Ein Kleines Vergibmeinnicht [Import]

1. Ein Kubchen In Ehren

2. Via Mala

3. Kopfuber In Die Zartlichk

4. Auf Einmal Geht Die Sonne

5. Wenn Du Dir Mal Was Wunsc

6. Ich Bin Geboren Um Zu Leb

7. Lass Dir Doch Zeit

8. Einmal Siebter Himmel

9. Irgendwann Kommt Auch Das

10. Wenn Der Mond Die Sterne

11. Es Ist Nicht Alles Gold W

12. Schon Ist Es Wenn Du Freu

13. Manchmal

14. Ein Kleines Vergissmeinni

15. Jeder Sucht Den Platz An

16. Ich Drucke Dir Fest Beisd

Tracks:

Tristan und Isolde: 'Wo Ich Erwacht, Weilt' Ich Nicht'
Rienzi: 'Allmacht' Ger Vater'
Siegfried: 'Selige Ode Auf Sonniger Hoh!'
Gotterdammerung: 'Brunnhilde, Heilige Braut!'
Parsifal: 'Nur Eine Waffe Taugt'
Der fliegende Hollander: 'Willst Jenes Tags Du Dich Nicht Mehr Entsinnen'
Fidelio: Gott! Welch Dunkel hier!
Der Freischutz: 'Nein, Langer Traic' Ich Nicht Die Qualen'
Euryanthe: 'Wehen Mir Lufte Ruh'
Die tote Stadt: 'O Freund, Ich Werde Sie Nicht Wiedersehen'

Amazon.com

Forget the superannuated Three Tenors; Ben Heppner, with his huge voice, tonal brilliance, and interpretive sensitivity, is a 1990s throwback to the greats of the past. In this repertory, he's king of the hill. The recital's delights begin with a golden-voiced, 40-minute Wagner set chockfull of vocal thrills, made all the more compelling by Heppner's rhythmic mastery and discreet rubato. You expect excitement from a tenor with his ringing top, but just as impressive is the delicate soft singing that makes the Korngold aria, to take but one of many examples, a moving experience. Good accompaniments. Slightly subpar engineering doesn't dim the attractions of this outstanding disc. --Dan Davis

Customer Reviews:

A foretaste of greatness to come.......2006-08-29

RCA made two hits when they signed up two great singers early in their careers--Thomas Quasthoff and Ben Heppner. In both cases the voice sounded great but the interpretations had yet to reach their full depth and feeling. This CD of German opera excerpts, with its large chunk of Wanger, presages the enormous career Heppner would have as the world's leading Heldentenor. The voice is young and fresh--listen to the ravishing legato in the big aria from Die Tote Stadt--but there's a lot of growth to come. The readings tend to be rather literal and stiff, as does the conducting. Fans will love everything here anyway, and so do I, with reservations.

Not the worst I've heard.......2003-09-26

This is a nice long program with many opportunities for Heppner to be heard in the best possible light. But please; nothing against big Ben, but those who would have you believe that he is a great heldentenor are mistaken on two counts. A: he's not a heldentenor. And B: he's not a great anything. He's the best of the current voices in this repertoire but calling him great just diminishes the true greatness in the history of opera singing.
When Melchior retired, Suthaus and Windgassen suffered in comparison to the great Dane. Their recordings now stand on their own merits. Jon Vickers was followed by Kollo,Jerusalem, Hofman, Goldberg, and Lakes. These fine tenors were found wanting due to the huge shadow cast by the great Vickers. With true greatness so long gone, Heppner came along at just the right time when standards and expectations would not be nearly so high.
Wagnerian tenors succeed through endurance, power or beauty of tone. Heppner has a few ringing high notes but beauty of tone is rarely heard. And his Tristan performances don't speak well for his vocal stamina.
Among recent recordings in this repertoire, Kollo, Jerusalem and Lakes offer far more beautiful singing. And Goldberg and Hofman offer ringing high notes as well as tonal beauty. Don't be sold by record company promoters or music directors who realize that he's simply the best of the current lot. Heppner isn't the heldentenor of our times, he's just the handy tenor of our times.

MAGNIFICENT........2001-02-05

What a magnificent album: Ben Heppner could easily be called the finest Wagnerian heldentenor singing today. I was fortunate enough to hear him in the title role of Wagner's "Lohengrin" at the Metropolitan Opera House a few seasons ago in a startling production by Robert Wilson. Heppner's voice is strong and clear and beautifully produced. And even when he is singing with that mighty, huge Met orchestra, he never loses the sweetness in his voice which is one of its most precious qualities. This year he took on the role of 'Florestan' in Beethoven's "Fidelio" in New York and that character's major aria is gorgeously done on this album. Besides the six Wagner excerpts, my personal favorite is from Korngold's "Die Tote Stadt." Highly Recommended for anyone who loves Wagner or for anyone who has no real exposure to him and would like to begin with a beautiful album.

Ben Heppner is arguably the top Heldentenor.......2000-07-05

Although I am not a big fan of recordings of this kind, preferring instead either complete scenes or Acts instead of selected arias, it would be hard to seriously fault this record. Heppner's pitch control is excellent and he reallys sings instead of resorting to declamation (once referred to as the Bayreuth Bark). The orchestral playing and conducting is successful too, as is the sound engineering. All the items on this release are interesting, but I wonder why the Preislied from Meistersinger was excluded, which may well be his signature aria. It is a generous program and the notes are well written. Recommended.

Heppner made a German Opera fan out of me........2000-04-27

Before Heppner came around I had little interest in German music, other than Beethoven, and Mozart. His interpretation of these arias, as well as his disc of Strauss arias converted me. He never barks this music, but sings with artistry, and technical mastery. He infuses this music with the technique of an italian singer, and gives this music the beauty it deserves. After listening to Heppner sing these operas, I did more exploring, and found that there were other singers, who sang German opera beautiful as well. Thanks to Heppner and his beautiful singing, apparent on this disc, I have been opened to this music.

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Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLI8
Release Date: 2004-11-30

Wagner ·Terfel: Berliner Philharmoniker / Abbado

Average customer rating:

Not a Wagnerian
New hot tenor
A TASTER OF THINGS TO COME
Wagner's Music Beautifully Sung
Yawn...on to the band wagon too Mr Terfel?

Wagner ·Terfel: Berliner Philharmoniker / Abbado

Manufacturer: © 2002 Deutsche Grammophon GmbH, Hamburg
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Bryn Terfel - Opera Arias / MET, Levine
Bryn Terfel - An die Musik (Favorite Schubert Songs) / Martineau
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Messiah: The Dream Cast
Leading Man

ASIN: B00005UWKZ
Release Date: 2002-02-12

Tracks:

Der Fliegende Holldnder Overture
"Die Frist ist um" (Der Fliegende Holldnder)
"Wahn! Wahn! Uberall Wahn! (Die Meistersinger)
"Was duftet doch der Flieder" (Die Meistersinger)
"Wie Todesahnung Ddmmrung deckt die Lande--O du mein holder Abendstern" (Tannhduser)
Nein! Lasst ihn unenth|llt! (Parsifal)
Ja, Wehe! Wehe! Weh' |ber mich! (Parsifal)
"Leb wohl, du k|hnes, herrliches Kind!" (Wotan's Farewell from Die Walk|re)

Amazon.com

Bryn Terfel brings a resonant voice and wide emotional range to Wagner's bass-baritone roles. He's a touching Flying Dutchman, a grief-laden Amfortas in two scenes from Parsifal, a wise, sympathetic Hans Sachs in the two monologues from Die Meistersinger, and at his best in a smoothly sung rendition of Wolfram's Evening Star aria from Tannhäuser. The only quibble is a degree of overemoting that can sectionalize scenes through an excess of passion where understatement often works better. The first part of "Leb' wohl," for example, is delivered with a surplus of anger where sad resignation would be more appropriate, since Wotan's fury has been spent by the time we reach this point. Such vocal heavy lifting sometimes reminds one of the old "Bayreuth bark" school of Wagnerian singing, but those moments pass quickly. It's doubtful you'll find anything amiss if you're not familiar with past masters like Hans Hotter and Friederich Schorr. Wagnerians and Terfel fans will snap this up. --Dan Davis

Customer Reviews:

Not a Wagnerian.......2007-01-23

Well, what can one say after waiting so long? I expected to be awash in this gorgeous voice, with wave after wave of beauty. The impression that I actually had, after all was sung and done, was that Mr. Terfel is not a Wagnerian. The voice is certainly beautiful, but it simply lacks the heroic thrill I was looking for (and waiting for all these years). He sounds pressed at times, like the voice has no more to give. This also has to be the most overinterpreted Wagner I have heard. It has a certain lieder quality to it, but her it is excessive finesse, subtle delicacy and shading for no purpose, when the grander line is indicated. It is worth having, but not listening to over and over for the sheer joy of beauty.

New hot tenor.......2006-02-25

While I was looking for him to sing an entire opera, this was next best. He is smooth!

A TASTER OF THINGS TO COME.......2005-09-16

Here's a disc to get Wagnerians salivating at the prospect of great things to come. Despite numerous and, no doubt, lucrative offers, Bryn Terfel wisely resisted the lure of the big Wagnerian roles until he felt he and his voice were ready for them. Apparently we have, in part, to thank Solti's wise words of warning for that. There is no doubt that here is potentially one of the great Wagnerian bass-baritones in the making, worthy to be compared with van Rooy, Schorr and Hotter. Terfel has the ability and the taste to sing with the kind of bel canto line that Wagner always said he wanted but, alas, has so seldom received.

But! It is still early days and there are times in this collection when a lack of stage experience in these parts shows. Yes, the singing is consistenly beautiful with the characteristic Terfel traits of wonderfully floated mezza voces and ringing top notes (listen to the end of the Dutchman's aria).

However, the depth of characterisation is sometimes lacking. Amfortas' anguish is too generalised. Sachs' understanding of mankind's foibles in the Wahnmonolog derives from the specific text rather than the character as a whole. Wotan, who undergoes the great sea-change in his character that turns him into the resigned Wanderer of Siegfried at precisely this point in Walkure (the Farewell), is still too much the angry, bitter Wotan of Act II and the beginning of Act III. (Remember, this disc was made before he embarked on his first stage performances.) Compare Terfel at "der freie als ich, der Gott: one freer than I, the God" - a forte outburst of resentment from Bryn's god: with Hotter, an infinitely moving patina of resignation colours the voice. Nevertheless, Terfel's ban on fearful fire-invaders at the end is hugely stirring.

It is, perhaps, the earlier Wagner that fares best. The Dutchman's Monologue, which he has recorded before with Levine, is hair-raising in the best sense. Wolfram's Song to the Evening Star is sublime. Even Sachs' Fliedermonolog, part of Terfel's repertoire since the famous head-to-head with Hvorostovsky in Cardiff, is sung with sensitivity and a wonderful sense of line. Amfortas perhaps lies a little high for his voice. Gurnemanz will, I think, prove to be the Parsifal part for him - a pity maybe that he didn't give us the Good Friday Scene instead of the Amfortas monologues. The orchestral accompaniments from Abbado and the Berlin Philharmonic are, like the voice, stronger on beauty of tone than characterisation, but they get the recital off to a rousing start with a fine live performance of the Hollander Overture.

All in all, then, an appetising taster of (hopefully) things to come, a must for Wagnerians and Terfelians alike, but I feel sure there are greater performances to come from Terfel in this repertoire (witness his recent Wotan at Covent Garden and the Proms) - especially when he tackles complete roles rather than 'bleeding chunks'.

Wagner's Music Beautifully Sung.......2003-06-28

I am a relative newcomer to Wagner, but I'm already tired of singers (basses especially) who wobble and bark their way through the composer's glorious music. Bryn Terfel in his new Wagner CD offers a corrective to that style of "singing." Terfel's voice has grown in size and weight over the past several years, which means that it is now a more apt instrument for Wagner's music. His voice remains firm, round, warm, sweet, and above all, STEADY. I do notice some brief moments of strain on loud notes in what sounds like his upper-middle register -- but this is nothing compared to the harsh tones produced by some Wagnerian basses I've heard, past and present. On the whole, it is extremely gratifying to hear this music so beautifully sung.
I must disagree with those who find the selections dramatically bland. In the Dutchman's monologue, Terfel sounds more "inside" the role than he did when he performed the excerpt on his 1995 "Opera Arias" CD (but that was an amazing piece of singing, too!). "O du, mein holder Abenstern", which he also sang (superbly) on "Opera Arias," is here spun out with the utmost beauty of tone, suggesting Wolfram's love for Elizabeth. I also agree with the previous reviewer who thought Terfel's rendition of Wotan's Farewell emotionally "wrenching without distracting from the music." For me this track was the biggest surprise of all: Terfel's delivery has a tenderness such as I have never quite heard from him before. But I do believe that Terfel's SINGING is the main reason to buy this CD; as for the characterizations, they can only deepen as Terfel performs these roles onstage. I think he is wise, though, not to rush into them, as he is still quite young.

Yawn...on to the band wagon too Mr Terfel?.......2002-12-18

Mr Terfel is not a singer for Wagner and this CD shows this all too painfully...what more can I say? Spend your money buying any of the other CD's of Wagner that reflect the greatness of the music, not just as a "show case" for a singer. What next Mr Terfel? A touch of Harrison Birtwistle, a soupcon of Ligeti, they are all getting popular now, you know; best get on the band wagon.

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Der Rosenkavalier: The Premiere Recording

Richard Strauss: Der Rosenkavalier

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Ludwig, Christa | Divas | Opera & Vocal | Styles | Music
ASIN: B000002S1R
Release Date: 1990-05-15

Tracks:

Act One: Da Geht Er Hin...& Closing Scene - Gerhard Unger/Christa Ludwig/Erich Majkut/Eberhard Wachter/Harald Proglhof
Act Two: Mir Ist Die Ehre Widerfahren...Ich Kenn' Ihn Schon Recht Wohl - Christa Ludwig/Teresa Stich-Randall
Act Two: Herr Cavalier - Otto Edelmann/Kerstin Meyer
Act Three: Nein, Nein, Nein, Nein! I Trink' Kein Wein...Ach, Lass Sie Schon...Die Schone Musi! - Christa Ludwig/Otto Edelmann
Act Three: Marie Theres'!...Hab' Mir's Gelobt & Closing Scene - Christa Ludwig/Gerhard Unger/Teresa Stich-Randall/Eberhard Wachter

Customer Reviews:

Der Rosenkavalier: The Premiere Recording.......2006-01-24

This early 60's recording of Strauss' Der Rosenvalier has long been regarded as the finest interpretation of the work on record, even in light of modern recording advantages such as better sound quality. Because Elisabeth Schwarzkopf is forever associated with the epitome of a Straussian/German soprano, and especially for her signature role as the Marschallin, this recording has never slipped into obscurity and remains a hot item. Herbert Von Karajan conducts the Strauss score with utmost brilliance, though at a slow and stately pace. The waltzes are simultaneously dizzying and sleep-inducing, Karajan suffuses the music with theatricality and comedy, the arias are virtuosic and the Final Trio/Presentation of the Rose scene is unbelievable, ethereal and magical. Through it all, there is a sort of old school charm.

The singers: Other than the unbeatable performance of Elisabeth Schwarzkopf, we have here the grand mezzo soprano Christa Ludwig as Octavian. Ludwig's artistry is well known and well documented in many recordings. Capable of singing in the mezzo range, she was also able to reach high notes with agility and with ease. She is noted especially for her Leonore in Fidelio, but her Adalgisas, Susukis and Lieder repertoire are terrific. Ludwig shades her voice so that she fully immerses herself in the role of the dashing young man in love with the more experienced Marschallin. There is no fault to be found in her singing, and she is the equal of Schwarzkopf in this recording as far as great voice. The light lyric soprano Teresa Stich-Randall was a renowned Mozart soprano in her time, but her voice is too chirpy and light for my taste. But in the role of the pretty ingenue Sophie in this opera, it suits her well. The baritone Otto Edelman has fun with his role as the Baron. He sings in a basso-buffo style but has enough power in the high register to essay the florid music. And it is florid when one considers the extended scene between the Baron and Sophie which features the long waltz. Without a doubt, this recording will never go out of print. Other than this recording, there are other editions both on Mono and on Stereo. For excellent sound from the orchestra courtesy of Mr. Karajan, the stereo sounds great. But if you prefer to wrap yourself in the voice alone, the Mono sound is for you.

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Luxury
The Nein
Manufacturer: Sonic Unyon
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

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ASIN: B000LC526O
Release Date: 2007-02-20

Tracks:

Burn Construction
Attitude and Mirrors
Sweet Vague
Journalist, Pt. 1
Journalist, Pt. 2
Achilles Last Tape Solo
Ennio
Decollage
Radical Chic
Wreck-We-Um-Dub
Get Up
Future Crumbles
Landscape

R. Strauss: Der Rosenkavalier (abridged)

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A justly famous first-generation "Der Rosenkavalier".

R. Strauss: Der Rosenkavalier (abridged)

Manufacturer: Naxos
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Binding: Audio CD

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ASIN: B00006I05G
Release Date: 2002-10-22

Customer Reviews:

A justly famous first-generation "Der Rosenkavalier"........2003-01-20

As one who heard two of the principals in this famous old recording (Schumann and Olszewska at the end of their careers), I ought perhaps to lead off a discussion and review of this latest of its reissues.

By 1933 it was becoming clear that this most delectable and brilliantly scripted opera was likely to retain a permanent place in the international repertory. EMI's leading producer, Fred Gaisberg, had attended performances in London and Vienna given by a notable cast of singers usually conducted by Bruno Walter, and he commenced planning for a Vienna recording. As with most opera recording projects, however, there needed to be compromises. Firstly, the opera was too lengthy to record and issue on 78s. Secondly, the idea of having Strauss himself conduct it had to be abandoned because he demanded too high a fee. Lehmann's recording contracts allowed her to be included, but neither Bruno Walter as conductor nor Delia Reinhardt as the preferred Octavian could be engaged. Ultimately the project went ahead and an abridged version of the opera, reduced to about half its total duration, was recorded and released on thirteen 78s.

In 1951, on BBC radio, I heard Elisabeth Schumann play the recording of the final duet in this opera. She introduced it as follows: "I must let you into a little secret concerning this record. When we were making these records in Vienna Lotte Lehmann forgot two notes she had to sing. You may recall that just before the final duet Sophie's father remarks to the Marschallin how amazing young people are and the Marschallin replies, 'Ja, ja'. With the trio over, Lotte Lehmann thought her part in the recording was over and retired to her country house near Vienna. There were too many complications involved in getting Miss Lehmann back and so I sang the two words 'Ja, ja'. You must admit I did it very well." Subsequent research has revealed that the final duet was in fact the first item of the project to be recorded, on the first morning of the schedule, and that Lotte Lehmann had not yet arrived. Nevertheless Schumann did substitute for her great friend and colleague and the "take" was approved immediately.

Seventy years later, this splendid Mark Obert-Thorn reissue allows this recording to be heard with greater ease and clarity than ever before. Even so, listeners must bear in mind that recording techniques of the 1930s were barely adequate for capturing the richness of the orchestral score or the intricate vocal textures of the many trios and duets. Singing styles, moreover, differ from today's: both Richard Mayr and Elisabeth Schumann lay the portamento on very thickly. It is, nevertheless, a justly famous cast and one that became closely associated with the opera almost (but not quite) from the time of its 1911 premiere.

Lehmann's Marschallin meets all the requirements of the part. Womanly, wise, accepting of disappointment and generous in her nobility, this Marschallin commands attention throughout. Having exactly the kind of silvery voice and enchanting personality that match the role of Sophie, Elisabeth Schumann makes Sophie a more dominant character than is often the case. How well she depicts girlishness after acknowledging the presentation of the silver rose ("I am looking forward to being married? Are you looking forward too?", and how well she ticks off Baron Ochs in the final act ( "I've done and finished with you")! Happily, almost all Sophie's music was retained in this abridged recording. Maria Olszewska's Octavian is perhaps more impressive for purely vocal richness than for character insights. Richard Mayr, Viennese born and bred, created the part of Baron Ochs at the opera's Vienna premiere in 1911 and remained its most celebrated exponent until the time of his death not long after this recording was made. Much of his part of the opera is omitted in this recording but enough remains to show his fluency in the Viennese accent and some highly musical clowning.

Customer Reviews:

A Major Document of an Incredible Oeuvre..........2007-03-12

.
Of over 600 songs, Fischer-Dieskau and Gerald Moore realized over three-quarters: these are those. Gerald Moore was of course as important to this project as Fischer-Dieskau.

DGG's sound is excellent.

This set is a remarkable document of art.
.

Lebendige Vergangenheit: Franz Völker, Vol. 2

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Lebendige Vergangenheit: Franz Völker, Vol. 2

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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Franz Volker

ASIN: B0000023NF
Release Date: 1995-02-07

Tracks:

Die Zauberflote: DIes Bildnis ist bezaubernd schon
Die Zauberflote: Wie stark ist doch dein Zauberton
Der Freischutz: Nein, langer trag' ich nicht die Qualen
Fidelio: Gott, welch' Dunkel hier
Die Judin: Kehr', o Gott uns' rer Vater, heute bei uns ein!
Rienzi: Allmacht' ger Vater, blick' herab
Der fliegende: Auf hohem Felsen lag ich
Tannhauser: Inbrunst im Herzen
Die Walkure: Ein Schwert verhiess mir der Vater
Die Walkure: Wintersturme wichen dem Wonnemond
Othello: Du, was willst du?
Der Bajazzo: Jenen Namen muss ich wissen jetzt
Dalibor: Mein Zdenko, Du hast wieder mich beschutzt
Dalibor: Ach, welchen Zauber, welche Wonne
Tiefland: Ich gruss noch einmal meine Berge
Tiefland: Mein Leben wagt ich drum

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Helge Rosvaenge, Vol. 3

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B0000023PS
Release Date: 1995-02-07

Tracks:

Die Zauberflote: Dies Bildnis Ist Bezaubernd Schon
Fidelio: Gott, Welch Dunkel Hier
Lohengrin: In Fernem Land
Lohengrin: Mein Lieber Schwan
Der Barbier Von Bagdad: Ach, Das Leid Hab Ich Getragen
Faust: Gegrusst Sei Mir, O Heil'ge Statte
Faust: Der Menschheit Ganzer Jammer Druckt Mich Nieder - Helge Rosvaenge/Margarete Teschemacher/Wilhelm Strienz
Carmen: Hier An Dem Herzen Treu Geborgen
Manon: O Schone Zeit, Wo Die Furcht Bon Uns Genommen
Der Troubadour: Dass Nur Fur Mich Dein Herz Erbebt
Die Macht Des Schicksals: In Heiligster Stunde - Helge Rosvaenge/Gerhard Husch
La Boheme: Wer Klopft? Entschuldigt! Eine Dame? - Helge Rosvaenge/Maria Cebotari
La Boheme: Ach, Geliebte, Du Kehrst Mir Niemals Wieder - Helge Rosvaenge/Gerhard Husch
Der Rosenkavalier: Di Rigori Armato Il Seno
Konigsballade: Euren Konig Will Ich Preisen
Konigsballade: Ewig Muss Ich Dein Gedenken

Tracks:

Ein Leben Fur Den Zaren: Bruder Folgt Mir
Boris Godounov: Dimitri, Zarewitsch! - Helge Rosvaenge/Friedel Beckmann
Eugen Onegin: Wohin Seid Ihr Entschwunden
Die Zauberin: Mein Los Ist Seltsam - Helge Rosvaenge/Tiana Lemnitz
Der Troubadour: Mutter, Du Schlafst Nicht - Helge Rosvaenge/Friedel Beckmann
Aida: O Ware Ich Erkoren...Holde Aida
Aida: Entflohn Ist Die Rivalin, Die Verhasste - Helge Rosvaenge/Friedel Beckmann
Der Bajazzo: Schaut Her, Ich Bin's
Der Bajazzo: Scherzet Immer
Der Bajazzo: Jetzt Spielen
Der Bajazzo: Nein, Bajazzo Nicht Mehr
Tosca: Wie Sich Die Bilder Gleichen
Tosca: Und Es Blitzten Die Sterne
Giuditta: Freunde, Das Leben Ist Lebenswert
Giuditta: Du Bist Meine Sonne

The Hugo Wolf Society - The Complete Edition 1931-1938

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The Hugo Wolf Society Recordings
"Even little things can delight us."
"Even little things can delight us."
Wolf sung by various Lieder singers

The Hugo Wolf Society - The Complete Edition 1931-1938

Manufacturer: Angel Records
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Binding: Audio CD

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Wolf: Lieder (Elisabeth Schwarzkopf, Gerald Moore)
Mussorgsky: Kovanshchina - Abbado
Handel: Messiah; Athalia; Esther; La Resurrezione

ASIN: B000009OQC
Release Date: 2002-11-05

Tracks:

Moerike-Lieder: 8. Begegnung
Moerike-Lieder: 38. Lied vom Winde
Moerike-Lieder: 15. Auf einer Wanderung
Moerike-Lieder: 41. Rat einer Alten
Spanisches Liederbuch: 12. In dem Schatten meiner Locken
Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
Spanisches Liederbuch: 6. Ach, des Knaben Augen
Spanisches Liederbuch: Nun wandre, Maria
Moerike-Lieder: 46. Gesang Weylas
Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
Italiensches Liederbuch: 1. Auch kleine Dinge
Moerike-Lieder: 7. Das verlassene Maegdlein
Eichendorff-Lieder: 4. Das Staendchen
Spanisches Liederbuch: Wenn du zu den Blumen gehst
Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
Italiensches Liederbuch: 16. Ihr jungen Leute
Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
Italiensches Liederbuch: 12. Nein, junger Herr
Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr

Tracks:

Goethe-Lieder: 49. Prometheus
Goethe-Lieder: 50. Ganymed
Goethe-Lieder: 18. Beherzigung
1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
Moerike-Lieder: 19. Um Mitternacht
Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
Moerike-Lieder: 45. Nixe Binsefuss
Spanisches Liederbuch: Moegen alle boesen Zungen
Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
Spanisches Liederbuch: 26. Bitt ihn, o Mutter
Italiensches Liederbuch: 6. Wer rief dich denn?
Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
Italiensches Liederbuch: 43. Schweig einmal still
Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
Goethe-Lieder: 51. Grenzen der Menschheit
Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
Italiensches Liederbuch: 31. Wie soll ich froehlich sein
Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
Italiensches Liederbuch: 26. Ich liess mir sagen
Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf

Tracks:

Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
Italiensches Liederbuch: 39. Gesegnet sei das Gruen
Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
Italiensches Liederbuch: 15. Mein Liebster ist so klein
Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
Spanisches Liederbuch: 15. Auf dem gruenen Balkon
Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
Spanisches Liederbuch: 29. Trau nicht der Liebe
Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
Moerike-Lieder: 22. Seufzer
Moerike-Lieder: 28. Gebet
Moerike-Lieder: 23. Auf ein altes Bild
Moerike-Lieder: 32. An die Geliebte
Moerike-Lieder: 12. Verborgenheit
Moerike-Lieder: 39. Denk es, o Seele!
Moerike-Lieder: 51. Bei einer Trauung
3. Ein Stuendlein wohl vor Tag
Moerike-Lieder: 16. Elfenlied

Tracks:

Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
Goethe-Lieder: 14. Cophtisches Lied 1
Eichendorff-Lieder: 2. Der Musikant
Eichendorff-Lieder: 5. Der Soldat
Eichendorff-Lieder: 9. Der Schreckenberger
Moerike-Lieder: 44. Der Feuerreiter
Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
Moerike-Lieder: 29. An den Schlaf
Moerike-Lieder: 36. Liebe wohl
Spanisches Liederbuch: 30. Ach, im Maien war's
Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
Moerike-Lieder: 30. Neue Liebe
Moerike-Lieder: 48. Storchenbotschaft
Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
Sechs Gedichte: 6. Zur Ruh, zur Ruh
Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
Moerike-Lieder: 24. In der Fruehe
Moerike-Lieder: 25. Schlafendes Jesuskind

Tracks:

Goethe-Lieder: 20. Sankt Nepomuks Vorabend
Goethe-Lieder: 12. Ritter Kurts Brautfahrt
Moerike-Lieder: 47. Die Geister am Mummelsee
Moerike-Lieder: 10. Fussreise
Moerike-Lieder: 43. Lied eines Verliebten
Moerike-Lieder: 25. Schlafendes Jesuskind
Moerike-Lieder: 4. Jaegerlied
Moerike-Lieder: 17. Der Gaertner
Moerike-Lieder: 50. Auftrag
Moerike-Lieder: 9. Nimmersatte Liebe
Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
Goethe-Lieder: 10. Der Saenger
Eichendorff-Lieder: 13. Der Scholar
Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
Eichendorff-Lieder: 15. Unfall
Vier Gedichte: 1. Wo wird einst (Heine)
Vier Gedichte: 3. Sonne der Schlummerlosen
Vier Gedichte: 4. Keine gleicht von allen Schoenen
Eichendorff-Lieder: 1. Der Freund
Eichendorff-Lieder: 2. Der Musikant
Sechs Gedichte: 1. Waechterlied auf der Wartburg
Moerike-Lieder: 40. Der Jaeger
Goethe-Lieder: 32. Phaenomen
Eichendorff-Lieder: 3. Verschwiegene Liebe
Vier Gedichte: 1. Wo wird einst (Heine)
Ueber Nacht (Sturm)

Amazon.com

EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed Distler

Customer Reviews:

The Hugo Wolf Society Recordings.......2005-12-28

The songs of Hugo Wolf (1860 -- 1903)combine great attention to textual detail with closely intertwined writing for the voice and the piano. In this small form, Wolf was a master and took song in a different direction from that of Schubert, Schumann and Brahms. He wrote most of his songs in bursts of activity in five large collections, devoted to the poetry of Morike, Eichendorff, Goethe, and to collections of Spanish and Italian texts. He also composed a number of songs in shorter sets.

In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.

The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.

The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.

Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.

There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.

This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.

Robin Friedman

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Walter Legge, a very young EMI record producer in the 1930s, first made such a journey possible when he pioneered the Hugo Wolf Society and began releasing the volumes now reissued in this boxed set. Many singers were invited to participate. Legge's choice of singers was sometimes idiosyncratic. You might wonder how an Irish tenor, a Ukrainian bass and a Greek soprano were admitted to the roster. The results, however, especially in the case of the contributions of John McCormack and Alexander Kipnis, prove the sureness of his instincts.

About half Wolf's songs were made available in the original issue, between 1931 and 1938. With this reissue comes unused and hitherto unissued recordings, many by Tiana Lemnitz and Herbert Jannsen. So there is now more to discover and exploration is made easier for us in 2003 than it was in the 1930s. The remastering has improved the sound, Legge's widow Dame Elisabeth Schwarzkopf is able to provide a perceptive introduction in an accompanying booklet, and the texts of the songs are now provided in German and English.

"Even little things can delight us.".......2003-06-02

If these six words give an approximate translation of the song titled "Auch kleine Dinge", then they might also describe a music lover's reaction as he makes a journey of exploration through the hundreds of little songs composed by Hugo Wolf.

Wolf sung by various Lieder singers.......2000-08-15

This is an extraordinary collection of Wolf songs. It is frustrating that the project was not completed, as the quality of what was recorded is so extraordinarily revelatory. My personal favourites are the Michelangelo settings sung by the bass Alexander Kipnis, although he uncharacteristically makes some textual errors. The contributions of Hüsch are numerous and thoughtfully sung, and Karl Erb, Herbert Janssen, Ludwig Weber, Rita Ginster and Marta Fuchs are all caught on extraordinary form, with accompanists of admittedly variable quality, ranging from the sublime Gerald Moore to some very interesting contributions from some accompanists who did not really capture the true essence of Lieder accompanying, which surely cannot permit the piano to be subservient to the voice!

These precious recordings offer us so much. They are a document of a golden age of Lieder singing, and they are superb recitals, sung by a variety of voices, never allowing the listener to tire of listening to a single voice for too long. They are also, of course, examples of some of the most wonderful Lieder writing of any time. These 5 cds are a must for a Lieder specialist, and can open new doors to the novice. Buy them, and never regret having this treasure trove which will give you pleasure all your life.

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