soulpope "Ever Since The World Ended, I Don`t Get Out As Much"
Registriert seit: 02.12.2013
Beiträge: 56,967
soulpope
Schlichtweg wunderbar …. gehört IMO in jede ernstzunehmende Schubertliedsammlung …. bei Amazon.uk um EURO 10 inkl Versandkosten (!!) :director: ….
so unglaubliche Schubertlliedkunst …. also (zumindest) noch einmal ….
PS : nicht alle Aufnahmen dieses Hyperion Schubertlied Projektes waren geglückt …aber einige Aufnahmen (wie diese) dafür phänomenal ….
PS 2 Ich ja nicht so Rezensionsfan, aber diese hier spiegelt meine Empfindungen vollinhaltlich wieder :
Volume 21, CDJ33021, brings the long experience and high art of Edith Mathis in a totally satisfying, utterly beguiling recital of Schubert songs from the years 1817-1818. Some of Schubert’s finest songs are here, gloriously interpreted with the great warmth and emotional involvement of one who is steeped in this literature. The unaffected simplicity of the opening “Schlaflied” (“Slumber Song”), the urgency of “Sehnsucht” (“Longing”),the deep seriousness of “Die Liebe” (“Love”), (one of the Schubert joys that deserves greater recognition), the freshness of “Die Forelle” (“The Trout”) (a performance to match the greatest of past interpretations), the quiet introspection of “Trost” (“Comfort”), the charm of “Das Lied vom Reifen” (“The Song of the Frost”) are all reflections of Mathis’ complete mastery of the idiom. And then comes Schubert’s great ode to music itself, “An die Musik,” in a performance of deep commitment and great simplicity, a loving performance, one of exaltation in the line “Hast du mein Herz zu warmer Lieb entzunden” (“Have you kindled my heart to the warmth of love”). This is a rendition to match any of the great performances of the past. In all of these songs, Johnson’s line, his phrasing, his touch are impeccable and contribute much to the enjoyment of a truly magical recital. “Liebhaber in allen Gestalten” (“A Lover in all Guises”) is one of Schubert’s most delightful humorous songs set to an earthy poem of Goethe. Though it is meant to be sung by a man, most male singers (including Fischer-Dieskau in his enormous anthology of Schubert songs) have avoided it, possibly, Johnson observes, because they “are embarrassed by a whimsical coquetry in the turn of musical phrase which suggests femininity.” It has become a staple of the soprano repertory, with fine performances, for example, by Elisabeth Schumann and Irmgard Seefried. Mathis here is more than a match for any of them in a performance of sheer delight.
“Abschied von einem Freunde” (“Farewell to a Friend”) is the only one of Schubert’s songs set to his own words. It is a touching farewell to his close friend Franz von Schober, in whose home the composer had been living for eight months. Mathis sings it poignantly. “Erlafsee” (“Lake Erlaf”) begins with the lines “I am so happy and yet so sad/ By the calm waters of Lake Erlaf.” The song has a lovely Viennese lilt, which captures the sentimental mixture of sweetness and tears of Schlegel’s poem, and Mathis perfectly conveys its mixed emotions. The song deserves much greater recognition. “Lob der Tränen” (“In Praise of Tears”), sung with intensity, has some bewitching chromaticism in its piano part. “Evangelium Johannes” (“The Gospel According to St John”) is a strange song — it is Schubert’s only setting for voice and piano of a prose text. Its harmonic language suggests liturgical music of the past, but at the same time it anticipates Wagner’s setting of words. Vom Mitleiden Maria” (“Mary’s Suffering”) is an unusual song that also looks both backward to C.P.E. Bach in its use of linear three-part counterpoint and amazingly forward to Hugo Wolf’s “Nun Wandre, Maria” (“Now Wander, Mary”). This is a fascinating recital from start to finish, and one of the best of the Schubert Edition, both for Mathis’ complete command of the genre and Johnson’s absolute control and sympathetic partnership. The two artists perform as one throughout.
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)