Letzte Lieder

On this CD:

1. Gedichte von J.W. von Goethe (51), for voice & piano Mignon I
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

2. Gedichte von J.W. von Goethe (51), for voice & piano Harfner I
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

3. Gedichte von J.W. von Goethe (51), for voice & piano Mignon II
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

4. Gedichte von J.W. von Goethe (51), for voice & piano Harfner II
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

5. Gedichte von J.W. von Goethe (51), for voice & piano Mignon III
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

6. Gedichte von J.W. von Goethe (51), for voice & piano Harfner III
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

7. Gedichte von J.W. von Goethe (51), for voice & piano Mignon IV
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

8. Wohl denk ich oft, song for voice & piano (Michelangelo Lieder)
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

9. Alles endet, was entstehet, song for voice & piano (Michelangelo Lieder)
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

10. Fühlt meine Seele, song for voice & piano (Michelangelo Lieder)
Composed by Hugo Wolf
Performed by Gabriele Fontana, Peter Weber, Erik Werba

11. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Der Atlas
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

12. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Ihr Bild
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

13. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Das Fischermädchen
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

14. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Die Stadt
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

15. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Am Meer
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

16. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 Der Doppelgänger
Composed by Franz Schubert
Performed by Gabriele Fontana, Peter Weber, Erik Werba

17. Beim Schlafengehen ("Nun der Tag mich müd' gemacht"), song for voice & orchestra, AV 150/3 Beim Schlafengehen
Composed by Richard Strauss
Performed by Gabriele Fontana, Peter Weber, Erik Werba

18. Frühling ("In dämmrigen Grüften träumte ich lang"), song for voice & orchestra, AV 150/1 Frühling
Composed by Richard Strauss
Performed by Gabriele Fontana, Peter Weber, Erik Werba

19. September ("Der Garten trauert, kühl sinkt in die Blumen der Regen"), song for voice & orchestra, AV150/2 September
Composed by Richard Strauss
Performed by Gabriele Fontana, Peter Weber, Erik Werba

20. Im Abendrot ("Wir sind durch Not und Freude gegangen Hand in Hand"), song for voice & orchestra, AV 150/4 Im Abendrot
Composed by Richard Strauss
Performed by Gabriele Fontana, Peter Weber, Erik Werba

Tracks:

Four Last Songs, Op. Posth.: Fruhling
Four Last Songs, Op. Posth.: September
Four Last Songs, Op. Posth.: Beim Schlafengehem
Four Last Songs, Op. Posth.: Im Abendrot
12 Songs: Mutterandelei, Op. 43, No. 2
12 Songs: Waldseligkeit, Op. 49, No. 1
12 Songs: Zueignung, Op. 10, No. 1
12 Songs: Freundliche Vision, Op. 48, No. 1
12 Songs: Die Heiligen Drei Konige, Op. 56, No. 6
12 Songs: Rube, Meine Seele, Op. 27, No. 1
12 Songs: Meinem Kinde, Op. 37, No. 3
12 Songs: Wiegenlied, Op. 41, No. 1
12 Songs: Morgen, Op. 27, No. 4
12 Songs: Das Bachlein, Op. 88, No. 1
12 Songs: Die Rosenbande, Op. 36, No. 1
12 Songs: Winterweihe, Op. 48, No. 4

Amazon.com

Elisabeth Schwarzkopf was one of those singers whom one either loves or hates. She was a "stylist," who inflected every phrase, every note in her urge to communicate what she considered to be the meaning of the text. Others feel that the only thing she communicated was her own need to impress people with her ability to communicate, and I believe she often forgot the difference between art and artfulness. Be that as it may, she was an outstanding Strauss singer, and her performance of the Four Last Songs, in particular, is legendary. Of course, having George Szell on the podium doesn't hurt either. He insures that the music shows the singer in the best possible light. --David Hurwitz

Customer Reviews:

This is just a review of the transfer and booklet.......2007-03-30

I have little to add to the excellent reviews here--I owned a previous transfer, and it was worth it to me to buy another, given its low cost at Amazon.

I think the transfer is excellent, removing a surprising amount of murk from a 1991 version (I think). In fact, I'm wondering if some distortion hasn't been removed as well, at least in the voice. As for Szell & his orchestras, their playing sounds fresher and lovelier than ever. Instrumental placement in the sound image seems more firm, and details are more clear.

As for the booklet, well, EMI is not one for documentation, and it should be ashamed of itself for wasting our time in the middle of the song texts with ads for their other recordings. However, yes, the texts for these songs are all there, and that is a minor miracle.

So yes, this is a no-brainer purchase. In my view, the improved sound quality does merit purchasing it if one's transfer is prior to 1997.

A wiser Schwarzkopf in one of her best latter recordings.......2006-11-04

One of the landmark opera albums of the 1960s', Elisabeth Schwarzkopf's recording of Strauss' "Four Last Songs"; and the twelve Lieder songs of Burger, Dehmel, Bierbaum and others, is beautifully-remastered here for compact disc.

Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.

This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.

[EMI Classics 7243 5 66908 2 0]

HEAVENLY.......2006-09-14

The "Gramophone" magazine reviewer couldn't have put it better:- "a heavenly record, so beautiful that I find it goes against the grain to attempt to analyse it". A must-have for any self-respecting classical record collection.

Schwarzkopf and Szell Team Up For An Incandescent Strauss Record.......2006-09-09

Four decades later this remains one of the greatest recordings of this final, transcendent Richard Strauss masterpiece. Some have shown preference for the earlier Schwarzkopf sung, Otto Ackermann conducted EMI record. I can't imagine why someone would want that mono recording over this gorgeous stereo version. Schwarzkopf here is just as radiant if not more so, the speeds are perfectly judged by Szell and everything has an luminous glow about it. The fact that 12 extra Strauss songs are here too puts this CD over the top, a must buy.

There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!

A thing of beauty ..........2006-02-06

... is a joy forever, John Keats wrote, referring to the unending beauty of the things in Nature. The same can be said for the music making as captured for eternity on this recording, which seems to have been touched by a muse of fire, making it truly ascend the highest heaven of invention ... and art. The interpretations of all of these songs by Elisabeth Schwarzkopf is ever intelligent and astute, but always deeply human. Her singing is finely intimate, I believe, revealing her unrivaled mastery of invoking every single syllable with deepest possible meaning. The same can be said for the orchestral playing, so very intelligent, utterly complementing Elisabeth Schwarzkopf's gorgeous, deeply human, deeply moving singing. A marvel!

Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

Average customer rating:

The Perfect Four Last Songs
Absolutely Beautiful!
Karajan really puts a damper on things
Fantastic readings of some of Strauss's most beautiful work
Gorgeous Gundula

Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GQF
Release Date: 1996-01-23

Tracks:

Tod Und Verklarung Op. 24
Metamophosen: Metamorphosen
Veir Letzte Leider: Fruhling
Veir Letzte Leider: September
Veir Letzte Leider: Beim Schafengehen
Veir Letzte Leider: Im Abendot

Amazon.com

Gundula Janowitz had a very beautiful voice that critics like to describe as "creamy," whatever that means. Strauss had a life-long love affair with the soprano voice. He even married one--not just the voice, the whole woman, of course. His Four Last Songs constitute his dying tribute, and they are probably the most hedonistically gorgeous vocal works in existence. Herbert vo Karajan was a Strauss specialist, as was Janowitz, and together they contrive to perform the songs about as perfectly as they ever have been. The couplings, two orchestral works from the beginning and end of Strauss's career, are quite appropriate: the last of the Four Songs quotes the "Transfiguration" theme from the tone poem. --David Hurwitz

Customer Reviews:

The Perfect Four Last Songs.......2007-04-20

Of all the Straussians who have sung the composer's autumnal pieces, I think the best of the lot is Gundula Janowitz. Her ethereal, diaphanous, and floating voice fits these songs perfectly, and her natural sense of expression conveys that aura of old age, wisdom, and reflection radiated by these songs. Although hers is the kind of voice that wouldn't have the deep, low notes for Frühling, the rest of the songs sound like pearls falling off a string. In September and Beimschlafengehen, she has no rivals, and her Im Abendrot has that reflective sense of retirement that only she can bring to this glorious music. That said, I think that in addition to Janowitz, you must hear Lisa della Casa and Soile Isokoski in these songs. Janowitz is partnered by the orchestral forces of THE Straussian conductor, Herbert von Karajan. His feeling for the poetry in these pieces is unrivaled by any other conductor except Karl Böhm, and the Berlin forces play a ravishing account of this music. The balance is just right, and Karajan caresses the orchestral forces to a soft cushion of sound for Janowitz. All the resignment and wisdom of Strauss' final masterpieces can be found in this rendition of the music. The Metamorphosen and the Tod und Verklärung that precede these are also played with the finesse and the smoothness of the Berliners. Bravo!

Absolutely Beautiful!.......2006-07-19

Gundula Janowitz did an amazing job on the Four Last Songs by Strauss. Her tone is so beautiful with clarity, and her voice is so expressive. She also does not over sing these delicate songs which I heard oversung, and it ruins each piece. Of course, Karajan and the Berlin Philharmonic are amazing and perfect for Richard Strauss. The violin solo in the "third" of the four last songs is amazing and heartbreaking. You dont even have to be a Strauss fan to love this cd. Anybody who loves music has to love Strauss's Four Last Songs which can be described as some of the most beautiful music written.

Karajan really puts a damper on things.......2006-07-14

There are fervent Herbert von Karajan fans out there and a lot of people love this album, but I just don't see what the fuss is all about. Karajan's interpretations here seem daft and un-comprehending. In the sleeve notes, the Berlin Philharmonic concertmaster is quoted to say that Karajan quickly gave the orchestra a clear idea of what he wanted in rehearsals, so that in performance he could largely "let the orchestra play itself," taking over to provide leadership and an interpretive touch "at key moments." And that's exactly the sense I get in so many passages here: that Karajan is simply letting everyone play, not guiding or directing or shaping things.

The playing of the Berlin Philharmonic---the orchestra that is, by many if not by general consensus, held to be the world's finest---is of course spectacular. In fact, the orchestra is so good that all a conductor has to do to bring things off pretty well is to start and stop them together, and frankly for a great deal of this disk that seems to be the extent of Karajan's involvement. So many expressive nuances in these scores go by without emphasis, as though Karajan isn't even aware of them.

In the Four Last Songs, I much prefer Schwarzkopf and Szell with the Berlin Radio Symphony Orchestra. There, the phrasing is astute and expressive, heightening the effect of these scores, where Karajan deflates everything and largely sabotages the effect these gorgeous orchestral songs ought to have. Furthermore Schawarzkopf is gentle and tender where Janowitz, for as much as she sings arching, elegant phrases, is often rather overblown by comparison.

The exception here, though, and the reason for a 3-star rating rather than only 2, is the Metamorphosen, Op. 142. This is a remarkable, complex work that reveals itself more and more with multiple listenings, and the reading here is a real masterpiece. Perhaps Karajan deserves the credit, or perhaps the smaller ensemble (23 strings) fosters an atmosphere of chamber playing so that the orchestral musicians themselves are primarily responsible for the interpretive contribution here... given just how much Karajan muffles the expressive content in the other two works, I tend to think the latter is probably closer to the truth.

Fantastic readings of some of Strauss's most beautiful work.......2005-10-29

What more can I say that other reviewers have not already said? Karajan's direction of the BPO remains unsurpassed for Strauss. The BPO from the 1960's through the mid-70's was at its absolute apex and it shows, especially in the electric and beautiful "Tod und Verklarung" and the reflective "Metamorphosen". These interpretations of those two major tone-poems remain the definitive recordings for me; I have heard other performances, but none have moved me in this way.
I have to be honest, I am not a huge fan of Lieder in general - vocal works are not my bag, really. Still, if you enjoy this medium, then these pieces must not be missed, as they certainly are beautiful, and Gundula Janowitz has one of the most gorgeous classical voices.
Overall, this disc is can't miss - fantastic sound and performance, affordable price and a huge runtime (77+ minutes). A must have for Straussians.

Gorgeous Gundula.......2005-10-26

This is a must have CD for Janowitz's singing alone. Recently, many overpowered Wagnerian sopranos have attempted to perform the four last songs, but they are invariably miscast for these intimate works. Janowitz's singing here is precisely on the mark for the kind of atmosphere Strauss calls for. Karajan seems to fulfill every demand a signer could have here with gorgeous coloring, balance and pacing, always allowing Janowitz to breathe. These four last songs are part of my desert island collection.

Tod und Verklaerung likewise is an excellent rendition by Karajan. Death becomes palpable in a very naturalistic reading of this very naturalistic tone poem. The Metamorphosen on the other hand are the low spot on this disc and the reason for the "only" four stars rating. It seems emotionally overwrought and unconvincing as a whole. We have here unfortunately another example of excessively lush, chocolatey string overkill so common in later Karajan recordings. It seems wholly inappropriate for what is Strauss at his most experimental and non-romantic. A bit more clarity and emotional restraint would have helped.

Strauss: Four Last Songs; Songs with Orchestra; Rosenkavalier Suite

Average customer rating:

One of my favorite recordings of Strauss' Four Last Songs
Magnificent!!!

Strauss: Four Last Songs; Songs with Orchestra; Rosenkavalier Suite

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001TSWIW
Release Date: 2004-04-20

Tracks:

Fruhling
September
Beim Schlafengehn
Im Abendrot
Befreit, Op. 39 No. 4
Muttertandelei, Op. 43 No. 2
Wiegenlied, Op. 41 No. 1
Waldseligkeit, Op. 49 No. 1
Cacilie, Op. 27 No. 2
Der Rosenkavalier, Op. 59: Suite

Customer Reviews:

One of my favorite recordings of Strauss' Four Last Songs.......2005-05-03

It is hard for me to imagine that Renee Fleming began her career singing Mozart and Strauss roles, considering the career that has been skyrocketing her into the international scene with bel canto roles and recently, Handelian successes. Most sopranos who succeed in the "Mozart and Strauss" repertoire do not usually become great Italianate sopranos, but Renee Fleming apparently has the throat to sing them all. Now to get to the matter of this recording, I would like to look back to many of the great recordings of these four pieces. Great Straussian staples like Jessye Norman and Elisabeth Schwarzkopf have given these pieces a genius of interpretation that puts a lot of the Vier Vetzte Lieder to substandard class. Schwarzkopf, whose interpretation of the pieces is considered by many the quintessential recording of the work, is in my opinion one of the most expressive renderings of Strauss' final masterpiece. Indeed, one can listen to the emotional inflections Madame Schwarzkopf inserts in every word, and although her attention to detail may bother some, I think in the realm of interpretation no one can ever surpass her. Not even Kirsten Flagstad, who pioneered these songs. Jessye Norman is of course, by far, one of the greatest Straussian vocalists, and it may seem to others that La Norman has a more beautiful timbre, but then I think her recording lacks the intelligence of Schwarzkopf's recording. Janowitz is another great singer of the role, but then Elisabeth's intreprative skills will usually stick to you when you listen to it enough that you find value in every word she utters. Then comes along Renee Fleming. This recording, in my opinion, balances vocal beauty (naturally, it's Renee) and interpretation to a level that will easily place itself with Schwarzkopf's reading of Strauss' piece. Her Fruhling is simply haunting, her September calming, Beim Schlafengehn a jewel to behold, and her Im Abendrot, I believe, to be the greatest Im Abendrot of them all. This undoubtedly is an essential recording, and with the addition of a few songs plus a great reading of Strauss' music by Christoph Eschenbach, I will highly recommend this along with Schwarzkopf's rendition of the Four Last Songs.

Magnificent!!!.......2005-02-04

I'm in LOVE with Strauss...someday I'll sing this and I can't wait!!!! Renee is amazing and molto expressivo, as usual. She soars as if she's as light as a feather yet her voice carries with it so much emotion and heaviness...wow! A MUST have for any serious music lover/collector!

Average customer rating:

Fine anthology but still prefer her "Four Last Songs" recording
RIP DAME ELIZABETH (1915-2006)
SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY
¡PERFECT!
PERFECTA INTERPRETACIÓN

The Very Best of Elisabeth Schwarzkopf

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mozart: Opera Arias
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ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

Average customer rating:

Can Music Be Too Sweet?
Creative and Original
Fine Performances of Transcriptions for Violin and Piano

Schubert for Two (Dig)
Gil Shaham , Goran Sollscherr , and Schubert
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Fauré Album

ASIN: B00007KMOW
Release Date: 2003-02-11

Tracks:

Allegro Molto
Andante
Allegro Vivace
Moment Musical D 780 No.3
Standchen (Serenade) D 957 No.4
Valse Noble D 969 No.4
Landler D 790 No.3
Valse (Landler) D 146 No.12
Valse Noble D 969 No.3
German Dance D 783 No.10
Allegro Moderato
Adagio
Allegretto
Valse D 365 No.36
German Dance D 783 No.2
Valse D 365 No.2
No. 1
No. 19
No. 20
No. 21
No. 6
No. 2 'Trauerwalzer'
No. 3
No. 4
No. 16
No. 23
No. 7
No. 11
No. 12
No. 9
No. 10
Ave Maria (Ellen's Song III) D 839

Amazon.com

This CD's main attraction for many will be Gil Shaham's velvety violin in gorgeous, largely off-beat music. Others will relish these Schubert works in arrangements that replace the piano with the expert guitar of Göran Söllscher, enhancing the impression of hearing Schubert's music in the intimate domestic setting for which it was written. Most of the works are short, melodically rich dance-based gems on which Shaham and Söllscher lavish a Romantic tonal fullness and freedom rarely heard these days. Sometimes that's a bit too much of a good thing, as works like the Violin Sonata in D veer close to the sentimental. But more often the players' flexible approach makes it hard not to keep repeating items like the melting Serenade from Schwanengesang, the sprightly Moment musical in Kreisler's arrangement, the German Dance, and a truckload of other delights. Shaham isn't afraid to linger over attractive melodies or to use portamento and other weapons of the Romantic violin's arsenal, helping to make this disc so compelling. --Dan Davis

Customer Reviews:

Can Music Be Too Sweet?.......2006-09-14

Can music be too sweet? This philosophical question is worth pondering about. In the meantime go ahead and satisfy your musical sweet tooth with Shaham-Söllscher "Schubert for Two". This recording is a must for anybody who ever played violin and/or guitar. Mr. Shaham's rich and expressive vibrato is exactly how the vibrato was sounding in your young heart. Mr. Söllscher's sweet plucking will reincarnate your very first taste of guitar's sweetness, in a form of melodic exercises by Fernando Carruli. Your heart will ache with the desire to have back the sweet, innocent, uncomplicated, sunny music life of your childhood. You will love the "Arpeggione" piece. It will not sweep you off your feet, like the passionate, lush performance by Yuri Bashmet, but it will charm your socks off.
The booklet which comes with the CD is informative and engaging. It is full of fascinating details, such as the description of the now forgotten instrument arpeggione. This instrument was a hybrid between a guitar and a viola da gamba. It had six strings and frets like a guitar, but it was played with a bow. It was held between the knees! It is now solely remembered by the Schubert's composition titled after it. The booklet offers an insight into the music of Schubert and the making of this particular transcription and performance, as well as an interview with Shaham and Söllscher.

Creative and Original.......2005-08-09

Despite some musical limitations that I perceive in this CD,I still give it a 5-star due to its magnigicient overall qualities.
I bought the "Schubert for Two" recording out of curiosity,mostly for the Arpegione Sonata.An outstanding performance of the substatial sonata for the now obsolete musical instrument had been previously given by Britten and Rostropovich ( on the Decca label ).And I was really curious to see how the piece would sound with a completely different team-up of instruments.And I was really shocked.Shaham and Gollscher gives a first-rate performance of a charming but lesser-known Schubert sonata.It would be useful to compare this performance of the young Shaham to that of the veteran Rostropovich.In the first movement,Shaham reveals his impeccable sense of phrasing and makes out the contrast between the dreamy first subject and the energetic development of the theme.However,despite Sollscher's efforts,there is a dramatic loss in the richness of the expressive accompaniment section written for the piano.Thus,the first movement in this disc has less warmth and is somewhat unstable compared to the performance of Rostropovich and Britten.As a compensation,the beautiful Adagio is played with utter charm and serenity.Shaham's expressive playing combined with Sollscher's excellent sense of legato result in great warmth and intimacy that surpasses Rostropovich's recording itself.The famous third movement with its cantabile melody is played beautifully on both recordings.For the first subject in A major,Rostropovich and Britten's performance has a deeper and thicker tone.But Rostropovich seemed a little bit too "serious" in the 2 development sections,notably in the virtuosistic D minor phrase,making it sound somewhat harsh.Shaham and Sollscher take a more carefree approach to these 2 sections and are able to make them "sing" more,especially in the central E major phrase,which reveal Shaham's gorgeous,song-like tone.
If you intend to buy this recording for the Arpegione Sonata,it would be a good idea to possess Rostropovich's recording as well.You can't go wrong with the other works featured on this disc either.The Sonatina is also given a splendid performance (and is reminiscent of the duo's previously released "Paganini for two").The Serenade and Ave Maria prove Shaham's wonderful phrasing (but once again witness the loss of volume and depth of sound on the guitar compared to the original piano accompaniments).The famous F minor Moment Musical,imbued with a slight gyspy touch in this arrangement,is really interesting to listen to.And the German Dances,with their simplicity and easygoing structures,are very entertaining.The performance of the Waltzes are more frivolous.And I find the 3 Waltzes arranged for solo guitar are somewhat aloof compared to the other works on the disc.But in overall this is a good choice for all music fans,classical or non-classical alike.

Fine Performances of Transcriptions for Violin and Piano.......2003-05-02

Franz Schubert had the unique ability to blend the range of Romantic expressions with the elegant simplicity of the Classical style. In the short span of a song he expressed what Bruckner might take an entire symphonic movement to reveal.

Schubert for Two, a collection of transcriptions performed by violinist Gil Shaham and guitarist Göran Söllscher, captures the composer's intimate sophistication magnificently. Although the substitution of guitar for piano results in a regrettable loss of volume and resonance, the guitarist's direct contact of finger to string adds a wider variety of timbre. Schubert himself played guitar occasionally, and at least some of his works were published in similar transcriptions during his lifetime, so there is a sound historical basis for at least some of these versions of his work. Listeners may wish that the recording engineers had equalised the guitar more against the violin, but in so doing the natural balance of the instruments would have been destroyed.

Tracks:

Song To The Moon
Should I Ever Learn
How Confused I Feel
Solveig's Song
Solveig's Cradle Song
Amor Volat Undique
Stetit Puella
In Trutina
Vier Letzte Lieder
Vier Letzte Lieder
Vier Letzte Lieder
Vier Letzte Lieder
Symphony No. 4 In G
Tatiana's Letter Scene

Tracks:

Un Cenno Leggiadretto
Ho Perduto Il Caro Sposo
O Had I Jubel's Lyre
Laudate Dominum
Welche Wonne, Welche Lust
Porgi, Amor
Voi Che Sapete
Giunse Alfin Il Momento...Deh Vieni, Non Tardar
Crudele?...Non Mi Dir
Come Scoglio
Una Donna A Quindici Anni
Der Holle Rache
Ach, Ich Fuhl's
Crucifixus
Die Forelle
Gretchen Am Spinnrade
An Sylvia
Zueignung
Es Lebt' Eine Vilja
Klange Der Heimat

Customer Reviews:

Ever-reigning Queen of Sopranos.......2007-05-28

Listening through these two discs, one thought kept leaping up to mind: will ever there be another soprano as versatile and accomplished as Lucia Popp? Died in 1994 at the early age of 54, the operatic world hadn't really mourned her enough.
People are still lingering on Maria Callas, the 'star' soprano with all her glamour and legendary life could offer.
Real listeners, however, could not give up the memory of Lucia Popp's terrific artistry and almost supernatural voice.
Her Rusalka, her Solveig, her Susanna, Zerlina, Despina in the da Ponte/Mozart trio, her terrific Queen of the Night (unsurpassed by ANY subsequent sopranos up till now), and ALSO her Pamina in the same opera. In any language you ask her to sing, and she excelled. I marvel at the Letter Scene in Eugene Onegin - only if Lucia had the chance to perform the whole opera during her short life! The joy, the expectation, the emotional tribulations, so vividly captured in girlish and pure timbre. No one will ever beat her; not even Fleming and Netrebko.
"Weird and wonderful" - that's what Elisabeth Schwarzkopf said of Lucia Popp's singing. We today would modify it to 'wonderful and unsurpassable'.
This 2-CD set is an absolute must have, even if you have never heard of Lucia Popp before.

Lucia Popp.......2006-01-12

This is a wonderful album showcasing the very best of Lucia Popp (as the title suggests). Her voice was absolutely beautiful. She could sing the slavic languages like no one else. Her version of Dvorak's Song to the Moon is unbeatable. I dare anyone to find a better performance! Also, the song from Die Zauberflute -Ah Ich fuls (sp?) is outstanding. I've yet to hear a better version. Her diction was fantastic and while she wasn't the highest soprano around - she knew what worked for her voice. This is album is a keeper!

Lucy: The Reigning Queen of Opera.......2004-07-12

Lucia Popp is one of the best sopranos to ever grace the operatic/classical voice stage. This CD compilation shows her progression through lyric Handel to lyric and dramatic Mozart (her Der Holle Rache from Magic Flute is unrivaled) to tender art song and operetta literature. The first disc also showcases her adeptness with 20th Century literature as well as the ability to step out of the traditional four languages of opera. Any avid music fan MUST have this CD compilation.

Strauss: Four Last Songs, Arabella/Della Casa (Vier letzte Lieder)

Average customer rating:

Mesmerizing
NOT TO BE MISSED
The Perfect Rendition?

Strauss: Four Last Songs, Arabella/Della Casa (Vier letzte Lieder)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Strauss: Four Last Songs; Songs with Orchestra; Rosenkavalier Suite

ASIN: B00004XQ8H
Release Date: 2000-10-10

Tracks:

Four Last Songs: Beim Schlafengehen
Four Last Songs: September
Four Last Songs: Fruhling
Four Last Songs: I'm Abendrot
Arabella: Er ist der Richtige nicht fur mich...Aber der Richtige
Arabella: Der Richtige - so hab ich stets zu mir gesagt...Und du wirst mein Gebieter sein
Arabella: Das war sehr gut, Mandryka
Ariande auf Naxos: Es gibt ein Reich
Capriccio: Orchestral introduction
Capriccio: Wo ist mein Bruder?
Capriccio: Morgen mittag um elf!
Capriccio: Kein Andres, das mir so im Herzen loht
Capriccio: Ihre Liebe schlagt mir entgegen

Customer Reviews:

Mesmerizing.......2004-10-20

From the day it was released all those years ago, this remains one of the most beautiful (Strauss) recordings ever made. It's been available in different versions (I have the earlier release that includes the Wesendonck Lieder with Flagstaf), but it's worth it to get this one for the opera arias. I'm not a big fan of these operas, but it's unlikely you'll ever hear them sung with more beauty or understanding. You may have another favorite recording of the Songs, but you owe it to yourself to listen to what Della Casa does here. And not to slight Bohm either; he obviously knew this music inside out, and is miles ahead of most of his competition.

NOT TO BE MISSED.......2000-11-26

As one record reviewer put it: "It was a voice unlike any other." Indeed, for sheer vocal beauty no one matches Lisa della Casa, and a quick sampling of this disc's contents will demonstrate why Strauss himself identified her as his ideal Arabella. The voice's glory was its upper register: full, free, intensely colored, and exciting. But she had other gifts: superlative breath control (amazing in this music), naturalness of utterance, and perfect diction. Her tone quality suggests restrained emotion, and although she is Swiss, I can think of no singer who evokes Viennese elegance better. I like lots of singers past and present, and I admire many, but I worship this voice. If the house were on fire, I'd grab this CD before jumping out the window.

Although the Boehm-led 'Four Last Songs' are a classic performance, I find they are my least favorite part of this recording. Boehm's tempos are a little fast and della Casa, for all her beauty, sounds disengaged. But from then on she is matchless. The 'Arabella' duets are stunning, both for the singer's high level of vocal accomplishment and her ability to convey the character's changing moods. She sounds so genuine and unaffected and the voice is so gorgeous that I find myself drawn into the drama as with no other singer. She has good partners in Gueden and Schoeffler, but Poell brays relentlessly. Her rendition of the passage beginning "Und du wirst mein Gebieter sein" is my number one tear-inducing moment in all of recorded history. The 'Ariadne' aria is nicely sung, although she was even better a few years later for EMI/Testament. The 'Capriccio' final scene is ravishing from beginning to end, with della Casa's voice soaring gloriously above the Vienna Philharmonic's lush carpet of sound. For once you will see the moonlight shimmer during the orchestral interlude. It's almost too rich and delicious, like Sachertorte for breakfast.

Decca's remastering brings the singer forward and gives the orchestra more presence, but am I the only one who misses some high frequencies as a result? Although there are some terrific Strauss sopranos around these days, no one should be without della Casa. She DEFINES Strauss singing. Don't deny yourself this superlative musical experience.

The Perfect Rendition?.......2000-10-10

Lisa della Casa's recording of the Four Last Songs has been a part of my life for the past twenty years; and in my book it beats all the competition, past, present and (probably) future. It may not be your perfect rendition, because one's response to a voice is such a personal, unpredictable thing; but it is certainly mine. Della Casa's shimmering, silvery soprano soars radiantly above the lush, romantic orchestration; and even after many, many times of listening to this disc, I still find something new in it. I never get tired of it, and it never fails to move me. The excerpts from Arabella are also excellent, although not as well recorded as the Four Last Songs. However, they reward repeated listening, and they preserve della Casa's celebrated interpretation of Arabella (her most famous stage role). Even if you have heard other interpreters of the Four Last Songs, and have your own favourite, please give this a try. For sheer tonal beauty, it cannot be beaten.

Strauss: Four Last Songs / Wagner: Wesendonck-Lieder

Average customer rating:

ethereal heights
exquisite, wistful
The classic Strauss repackaged at mid price, but...

Strauss: Four Last Songs / Wagner: Wesendonck-Lieder

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000523QL
Release Date: 2001-03-13

Tracks:

Vier letzte Lieder
Vier letzte Lieder
Vier letzte Lieder
Vier letzte Lieder
Wesendonk - Lieder
Wesendonk - Lieder
Wesendonk - Lieder
Wesendonk - Lieder
Wesendonk - Lieder

Customer Reviews:

ethereal heights.......2006-12-04

Richard Strauss wrote the Four Last Songs in 1948, when he was in his 80s, and a year away from his own death. His country had been devastated by the Second World War, and it was from the lofty plateau of a wiser old age that he looks back with these wonderful reflections on mortality and the rich beauty of life. I think the Four Last Songs the best thing Strauss wrote.
Many will debate their favourite recordings. There are different strengths to different performances. For me, Jessye Norman has the controlled power to make this the standout performance so far recorded. Kurt Masur's conducting is superb, and the Gewandhaus produces all the calm variation of this rich score.
Whilst Wagner's Wesendonck Lieder are a very satisfying addition, they do not reach the ethereal heights of the Strauss.

exquisite, wistful.......2004-04-11

as far as the repackaging goes, the other Strauss lieder with the original pale in comparison anyway, as does, frankly, most other music: these four works transcend sentiment and worldly fodder, and manage to connect with some other timeless place. Generally, if I so much as think of this record, I get waves of goosebumps. This is a pinnacle of human achievement.

The classic Strauss repackaged at mid price, but..........2001-12-19

This recording of Strauss' four last songs towers over the recorded history of that work. More than any other rendition Norman can claim to evince the songs as Flagstad premiered them with huge Wagnerian waves of sound. Norman will thrill, delight, amaze and pin you to your seat until she is finished.

Unfortunately Masur chose some ridiculously slow speeds but you can get used to those. Generally you'll be too distracted by Norman to notice, so it's not a big problem. At least nothing is too fast, which in these songs is the greater sin.

The Vier Letzte Lieder was originally coupled with six Strauss lieder performances (still available at full price) and one can't help feeling a little short-changed that Phillips replaced these with the Wessendonck-lieder, losing many delights in the process (and a reasonable amount of listening time).

The Wagner is a good performance (it could hardly be less from Norman), but I can't bring myself to call it 'great'. Studer (again coupled with an indispensable if less-known vier letzte lieder) and Eaglen (with a poor Strauss but excellent Berg) both bring something more beautiful and more interesting to these songs.

In the end, unless you really only want the vier letzte lieder, the mid-price repackaging is a bit of a farce, as you only get two-thirds of the music. You may as well pay for the full price recording and get the other Strauss lieder instead - they're more worthwhile than the Wessendonck-lieder in any case.

Strauss: Four Last Songs/Songs With Orchestra
Average customer rating:

Yes, it's as good as these other reviews say.

Ethereal heights

The Most Perfect Recording

Like dying in ecstasy!

Weiter Stiller Fried

Strauss: Four Last Songs/Songs With Orchestra

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Strauss: Four Last Songs / Wagner: Wesendonck-Lieder

ASIN: B0000040VV
Release Date: 1990-10-25

Tracks:

Four Last Songs: Fruhling (Hesse)
Four Last Songs: September (Hesse)
Four Last Songs: Beim Schlafengehen (Hesse)
Four Last Songs: Im Abendrot (Eichendorff)
Songs With Orchestra: Cacilie Op. 27-2 (Hart)
Songs With Orchestra: Morgen Op. 27-4 (Mackay)
Songs With Orchestra: Wiegenlied Op. 41-1 (Dehmel)
Songs With Orchestra: Ruhe, meine Seele Op. 27-1 (Henckell)
Songs With Orchestra: Meinem Kinde Op. 37-3 (Falke)
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Amazon.com essential recording

Jessye Norman has what they call in the operatic business an "ample" figure. Judging from this disc, she must be completely hollow inside because she sings the Four Last Songs in what seems like a single breath, and at half the normal speeds. In fact, as sheer sound, this is the most sensual, voluptuous, totally gorgeous vocal record that I have ever heard. Play it for people who think they hate opera singing and they'll be hooked. Words really can't describe the almost decadent richness of Norman's voice, or the way it seems to swell from the speakers and saturate the room with velvety sound. --David Hurwitz

Amazon.com

Lovers of the Four Last Songs have come to take good recordings of the set for granted. Jessye Norman's early digital account with Kurt Masur and the Leipzigers is one of the best--powerful, sensuous, and very well recorded. Strauss may have conceived the songs with an ideal voice in mind, but he made a point of asking that Kirsten Flagstad give the first performance of the set. Since then, no comparably endowed soprano, in possession of both the tonal richness and the extraordinary amplitude that were Flagstad's, has recorded the Four Last Songs, save for Norman. The tessitura of the cycle is perfect for her--not too high, with almost every phrase lying in the warm, lustrous middle part of the voice--and Norman shapes the words with consummate skill and sensitivity. To hear her soar out over the orchestra, carrying the most demanding phrases with long-breathed splendor, is to enjoy, for a moment, the return of a golden age. --Ted Libbey

Customer Reviews:

Yes, it's as good as these other reviews say........2007-04-01

If you're like me, you sometimes read the Penguin Guide to Classical Music for comic relief. So, years back when I noticed that this recording received "a coveted Rosette," I didn't pay much attention. However, mostly by chance, I found these Amazon reviews, and they commanded attention. Then I remembered another bootleg performance that I was given featuring Norman and Celibadache. The orchestral sound was dismal, but Norman was astounding. So, I ordered the two-disc Jessye Norman Collection that included the present performance.

It is spectacular. Other reviews have discussed her breath control, which has to be experienced to be believed. Her voice, too, was close to what Strauss originally intended for the part (it was written for Flagstadt). Three other things strike me about this performance. First, Norman points words with great skill. Hers is not just a lush and lovely voice. Second, and incredible, she can hit high notes with full volume without any strain (e.g., first song, 30 seconds in). Third, this is an immensely dramatic and spellbinding performance. Schwarzkopf's is wistful and wise; Norman's is more heroic and dramatic (though certainly introspective as well).

The other songs on this CD are also extremely rewarding, based on a similar approach. Schwarzkopf's collection is less consistently dark. Yet I admit that in a way the Norman collection here is more programmatically coherent.

So yes, search Amazon for an in-print version, and buy without trepidation. You will find that Norman's performance does not duplicate anyone else's. If you add Scwarzkopf's and Popp's, you can probably rest easy.

Ethereal heights.......2006-12-04

Richard Strauss wrote the Four Last Songs in 1948, when he was in his 80s, and a year away from his own death. His country had been devastated by the Second World War, and it was from the lofty plateau of a wiser old age that he looks back with these wonderful reflections on mortality and the rich beauty of life. I think the Four Last Songs the best thing Strauss wrote.
Many will debate their favourite recordings. There are different strengths to different performances. For me, Jessye Norman has the controlled power to make this the standout performance so far recorded. Kurt Masur's conducting is superb, and the Gewandhaus produces all the calm variation of this rich score.
The set is rounded out by other great orchestral songs by Strauss.

The Most Perfect Recording.......2006-07-13

OK so you've read all the other reviews about speed and pace etc. But if you truly want
one of the most stunning vocal recordings of all time, then look no further than this disc.Having been involved in the classical music industry for many years i've listened to
(and own) many recordings of this virtuoso piece. Many of them deserve great praise (Janowitz,Schwartzkopf & Te Kanawa to name but a few) but Norman's voice and Masur's orchestration, combined with a superlative Philips digital recording make this version unbeatable by any standards. I would highly recommend this disc to anyone wanting to "explore" classical vocal music as a beginner or even those with only a passing interest in opera. If I was Philips Classics I would offer a money back guarantee , satisfaction guaranteed !!!! Just as a footnote this recording was used in David Lynch's Wild At Heart, Just watch the opening credits and you'll be swept away the lush orchestral intro from " Im Abendrot " and who's to say its too slow?

Like dying in ecstasy!.......2006-05-20

The vocal control, the beauty of the voice, the grace, the insight, the elegance....where are the superlatives to describe this set? How she builds, with Masur, layer upon layer, wave after wave of life-stealing sorcery in these songs!

I single out Beim Schlafengehen as my favourite and as the showpiece. She seems to sigh instead of sing but how the sound fills every space and reaches every sense. It's more than just going to sleep, it seems as if you're about to do it forever...to finally get that rest from all the world's cares and hassles. Here, at last, is the most welcome executioner. She seems to justify her purpose, with empathy, from the words "Nun der Tag.." right to the point of "wollen sich in Schlummer senken." It's as if she reminds you how tired you really are....do you then want to stay awake? Prolong the suffering? Would you not now embrace her mercy?

Then that most caressing interlude, featuring the solo violin. But here comes the knife,a climatic arrival, for all its violence "Und die Seele unbewacht will in freien...". Then she opens a vein! "Flýgen schweben," the second syllable of "Flýgen" a scintillating yet wholly lovely lament....almost a sob- listen carefully for it. Then your soul begins to float free, rising on that warm current. Meanwhile, below, she begins to extol your release "...tausendfach zu leben" being that last gift to herald you into your afterlife.

You can be transposed in so many ways on this set...take the swirling invitation to life in "Frýhling." This is a phenomenon in vocal interpretation that MUST be pilgrimaged. Do yourself the favour.

Weiter Stiller Fried.......2005-12-06

"Im Abendrot" est certainement le Lied où Jessye Norman révèle toute sa force et sa profonde compréhension du message que R. Strauss nous offre. Difficile d'écouter d'autres interprétations après celle de J. Norman. Sa voix semble portée par des rayons de soleil aveuglants. Inoubliable lorsqu'elle chante (déclame?) les vers de Von Eichendorff: "O weiter, stiller Friede! So tief im Abendrot, Wie sind wir wandermüde, Ist dies etwa der Tod?"

Metamorphosen / Oboe Concerto / Four Last Songs

Average customer rating:

Three Shimmering Late Masterpieces

Metamorphosen / Oboe Concerto / Four Last Songs
Strauss , Zinman , and Tonhalle Orchestra Zurich
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006QDO6
Release Date: 2004-04-20

Customer Reviews:

Three Shimmering Late Masterpieces.......2005-09-22

This CD of three of Strauss' most sublime works is a real treasure, and a bargain to boot. These are among Richard Strauss' most lovely, compositions: autumnal and full of deep, dark richness in sound and emotional content. These three pieces are why I love this composer's work.

These works represent, to my mind, a more pared-down Strauss, a contrast to his big glittery tone poems, so dense with his terrific orchestrations. The Metamorphosen, Four Last Songs and the Oboe Concerto seem to be examples of a great master coming to terms with his art, full of confidence, brilliance and understatement.

The Four Last Songs and the Oboe Concerto are especially wonderful. These works are well represented on disc, but these performances by relatively unknown soloists really shine.

If you know only the big, brassy, sonically dazzling Strauss, this CD is a perfect introduction to another aspect of this wonderful composer.

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