Schubert: Die schöne Müllerin, D795
Florian Boesch (baritone) & Malcolm Martineau (piano)
if you can accept a measure of vocal unevenness, you'll find [Boesch's] Schöne Müllerin an unflinching exploration of emotional extremes, with baritone and pianist in symbiotic partnership...the...
Schubert: Die schöne Müllerin, D795
Florian Boesch (baritone) & Malcolm Martineau (piano)
Purchase product
if you can accept a measure of vocal unevenness, you'll find [Boesch's] Schöne Müllerin an unflinching exploration of emotional extremes, with baritone and pianist in symbiotic partnership...the...
About
Florian Boesch and Malcolm Martineau continue their journey through the Schubert song cycles with 'Die Schöne Müllerin', composed in 1823 to words by Wilhelm Müller.
The words are simple but depict powerful human emotions and vivid images of nature. Schubert’s imagination was seized by the opportunities the poems offered, and his music captures the dramatic conflicts and character portraits in a way he never achieved in his operatic works.
The recording of 'Winterreise' was warmly received by critics, The Guardian calling it "unquestionably superb"; Gramophone "inspired and quite unforgettable"; The Sunday Times "never, in my experience, has Winterreise sounded bleaker than in this magnificently sombre and vivid account…an exceptionally free, imaginative and dramatic interpretation".
Contents and tracklist
Awards and reviews
April 2014
if you can accept a measure of vocal unevenness, you'll find [Boesch's] Schöne Müllerin an unflinching exploration of emotional extremes, with baritone and pianist in symbiotic partnership...the controversial Boesch and Martineau yield to none in no-holds-barred intensity.
14th February 2014
an exceptional and sensitive account of Die schöne Müllerin. I like Boesch’s approach to the cycle, not least the way in which, through his light, easy voice, he suggests youthfulness and engages our sympathies for the young man...This thoughtful and expertly performed version, presented in excellent sound, is one that I now rank among the finest that I’ve heard.
24th November 2013
an exceptionally vivid and dramatic account of the cycle, full of fierce anger and tenderness...there is no danger of [gruffness] here, thanks to the natural brightness of Boesch’s voice and the sensitivity and subtlety of Malcolm Martineau’s outstanding piano playing.
