This site is young, and there aren’t many readers yet, but for the few of you who are reading, you are probably here because you share my love for Schubert’s wonderful lieder. What are your favorite recordings? Who are your favorite singers? I’ll be posting reviews of mine in the coming weeks and months, but it would be interesting to get an idea of what you all like. And it may give me some ideas for singers or recordings that I’m not familiar with.
Feel free to post about your favorites in the comments.
Posted: 9/1/2012 by Kirk | Filed under: Recordings Tags: Recordings | 10 Comments »
While “authentic” piano recordings of Romantic composers are not very common, there are a handful of musicians who have recorded these works on the fortepiano, or the instrument of the time of Mozart, Beethoven and Schubert. The best-known performer is probably Roland Brautigam, who has recorded complete sets of music, for the Swedish label Bis, by Haydn and Mozart. Brautigam is currently completing a cycle of Beethoven’s solo piano works – the latest release in this series is dedication to variations.
While Brautigam records exhaustive sets, other performers record some of this piano repertoire on fortepiano. Andreas Staier, who recently released a recording of Beethoven’s Diabelli Variations on fortepiano, has never recorded “cycles” of any composer’s works, but flits around from one composer to another.
But these pianists tend to neglect Franz Schubert. Now that Brautigam is reaching the end of his Beethoven cycle, I hope that he will record Schubert’s many wonderful piano works.
But in the meantime, there is an excellent series of recordings of Schubert’s piano sonatas by Paul Badura-Skoda. This pianist recorded all of Schubert’s piano sonatas on three three-disc sets for the Arcana label. (Here’s volume 1.) As with the other composers cited above, the fortepiano brings the listener back to the instrument that the composer used when writing the music. (Or, in the case of Mozart and Haydn, some of their music was originally composed for harpsichord.) The sound is more intimate and the sustain shorter than a modern piano. But when you consider the dynamics, the attack and the sustain, these composers wrote music for those characteristics, not for those of today’s Steinway or Bösendorfer.
Unfortunately, other recordings that Badura-Skoda made for the Astrée label, of the Impromptus, the Moments Musicaux and the Wanderer Fantasie, are out of print, and are very expensive. One can hope that these will be brought back into print someday.
But I also hope that Brautigam will start recording Schubert. He is a sensitive musician, and his recordings of Haydn, Mozart and Beethoven are excellent. I love listening to music of this period on original instruments. If you haven’t done so, I strongly recommend some of these recordings by Brautigam and Badura-Skoda.
Beyond the works for solo piano, what about lieder recorded with fortepiano? The six discs of “Poets of Sensibility” in the Naxos Schubert Complete Lieder set use a fortepiano, and the results are very interesting. And the recordings of the three song cycles on Musica Omnia have Penelope Crawford playing fortepiano. (I’ll be reviewing those discs soon.) But this is the exception. Other than a handful of lieder recordings with fortepiano, there is little HIP (historically-informed performance) attention paid to Schubert’s lieder. It would be very interesting if there were a new recording of the complete lieder with fortepiano. One can only hope…
Posted: 8/30/2012 by Kirk | Filed under: Other Schubert Music, Recordings Tags: fortepiano, piano, Schubert | No Comments »
Some time ago, I got a copy of Naxos’ Deutsche Schubert-Lied-Edition, their 38-disc set of Schubert’s lieder, or art songs. Schubert’s lieder is one of my favorite parts of the classical repertoire, and I have many recordings by different singers. Yet, there are only two complete sets of his songs: the Naxos set, and Hyperion’s 40-disc set, which contains 37 discs of Schubert’s songs, together 3 discs of songs by his friends and contemporaries (which is a valuable addition to the set, putting Schubert’s songs in the broader context of his time).
This music is quite popular; singers regularly release new collections of Schubert’s lieder, and perform recitals of this music around the world. Yet only two complete sets of these songs exist. There are other monoliths of classical music that cover as many discs, or even more, and are better represented in the catalog. Take Bach’s cantatas, for example (another of my favorites). There are at least six complete sets of these works (either completed or in progress), and they cover around 60 CDs. Or Haydn’s symphonies: there are four complete sets of these, and they cover from 33 to 37 discs.
But Schubert’s lieder, even though popular (an Amazon search turns up more than 1,000 results) doesn’t inspire the same type of completeness.
It’s worth noting that the two existing Schubert sets were all “organized” or “overseen” by accompanists, rather than singers: Graham Johnson for the Hyperion edition, and Ulrich Eisenlohr for the Naxos. For the former, Johnson chose the best lieder singers of the time, over the many years it took to record the series. For the Naxos series, a focus was made on young German singers, rather than having singers whose native tongue was not German. (It’s worth noting that Johnson plays piano on all the Hyperion discs; Eisenlohr plays on 31 of the 38 Naxos discs.)
No one singer could record all of Schubert’s lieder. Dietrich Fischer-Dieskau did record all of the songs for solo male voice, or more than half of them, on 21 CDs (my favorite Schubert lieder recordings), but he did not record those written for soprano, or part-songs, with multiple singers. So while an individual singer might oversee such a project, they couldn’t perform all the works. Also, this is a long project to realize, and no singer today could devote themselves to just Schubert’s music for that long. The total time of the Hyperion set is just under 43 hours (not counting the three discs of friends and contemporaries); the Naxos set is a bit over 40 hours. The amount of time it takes to record that much music is monumental.
Posted: 8/29/2012 by Kirk | Filed under: Recordings Tags: Dietrich Fischer-Dieskau, Hyperion, Naxos, Recordings | No Comments »
There are many excellent lieder singers today, and, while it’s interesting to have a handful of discs from them, it would be nice to see more attention paid to these songs. The Hyperion and Naxos sets are both excellent, in different ways, and are complimentary, to those who really appreciate this music. But I’d love to see one or two more sets. Are any labels out there willing to take up the gauntlet? I could imagine Harmonia Mundi or Bis doing such a series; the former has already released several volumes of Schubert’s lieder by Matthias Goerne, and, while he couldn’t sing everything, perhaps they’ll continue with other singers.
One note: if you’re a fan of Schubert’s lieder, you should definitely own a copy of John Reed’s Schubert Song Companion, which gives excellent translations for all the songs. You should also get Dietrich Fischer-Dieskau’s Schubert’s Songs: A Biographical Study. This book is out of print in English, but used copies are available from many on-line booksellers. I have a copy of the French translation, and it’s an interesting look at the songs by someone who knows them very well. A commenter also points out The Fischer-Dieskau Book of Lieder, which contains some songs by Schubert, but also songs by other composers.
A note on the Naxos box set: this comes with a 429-page book, which includes track listings, notes on the music, for each disc, artist information, and indexes. It does not, however, contain song texts, either in the original German or in translation, though the song titles are translated on each disc’s sleeve. (You can download PDFs with sung texts for each volume of the series from this web page. The book is entirely in English, which is the “international version” of the set; there is also a “German version,” which presumably has this book in German. This book is impressive, and useful, but, frankly, I’d very much like to have it in PDF format. It’s hard to read CD liner notes with their small print, and a book this thick is a bit unwieldy. Nevertheless, it’s good that it’s included.
Also, flipping through the notes as I started listening to this set, I spotted a mention that six of the discs feature the fortepiano, the type of instrument that Schubert used, which is different from today’s piano. This is interesting, and I’m looking forward to hearing how these discs sound. This makes me think that if there were another complete set to be made, it would be nice if it were on fortepiano…
The late Dietrich Fischer-Dieskau was one of my favorite singers, and the one who introduced me to the lieder genre. Lieder – plural of lied, or song in German – is often translated by “art song” in English. It’s only “arty” in the sense that it’s classical music, rather than popular or jazz. The lied is a form that was perfected by Franz Schubert, and that was very popular in the Romantic era, especially in the German language. Other countries and periods had songs, of course, but in many cases they were part of larger works (such as Mozart’s operas or Bach’s cantatas). The German lied is truly a genre apart.
So here are some of the recordings by Fischer-Dieskau that I appreciate the most. Glancing in my iTunes library, I have more than 3,000 songs of his, by dozens of composers. But those composers whose music he appreciated the most, and where he specialized, were Schubert, Schumann, Liszt, Brahms, Wolf and Mahler.
The first recording I heard – and the one that sold me on lieder and on Fischer-Dieskau as a performer – was his 1965 recording of Schubert’s Winterreise with Jorg Demus on piano. It’s hard to express the effect this recording had on me in my early 20s, but, while it was not instantaneous, it wasn’t long before I was convinced that this was a style of music for me. Fischer-Dieskau recorded Wintereisse many times – I have seven of the more than a dozen recordings available – and another of my favorites is this 1990 recording with Alfred Brendel. Fischer-Dieskau was at the end of his singing career by then, but it’s still a fine performance. There is also a DVD of the two of them performing this live, which seems to be out of print now.
Fischer-Dieskau’s monumental recording of all of Schubert’s lieder for solo male voice remains the most essential recording of this great singer. Recorded in the early 1970s, with the great Gerald Moore on piano, this (very affordable) set of 21 discs of Schubert’s many songs is one of the recordings I return to often.
Fischer-Dieskau recorded some other complete sets of lieder by various composers. There is Schumann, on 6 discs, Liszt on 3 discs, and Wolf on 7 discs.
Two recent collections from EMI – The Great EMI Recordings and Recordings from the Archives – collect recordings of different composers. The former is an 11-disc set, containing some of Fischer-Dieskau’s best recordings of Schubert, including the three song cycles, Die Schöne Müllerin, Winterreise and Schwanengesang; together with a disc each of works by Schumann, Brahms, Mahler, Wolf, Strauss and a final disc with works by Loewe, Mendelssohn, Wagner, Liszt and Cornelius. The “Archives” include some excellent recording of songs by Beethoven, Mozart and Haydn, not available on other sets. Both of these are excellent sets, but if you’re new to this singer, the Great EMI Recordings is an excellent overview to get as a first set.
And then there’s Mahler. Like Schubert, Fischer-Dieskau owned Mahler. His recordings of Das Lied von der Erde and Das Knaben Wunderhorn and other songs are essential.
Fischer-Dieskau also sang Bach and Wagner. I’m not a fan of Wagner, so I can’t recommend much other than his Tristan und Isolde, conducted by Carlos Kleiber. As for Bach, there are many recordings of him singing Bach’s cantatas and passions.
These suggestions are all good places to start discovering Dietrich Fischer-Dieskau’s many recordings. It’s likely that both EMI and DG, for which he recorded a lot, will be putting together big box sets for the near future, and I hope these will include unreleased or out of print recordings. Fischer-Dieskau’s legacy is long and rich, and there is much to discover among his hundreds of recordings.
Posted: 8/28/2012 by Kirk | Filed under: Recordings, Singers Tags: Dietrich Fischer-Dieskau | No Comments »
Buy from: Amazon.com | Amazon UK | Amazon FR | Amazon DE
In 1987, Hyperion Records began what turned out to be a colossal project: the recording of all of Franz Schubert’s songs (or lieder), a total of 729 songs performed by over 60 soloists. Some of these songs are for male voice, others for female voice, and others for several singers together. (In comparison, Dietrich Fischer-Dieskau’s landmark recording of all the lieder for solo male voice includes 463 songs on 21 CDs; now available at a bargain price.) Originally released on 37 CDs, over a period of 18 years (the amount of time it took Schubert to compose all these songs, before his early death), this new set presents the songs in chronological order. It is hard to understate the monumental scope of this set. Never before have all of these songs been available together, and never before have listeners been able to appreciate the broad scope of Schubert’s compositions.
Beginning with an idea by accompanist Graham Johnson, and continued as a labor of love (and a relative commercial success), Hyperion Records managed to bring together many of the great lieder singers of the time, even providing showcases for young singers who would go on to become essential performers in this genre. From “classic” singers such as Ann Murray, Janet Baker and Peter Schreier, to new finds like Ian Bostridge and Matthias Goerne, this set is full of great voices. Even the grandfather of Schubert lieder, Dietrich Fischer-Dieskau, makes a cameo appearance, reading some poems that are part of the cycle Die Schöne Müllerin, by Wilhelm Müller, which Schubert did not set to music.
Added to this set (and released separately in 2006) are three discs of songs by Schubert’s friends and contemporaries, including Beethoven, Haydn, Mendelssohn, and others, giving the listener an overview of the type of lieder that influenced him. But it is the 37 discs of Schubert’s songs that are important here; the “extras” are just that, like special features on a DVD.
Listening to this set in chronological order is enlightening, as one can grasp the evolution in the subtlety and depth of Schubert’s compositions. Starting with his earliest songs, written in his teens, and progressing through his final year, as he was 31, the journey is long, yet rewarding. Schubert’s music is the most accomplished of the genre, and the excellent choice of soloists – along with the brilliant accompaniment by Graham Johnson – imbues a great deal of variety and a rich palette of vocal colors. Unlike the Fischer-Dieskau set (which, I must confess, is one of my absolute favorite sets of classical music), where one listens to the range and expanse of a single, masterful voice, the Hyperion set gives the listener a chance to discover the music in more variety. For those who do not like Fischer-Dieskau, this set can be an eye-opener. However, it will never, for me, replace the Fischer-Dieskau set…
Posted: 8/26/2012 by Kirk | Filed under: Recordings Tags: Hyperion | No Comments »
While I do not like all the singers on this set, most of them are excellent. Many of the singers lack the immersion that Fischer-Dieskau had in this music, but others are revelations. The recordings by Brigitte Faessbender are excellent, as are those by Stephen Varcoe, a singer I was not familiar with before. Thomas Hampson’s recordings here show him in his youth, and many of the other male singers – such as Philip Langridge, John Mark Ainsley and Anthony Rolfe Johnson – rise to the occasion, providing many delightful performances. (You’ll notice my preference for male voices for this music, but this does not mean that there are not many excellent female voices in this set; Edith Mathis’ performance of An die Musik is one of the highlights of the set, and Arleen Auger is excellent.)
One of the revelations in this set, for me, is the many songs for several singers, including those with chorus. These songs are a little-known and rarely recorded facet of Schubert’s work, and this set allows listeners to discover just how many such songs there are, and the general tone of joviality they express.
In addition to the 40 CDs in this set, Hyperion includes a book (258,096 words, as Hyperion specifies on the box) containing an introduction by Graham Johnson and the complete texts of all the songs. While this is laudable, there are a few negatives to this book. The type is relatively small (fine for teenaged eyes, perhaps, but that is clearly not the target audience for this set), and the English translations of the songs, in a column next to the German originals, are in italics, making them even harder to read. (For a different take, and easier readability, John Reed’s Schubert Song Companion is a good investment.) Broken down by year, with an introduction for each year talking about Schubert’s activities, the texts appear chronologically, as they do on the discs. The back of the book contains an index by title and by poet, composer or translator, but, alas, not by singer.
Purchasers of the original CDs in this series will be familiar with the copious notes by Graham Johnson that accompanies these discs; unfortunately, these notes are not included in the set, and are scheduled to be released in book form in the near future. (Yale University Press may be publishing several books containing these notes at some point, and, hopefully, will not charge their usual “scholarly” price, so music lovers will be able to acquire these notes.)
All in all, this set is essential for any serious fan of Schubert’s lieder, or lieder in general. While it is not cheap, the per-disc price is relatively low; congratulations are in order to Hyperion for having released the set at such an affordable price. While other recordings of Schubert’s lieder will be made, this set will clearly remain the benchmark for his music; with the exception, of course, of the Dietrich Fischer-Dieskau recordings. To be honest, no serious fan of Schubert’s lieder should be without either of these sets.