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Beethoven: Gegenliebe Lieder

Daniel Behle, Jan Schultsz

Beethoven: Gegenliebe Lieder
Possessed of an innate lyricism Behle is an ideal exponent, never tempted to over-egg the simplicity of early songs, while the opera singer within is ever-alert to Beethoven’s wider-ranging...

Beethoven: Gegenliebe Lieder

Daniel Behle, Jan Schultsz

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Possessed of an innate lyricism Behle is an ideal exponent, never tempted to over-egg the simplicity of early songs, while the opera singer within is ever-alert to Beethoven’s wider-ranging...

About

The singer and composer Daniel Behle was honoured with the prestigious OPUS Klassik as "Singer of the Year" in 2020. He is equally successful in concert, lied and opera.

His repertoire ranges from baroque masterpieces, classical and romantic repertoire to 20th and 21st century compositions. His discography includes several award-winning recordings.

His Lied recordings, including "Die Schone Mullerin" and his two albums of Strauss songs, the most recent of which was awarded the German Record Critics' Prize, have attracted particular attention.

On his latest recording, Behle now presents a selection of Beethoven songs, accompanied by Jan Schultsz on fortepiano. Unlike Schubert or Schumann, Beethoven is not immediately associated with the Lied; one associates him more with the representative of the grand gesture.

Nevertheless, this does not prevent him from leaving almost one hundred songs to posterity. "An die ferne Geliebte" (1851/1816) is undoubtedly one of the most famous of these works.

Contents and tracklist

No. 1, Bitten
Track length4:52
No. 6, Bußlied
Track length4:16
No. 4, Maigesang
Track length2:18
No. 2, Neue Liebe, neues Leben
Track length3:23
No. 3, Aus Goethes Faust
Track length2:30
No. 6, Der zufriedene
Track length1:18
No. 1, Hoffnung
Track length1:47
No. 2, Liebes-Klage
Track length2:52
No. 3, Mit einem gemalten Band
Track length1:58

Awards and reviews

July 2022

Possessed of an innate lyricism Behle is an ideal exponent, never tempted to over-egg the simplicity of early songs, while the opera singer within is ever-alert to Beethoven’s wider-ranging concerns – the gnarly heroism of Der Wachtelschlag to the more sacredly subdued restraint of the two Op. 48 Gellert settings.
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