Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
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.
By late summer of 1837, the 27-year-old Schumann was secretly engaged to his beloved Clara Wieck. The powerful emotions connected with this event were a stimulus to Schumann’s creative impulses, for he was a Romantic through & through. It was at this time that he composed the deeply personal Davidsbundlertanze -18 dances inspired by the imaginary league of David. This fellowship, invented by Schumann, consisted of Schumann’s own alter egos, plus a number of well-respected musicians & friends including Felix Mendelssohn-Bartholdy. The group was established as a way of fighting against the Philistines; it was Schumann’s response to contemporary musical trends which he saw as cheap, excessively virtuosic, & superficial.