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Schubert: Schwanengesang

Michel Dalberto (piano), Stephan Genz (baritone)

Schubert: Schwanengesang
There’s an impressive single-mindedness and urgency to several numbers – ‘In der Ferne’ and ‘Am Meer’ are built up seriously and patiently, for example … Genz’s interpretative skills are still...

Schubert: Schwanengesang

Michel Dalberto (piano), Stephan Genz (baritone)

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There’s an impressive single-mindedness and urgency to several numbers – ‘In der Ferne’ and ‘Am Meer’ are built up seriously and patiently, for example … Genz’s interpretative skills are still...

About

Stephan Genz and the pianist Michel Dalberto have gathered at the piano to perform Schubert's Heine settings, known as his 'Swansong'. This cycle, with its moving accents and mysterious atmosphere, was made up by an editor in want of a commercial success, posthumously, yet this collection of lieder shows just how skilled Schubert was. Stephan Genz received his musical training as a member of the Thomanerchor Leipzig, as well as under Hans Joachim Beyer at the University of Music & Theatre Leipzig. He studied lieder with Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. He made his recital debut at the Wigmore Hall in London in 1997.

Contents and tracklist

I. Liebesbotschaft
Track length2:52
II. Kriegers Ahnung
Track length5:55
III. Frühlingssehnsucht
Track length3:31
IV. Ständchen
Track length3:39
V. Aufenthalt
Track length3:18
VI. In der Ferne
Track length6:57
VII. Abschied
Track length4:15
VIII. Der Atlas
Track length2:21
IX. Ihr Bild
Track length2:56
X. Das Fischermädchen
Track length2:29
XI. Die Stadt
Track length3:21
XII. Am Meer
Track length4:19
XIII. Der Doppelgänger
Track length4:54
XIV. Die Taubenpost
Track length3:33

Spotlight on this release

Awards and reviews

September 2017

There’s an impressive single-mindedness and urgency to several numbers – ‘In der Ferne’ and ‘Am Meer’ are built up seriously and patiently, for example … Genz’s interpretative skills are still in evidence and there are plenty of moments to enjoy still in Dalberto’s playing, particularly in the way he exploits his Bösendorfer’s rich lower register.
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