Voice

Barbara Höfling

Des Todes Tod
Song cycles of Mahler, Mussorgskij, Hindemith

Barbara Höfling 
Helian Quartett
Sophie Lücke
Amanda Anderson

Catalog number: 21092


"This CD is the most personal I have ever made.
Mahler's Kindertotenlieder have always been dear to my heart and I wanted to show how near the different composers are to each other while approaching the same subject from totally different angles. Death is always terrible and brutal, but at the same time releasing, comforting and even human. For me, by reducing these versions to chamber music, the songs obtain intimacy, which creates these very personal, fragile and moving moments." Barbara Höfling

 
Scot_Weir_Volker_Niehusmann_Letters

Letters
Songs for Voice and Guitar

catalog number: 21078

Scot Weir, Tenor
Volker Niehusmann, Guitar

This production of two of Benjamin Britten's most important song cycles for guitar and voice, as well as his Folksong Arrangements and the Songs from the Chinese, is being released on the occasion of his 100th birthday. Britten wrote all these works for his long-time partner, Peter Pears, and the exceptionally talented guitarist Julian Bream. The works are amongst the most important compositions of the 20th Century for the combination voice/guitar and can be heard here in a superb interpretation on this recording.
The programme is completed with Letters from Composers by the American composer Dominick Argento and John W. Duarte's Five Quiet Songs.

 

Scot Weir
What shall we remember?

 

American songs  by
André Previn, Jake Heggie, John Duke, Ricky Ian Gordon

Scot Weir, tenor

Jan Czajkowski, piano

Catalog number 21038


Jake Heggie:
I Shall Not Live In Vain
As Well As Jesus
Even
Animal Passion

John Duke:
April Elegy
Ride The Great Black Horses
The White Dress
I Carry Your Heart

Jake Heggie:
To speak of love
Joy alone

André Previn:
As imperceptibly as Grief
Will there really be a morning?
Good morning midnight

Ricky Ian Gordon:
Harlem night song
Dream variations
Luck
Litany
Angel wings
A horse with wings
The lake isle of Innisfree
In time of silver rain
Fewer words
What shall we remember
Prayer

A co-production with Radio Bremen

 

Brahms – Lieder
Hidenori Komatsu, baritone
Jörg Demus, piano

Catalog number 21002

„You won’t be able to play these songs right now since the words will be too moving for you. But I ask you to look at them and to keep them as a true sacrifice for your beloved mother’s death.“

From a letter of Johannes Brahms, who was a longtime friend of Clara Schumann, to Clara’s daughter Marie.

 

Recorded at Museo Cristifori, Austria, with a Steinway C from 1913

 

ROBERT SCHUMANN - Herbstempfindungen
Lieder from 1850 

 

Scot Weir, Tenor
Rainer Hoffmann, Klavier

Catalog number 21025


Drei Lieder op. 83
Sechs Lieder op. 89
Fünf Lieder op. 96
Sieben Lieder op. 90
Des Sennen Abschied op. 79/23

 

During his last creative period from 1849 to 1852 Robert Schumann felt compelled to explore the boundaries of the relationship between words and music. Vocal compositions of whatever type became the centre of his attention and outweighed his interest even for his main instrument, the piano, as well as for symphonic compositions. Schumann’s vocal works from his final period were influenced by two divergent movements: on the one hand they were expansive and ranged from Piano-Lieder, opera, oratorio and choral works to melodrama, to piano-accompanied recitation of the poetic word; on the other, the relationship between word and music, which for Schumann, as an intellectual and man of letters, had been decisive from his younger days, now became extremely intensive and intimate, as can be noted by the declamatory style, whereby the literary conscience is equally as important as the musical. This fine-polishing of declamation, which is manifested in the oratorio-like “Scene from Goethe’s Faust”, as in the works for double choir and the Piano-Lieder, coincides remarkably with the tendencies of Schumann’s compatriot and antipode Richard Wagner and anticipates the overly-sensitive, richly thoughtful and allusive treatment of the words by Hugo Wolf, or even the speech-rhythm of Berg’s “Wozzeck”.

A coproduction with Radio Bremen

 
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