Περιγραφή
Καλλιτέχνες | |
| Wolfgang Holzmair (Baritone) | |
| Imogen Cooper (Piano), Elizabeth Norberg-Schulz (Soprano), Maria Belooussova (Piano), Gerard Wyss (Piano), Peter Stamm (Piano) San Francisco Symphony Chorus San Francisco Symphony |
| CD 1 LUDWIG VAN BEETHOVEN (1770–1827) Adelaïde, Op. 46 WOLFGANG AMADEUS MOZART (1756–1791) Das Veilchen An Chloë Das Traumbild Die betrogene Welt JOSEPH HAYDN (1732–1809) Lob der Faulheit Gegenliebe Trost unglücklicher Liebe Die zu späte Ankunft der Mutter WOLFGANG AMADEUS MOZART (1756–1791) Kleine deutsche Kantate: Die ihr unermesslichen Weltalls Schöpfer ehrt JOSEPH HAYDN (1732–1809) O tuneful voice Sailor’s Song Sympathy The Spirit’s Song Fidelity Content Piercing Eyes She never told her love LUDWIG VAN BEETHOVEN (1770–1827) An die ferne Geliebte, Op. 98 Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 2 LUDWIG VAN BEETHOVEN (1770–1827) FOLK SONGS
Wolfgang Holzmair, baritone & Trio Fontenay CD 3 FRANZ SCHUBERT (1797–1828) Die schöne Müllerin, D.795 Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 4 FRANZ SCHUBERT (1797–1828) Winterreise, D.911 Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 5 FRANZ SCHUBERT (1797–1828) Schwanengesang, D.957 5 Seidl-Lieder
9 Rellstab-Lieder
6 Heine-Lieder
2 Seidl-Lieder
Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 6 ROBERT SCHUMANN (1810–1856) Lieder auf Gedichte von Heinrich Heine
Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 7 ROBERT SCHUMANN (1810–1856) Zwölf Gedichte von Justinus Kerner, Op. 35 Widmung, Op. 25 No. 1 CLARA SCHUMANN (1819–1896) Die stille Lotosblume, Op. 13 No. 6 O Lust, O Lust, Op. 23 No. 6 ROBERT SCHUMANN (1810–1856) Der Himmel hat eine Träne geweint, Op. 37 No. 1 CLARA SCHUMANN (1819–1896) Geheimes Flüstern hier und dort, Op. 23 No. 3 ROBERT SCHUMANN (1810–1856) Freisinn, Op. 25 No. 2 CLARA SCHUMANN (1819–1896) Sie liebten sich beide, Op. 13 No. 2 ROBERT SCHUMANN (1810–1856)
CLARA SCHUMANN (1819–1896) An einem lichten Morgen, Op. 23 No. 2 ROBERT SCHUMANN (1810–1856) Ich hab’ in mich gesogen, Op. 37 No. 5 CLARA SCHUMANN (1819–1896) Liebeszauber, Op. 13 No. 3 Liebst du um Schönheit, Op. 12 No. 2 ROBERT SCHUMANN (1810–1856) Aus den ‘Östlichen Rosen’, Op. 25 No. 25 Rose, Meer und Sonne, Op. 37 No. 9 Zum Schluss, Op. 25 No. 26 Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 8 EICHENDORFF LIEDER FELIX MENDELSSOHN (1809–1847) Das Waldschloβ Pagenlied, Op. posth. ROBERT FRANZ (1815–1892) Gute Nacht, Op. 5 No. 7 Jagdlied, Op. 1 No. 9 FELIX MENDELSSOHN (1809–1847) Nachtlied, Op. 71 No. 6 Wanderlied, Op. 57 No. 4 ROBERT SCHUMANN (1810–1856) Liederkreis, Op. 39 ARIBERT REIMANN (b. 1936) Nachtstück HUGO WOLF (1860–1903) Gedichte von Joseph v. Eichendorff ALEXANDER VON ZEMLINSKY (1871–1942) Vor der Stadt ERICH WOLFGANG KORNGOLD (1897–1957) Nachtwanderer, Op. 9 No. 2 HANS PFITZNER (1869–1949) Im Herbst, Op. 9 No. 3 Lockung, Op. 9 No. 4 Zum Abschied meiner Tochter OTHMAR SCHOECK (1886–1957) Nachruf 2’29 Wolfgang Holzmair, baritone, Imogen Cooper, piano CD 9 ERNST KRENEK (1900–1991) Reisebuch aus den österreichischen Alpen, Op. 62 Fiedellieder aus dem ‘Liederbuch dreier Freunde’, Op. 64 Wolfgang Holzmair, baritone, Gérard Wyss, piano CD 10 HANNS EISLER (1898–1962) Hollywood Songbook Wolfgang Holzmair, baritone, Peter Stamm, piano CD 11 GABRIEL FAURÉ (1845–1924)
HENRI DUPARC (1848–1933)
MAURICE RAVEL (1875–1937) Cinq Mélodies populaires grecques Wolfgang Holzmair, baritone, Gérard Wyss, piano strong textCD 12 CHANSONS FRANÇAISES HECTOR BERLIOZ (1803–1869) Les Nuits d’été, Op. 7, H.81 (excerpts) ERNEST CHAUSSON (1855–1899) Le Colibri, Op. 2 No. 7 Les Papillons, Op. 2 No. 3 Sérénade italienne, Op. 2 No. 5 JACQUES IBERT (1890–1962) Chanson à Dulcinée MAURICE RAVEL (1875–1937) Don Quichotte à Dulcinée, M.84 JACQUES IBERT (1890–1962) Chanson de la mort de Don Quichotte CLAUDE DEBUSSY (1862–1918) Deux Romances sur la poésie de Paul Bourget, L.79 Trois chansons de France, L.102 HENRI DUPARC (1848–1933)
EUGÈNE ANTHIOME (1836–1916) Deux melodies GABRIEL FAURÉ (1845–1924) Les berceaux, Op. 23 No. 1 L’Horizon chimérique, Op. 118 Wolfgang Holzmair, baritone, Maria Belooussova, piano CD 13 JOHANNES BRAHMS (1833–1897) Ein deutsches Requiem, Op. 45 From Haydn to Eisler: the collected Philips recordings of WOLFGANG HOLZMAIR, a supreme art-song interpreter, including many long-deleted albums. Wolfgang Holzmair has long been recognised as one of todays most accomplished and intelligent Lieder singers. He brings a refinement and subtlety to his performances worthy of the great German Lieder baritones, but it is the silky elegance of his voice that has always seduced listeners and critics: the golden, tenorial top as well as his rich, soulful lower register. In celebration of his 70th birthday, this set brings together his complete Philips recitals for the first time, as well as his 1995 recording for Koch of the Hollywood Songbook by Hanns Eisler. The box is ordered by musical chronology, beginning with the folksong-like simplicity of Haydns solo-vocal idiom, a quartet of exquisite Mozart Lieder and the Beethoven cycle An die ferne Geliebte that became the keystone for the Romantic artsong tradition. Here and in the major cycles by Schubert and Schumann, Holzmair is partnered by Imogen Cooper, whose sensitivity to every turn of phrase and harmony places her in the pantheon of great Lieder pianists. Their partnership ranged beyond the acknowledged masterpieces of the tradition to include an imaginative recital of Eichendorff settings by Schumann, Hugo Wolf and Aribert Reimann, as well as a selection of Lieder by both Robert and Clara Schumann, including two songs Rose, Meer und Sonner and Aus den Ostlichen Rosen which were not included on the original Philips album. For his Philips albums of repertoire outside the central Austro-German Romantic tradition, Holzmair found sympathetic partners in Grard Wyss and Maria Beloussova. These include two French albums and a pair of retrospectively tinted cycles by Ernst Krenek. In all cases, critics cherished Holzmairs conversational confidence of phrasing, and a poetic understanding capable of creating mounting subtle effects that can unify the disparate elements of a song cycle around a subtle evolution of mood. This original covers set concludes with the German Requiem of Brahms, recorded in San Francisco with Herbert Blomstedt and widely praised as among the most lyrically affecting of modern versions. The booklet includes an appreciation of Holzmairs art by James Jolly and a memoir of their working partnership by Imogen Cooper. Reviews “It’s the beauty of the voice itself that first grips the listener: a light baritone of moderate size and range, used with great skill and refinement. Within a relatively limited dynamic scale he displays a sensitive pointing of words and abundant coloristic variety.” Stereo Review, September 1995 (Schwanengesang) “His Dichterliebe strikes me as among the best ever recorded. Clearly Holzmair has a special affinity for Schumann. The very sound of his voice, his lightness of vocal touch, and what is clearly a deeply felt collaboration with Imogen Cooper all make for music-making of a surpassing naturalness, with not a wrong step along the way.” Fanfare, January 1996 (Schumann) “This exquisite recording of the principal song cycles of Robert Schumann, based upon poems of Heinrich Heine, is among [Holzmair’s] best to date … captured with intimacy and warmth by the Philips engineers.” Stereo Review, January 1996 “Holzmair’s tone has a tenor-like lightness and he favours an undemonstrative manner … yet he seems to lose nothing of the chilling, numb bleakness of either music or text, and lmogen Cooper shows probing psychological acuity in her handling of the piano part … Highly recommended.” Irish Times, June 1996 (Winterreise) “A most beautiful legato … The beauty of Holzmair’s singing is in a different category altogether … The work of the Trio Fontenay is a delight in itself.” Gramophone, August 1998 (Beethoven) “A program that is not only coherent but imaginative … Beethoven’s invention of the song cycle remains a masterpiece, with Holzmair doing it justice in his own way. Cooper is once again the ideal partner.” Fanfare, September 2000 (Haydn, Mozart, Beethoven) “As ever, [Holzmair and Cooper] unified in musical thought, bring alert minds and alert musicality to everything from the relatively simple manner of Mendelssohn … to the etiolated yet complex world of Reimann … Clear, keenly balanced recording.” Gramophone, February 2003 (Eichendorff Lieder) “The program is traversed with great vocal skill and incisive word painting by Holzmair, and all the requisite keyboard colors and dramatic shifts are illuminated by Imogen Cooper … A winner on all counts.” Fanfare, July 2003 (Eichendorff Lieder) “This musical bouquet gives rare pleasure … There is something other-worldly about the reflective sostenuto that Holzmair preserves throughout.” Fanfare, March 2019 (Chansons Françaises) “Holzmair and Cooper present the cycles in a way that compels complete attention from first note to last.” Oz Arts Review (Schubert) “A first-rate recording … Holzmair sings them with such charm and commanding ease you just want to get out your score and sing along.” Classics Today (Haydn/Mozart/Beethoven) “That seductive tremor of vibrato which characterises Holzmair’s hushed singing gives his performance true pathos.” BBC Music Magazine (Die schöne Müllerin) |
