Barbara Bonney's recital of the Schumanns' songs is prefaced, in the booklet-note, with a little feminist homily from the singer defending the reputation of Clara as woman and artist. Clara hardly needs that kind of defence nowadays, witness recent CDs by Skovhus and Stutzmann, plus several others not reviewed in these pages; her songs are far from patronized, let alone neglected. Yet, for all the advocacy of these singers, her inspiration remains for me intermittent, though thoroughly conventional songs are occasionally leavened by notably individual ones, such as, here, her very last and unpublished song, Loreley, which vividly conjures up that dangerous creature, particu lady in the hectic piano part, evocatively played by Ashkenazy. Indeed it seems that Heine most inspired her, as "Sic liebten sich beide" from her Op. 13 provoked a setting of economically intense meaning, to which Bonney finely responds.– Gramophone [9/1997].
Brahms & Schumann: Lieder sees Dame Ann Murray, one of the great vocal artists of the past decades, return to the recording studio to perform a personal selection of Lieder. Brahms & Schumann: Lieder, Ann’s first solo album in over a decade, will be her final Lieder recording and a fitting way to draw her long and distinguished recording career to a close.
"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."
All those concerned with this Wanderer project are to be heartily congratulated. I will listen to this splendidly performed release again and again. (…) There are twenty four works on this disc. The vast majority of these are established in the standard repertoire but are presented here in a different guise by tenor Christoph Prégardien and the Ensemble Kontraste. The impressive Prégardien has a distinct baritonal quality to his lower register. Across the scores the concept of the Wanderer from German Romantic literature is a constant theme that works superbly well.
June 8, 2010 marks the 200th anniversary of the birth of robert Schumann, one of the most important romantic composers of the 19th century. To celebrate his vast and impressive output, Deutsche Grammophon and Decca have compiled this 35-CD box set of his most important masterworks. Though this is not a complete edition, it includes every major work and a number of rarities covering every aspect of Schumann’s output.
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.
Although highly productive and respected in his lifetime as a composer of Lieder, Robert Franz (1815–92) has since become a peripheral figure in music history. One reason may be that he avoids dramatic contrasts and instead aims at an emotional ambiguity: ‘My representation of joy is always tinged with melancholy, whilst that of suffering is always accompanied by an exquisite sensation of losing oneself’, he once wrote to Liszt. As a consequence his music appeals to those who are able ‘to admire the nuances of a charcoal drawing without longing for the colours of a painting’, to quote from Georges Starobinski’s liner notes to this recording. As they began to explore the songs of Franz, Starobinski and the baritone Christian Immler were moved by their findings to devise a programme which includes 23 of the composer’s often quite brief songs. Using the poet Heinrich Heine as their guiding star, they present these – all Heine settings but from different opus groups – in the form of two ‘imagined’ song cycles.