricia Rozario (sopranos), Marjana Lipovsek (mezzo soprano), Martyn Hill, Philip Langridge, Daniel Norman, Michael Schade (tenors), Gerald Finley, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Stephan Loges, Christopher Maltman (baritones), Neal Davies (bass), Catherine Denley (mezzo soprano), John Mark Ainsley, Ian Bostridge, Jamie Macdougall (tenors), Michael George (bass), Graham Johnson (piano
The London Schubert Chorale, Stephen Layton
Contents and tracklist
- Graham Johnson (piano)
- The London Schubert Chorale
- Stephen Layton
- Patricia Rozario (soprano), Catherine Denley (contralto), Ian Bostridge (tenor), Michael George (bass), Graham Johnson (piano)
- Patricia Rozario (soprano), Lorna Anderson (soprano), Graham Johnson (piano)
Awards and reviews
2010
In his guise as a wizard of an impresario, Graham Johnson has gathered together four baritones and one bass-baritone (Neil Davies) to give us a feast of finely wrought, intelligent interpretations.
Hampson's rendering of that outsider's lament, Atys, is at once an object-lesson in refined singing and a deeply felt outpouring of sorrow. Keenlyside, singing with as much firm, mellow tone and feeling as his American coeval, gives a properly intense, agonised account of the great, Zeus-defying Prometheus, magnificently supported by Johnson. Goerne is assigned the seldom-heard Schlegel setting, Die gefangenenSänger, and brings his gently vibrant tone, reminiscent of his noted predecessor Herbert Janssen, and his natural gift for phrasing to bear on this strange but captivating piece. Maltman, growing in stature as a Lieder artist, begins the programme with the extrovert Der Alpenjäger and ends it with the introverted Wandrers Nachtlied on which he lavishes the hushed concentration due to a page of rapt utterance, a suitable conclusion to the performance of Goethe settings in the whole edition.
Neil Davies erupts into the series with three absorbing interpretations: the declamatory Schiller setting Der Kampf, the flowing, glowing Das Abendrot and the awe-inspiring Grenzen derMenschheit. All three evince his real affinity for the German language and the world of Schubert. He also has the low notes the pieces call for. The one female solo brings back Lipovšek at her most beguiling in the poignant and unforgettable Schlegel setting Das Mädchen, already performed just as movingly by Christine Schäfer in Vol 27. This wonderful fare is interspersed with lighter, less demanding material, all done with pleasure by varying groups of singers, plus three tenor solos.
Langridge is predictably charming in Die Einsiedelei.
Hill isn't quite at his best, and Norman's style is etiolated in their offerings. Piano playing both maintain Hyperion's usual high standard.
A feast of finely wrought, intelligent interpretations ... the readings make an indelible impression
