This 6-CD set captures Dietrich Fischer-Dieskau and Daniel Barenboim in some of their most significant recordings together and features the astonishingly beautiful and highly regarded lieder of Hugo Wolf.
After her sumptuous album of Strauss songs with orchestra, soprano Diana Damrau marks the bicentenary of Liszt’s birth with an album of his most celebrated songs in German and Italian, accompanied by pianist Helmut Deutsch.
In this live recording from the Royal Festival Hall the OAE shines its musical torch into the realms of some later repertoire, shedding new light on the music of Mahler. Conducted by Principal Artist Vladimir Jurowski, this album includes the Lieder eines fahrenden Gesellen (Songs of a Wayfarer), written in the wake of an unhappy affair with a soprano, and the extraordinarily exciting and powerful Totenfeier, Mahler’s first foray into orchestral music, and later reworked into the opening movement of his second symphony.
Masaaki Suzuki is a Japanese organist, harpsichordist and conductor, and the founder and musical director of the Bach Collegium Japan. He also teaches and conducts at Yale University and has conducted orchestras and choruses around the world. He was born in Kobe to parents who were both Christians and amateur musicians; his father had worked professionally as a pianist. Masaaki Suzuki began playing organ professionally at church services at the age of 12.
This is sheer enjoyment from start to finish. It deserves the highest possible praise.
For RCA Red Seal these two artists have been splendidly recorded. There is an interesting essay by Gerhaher in the booklet and full texts with English translations are provided. Michael Cookson, Musicweb-International
"Dass Prégardien zu den ganz großen lyrischen Tenören unserer Zeit gehört, ist seiner Interpretation durchweg anzumerken: Er überzeugt durch eine ungemein stimmungsvolle, technisch makellose Wiedergabe, er arbeitet mit feinsten Nuancen, die er bei souveräner Stimmbeherrschung in fast allen Lagen zur subtilen Ausleuchtung der Liedtexte anwendet… Gees erweist sich als sehr sensibler und aufmerksamer Begleiter, der mit weichem und doch sprechendem Anschlag die Stimmungen der Lieder zu erfassen und nachzuzeichnen versteht."
"The song cycles “Kerner-Lieder” op. 35 and Liederkreis op. 39 by Schumann, recorded in 1954-55 for West German Radio, are amongst the foremost examples of Dietrich Fischer-Dieskau’s mastery of the art of Lieder singing. The listener is treated to pioneering interpretations which laid the foundations for these sets of songs to become established in the recital programmes of younger singers. In the case of the “Kerner-Lieder” this may well be the first complete recording. In both recordings Dietrich Fischer-Dieskau is heard at the early zenith of his powers as regards both his vocal technique and his crafting of the songs."
Heinrich August Marschner was the most important composer of German opera between Weber and Wagner. To the extent that he is still remembered, it is largely for his operas Hans Heiling (1833), Der Vampyr (1828), and Der Templer und die Jüdin (1829), extremely popular in his lifetime. Marschner’s ability to depict supernatural horror by musical means is especially evident in the first two operas as well as in some of his ballads, such as "Die Monduhr". Next to his operas, Marschner's most significant musical contribution is to the Lied. The best of his works in this form are comparable with those by Carl Loewe.