Strauss: Four Last Songs
Asmik Grigorian (soprano), Orchestre Philharmonique de Radio France, Mikko Franck, Markus Hinterhauser (piano)
Awards:
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Gramophone Awards, 2024 Shortlist, Shortlisted - Voice & Ensemble
However much time Hinterhäuser gives her, Grigorian finds plenty to say and there is an individual personality at work that is missed with orchestra. The piano version is not recorded often,...
Strauss: Four Last Songs
Asmik Grigorian (soprano), Orchestre Philharmonique de Radio France, Mikko Franck, Markus Hinterhauser (piano)
Purchase product
Awards:
-
Gramophone Awards, 2024 Shortlist, Shortlisted - Voice & Ensemble
However much time Hinterhäuser gives her, Grigorian finds plenty to say and there is an individual personality at work that is missed with orchestra. The piano version is not recorded often,...
About
Singer Asmik Grigorian has chosen to record both versions of Richard Strauss's ultimate masterpiece, composed in 1948: the version with orchestra and the much rarer version with piano. For her, this work is associated with the idea of solitude, but not an unhappy solitude, rather a journey towards infinity: " Now all my senses long to sink into slumber. And the soul, unguarded, longs to soar up in freedom, so that, in night’s magic circle, it may live deeply and a thousandfold. " writes Hermann Hesse in Beim Schlafengehen ( Going to Sleep ), the third song in the cycle. For this unique coupling, Asmik is joined by two long-time accomplices: conductor Mikko Franck, with the Orchestre Philharmonique de Radio France, and pianist Markus Hinterhauser, artistic director of the Salzburg Festival. The combination of the two versions opens up new sensations: after the well-known abundance of Strauss's orchestration an incredible sensitivity is revealed by the piano version.
Contents and tracklist
- Arr. for Piano and Soprano by Max Wolff
- Markus Hinterhäuser ((piano), Asmik Grigorian (soloist)
Spotlight on this release
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Awards and reviews
7th February 2024
However much time Hinterhäuser gives her, Grigorian finds plenty to say and there is an individual personality at work that is missed with orchestra. The piano version is not recorded often, but the intimacy of this performance casts a new light on these much-loved songs.
March 2024
an intriguing concept and a thought-provoking addition to this fearless artist’s catalogue, but one that ultimately also shows her limitations.