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Partsongs / Auf dem Strom / Der Hirt auf dem Felsen / Lieder

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Product details

1. Gebet, D815 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
2. Nachthelle, D892 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
3. Gott in Der Natur, D757 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
4. JÃ1/4nglingswonne, D983 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
5. Ständchen, D920 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
6. Gondelfahrer, D809 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
7. Gott Meine Zuversicht, D706 (Psalm 23) - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
8. Gott in Ungewitter, D985 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
9. Chor Der Engel, 'Christ Ist Erstanden', D440 - Viola Tunnard/Elizabethan Singers - Viola Tunnard/Elizabethan Singers
10. Auf Dem Strom, D943 - Various Performers - Various Performers
11. Der Hirt Auf Dem Felsen, D965 - Various Performers - Various Performers
12. Die Forelle, D550 - Various Performers - Various Performers
13. Gretchen Am Spinnrade, D118 - Various Performers - Various Performers
14. Der Musensohn, D764 - Various Performers - Various Performers
15. Du Bist Die Ruh, D776 - Various Performers - Various Performers

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Amazon.com: 2 reviews
2 of 2 people found the following review helpful
Five stars for Danco and one partsong that is a masterpiece of Schubertian mysticism 16 Nov 2012
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
The genre of partsongs reminds me of chruch, lavender water, and heads nodding sleepily on antimacassars. Therefore I can give a different perspective from the lead reviewer's, who dotes on this form of casual home music-making. I can echo her enthusiasm for the performers, but this is mild-mannered music that Schubert wrote with his left hand. The piano parts are simple, as are the harmonies, since amateur singers were the target audience. Schubert rose to a higher level, so far as I can tell, when he wrote for male chorus. Perhaps that accounts for one song that is a masterpiece, Nachthelle, where the tenor soloist, carrying the melodic line, contemplates the night sky in a rapturous deistic ecstasy, punctuated by a climactic note of anguish at the transient nature of beauty. Every lover of Schubert lieder should regard Nachthelle as a must-listen.

Robert Tear makes for a splendid soloist in that song, and I had high hopes for Auf dem Strom, recorded three years later, in 1969. Unfortunately, the pacing is too fast and the pianist no more than ordinary, so this rapt song, one of the great productions of Schubert's last year, loses all mystery and rapture.

The third section of the program, recorded in excellent sound from 1956, features Suzanne Danco, one of Decca's vocal stars in French repertoire (although she was Belgian). Danco also sang in both of Decca's famous Mozart operas of the day, delivering an unforgettable Cherubino in Erich Kleiber's Nozze di Figaro and a very good, of somewhat over-parted Donna Anna in Krips's Don Giovanni. Opera stars all made lieder recordings back then, and Danco offers five Schubert favorites, with an alluring silvery timbre, fast vibrato, and soubrettish brightness (much like Hilde gueden during the same period).

She's a bit uninvolved in the longest song, "Der Hirt auf dem Felsen," where Gervase de Peyer is also rather laid back in the clarinet part. but the other four songs are done with intensity and great personality, the highlight being Gretche am Spinnrade, in which Danco matches the classic Schwarzkopf account on EMI, even if her pianist, one Guido Aposti, is no Edwin Fischer. So for me, this Schubertiade comes down to one partsong and four lieder, a small fraction of the 79 min. total timing but pure gold on its own.
2 of 2 people found the following review helpful
The most beautiful choral sound 12 Aug 2012
By Presbyteros - Published on Amazon.com
Format: Audio CD
I'm so happy that this old Argo lp has been released on CD. The bulk of this release is "Schubert Part Songs". Louis Halsey assembled the most beautiful ensemble voices in London, and with great 1966 sound, produced one of my favorite LPs of all time. There are men's, women's, and mixed pieces. Helen Watts sings "Standchen" (Zogend leise) in Schubert's version with women, which is a nice change from the male chorus version. Robert Tear is the soloist with the men in "Nachthelle", as well as the soloist in "Auf dem Strom". That piece is added to the part songs along with Suzanne Danco singing solo Lieder, including "Der Hirt auf dem Felsen". These recordings date from 1956, and they are in the best sound of that era. Danco sounds as if she's in a low ceilinged room, miked too close, and not shown to her best advantage. It exaggerates every attack and register change. Those used to Benita Valente or Elly Ameling will be a little disconcerted in what may be a rather extroverted performance (this may be an illusion created by the recording). But it's good on its own terms as well as Die Forelle, Gretchen, Musensohn, and Du bist die Ruh. It's a good reminder of an era in which a Belgian opera singer didn't hesitate to sing Lieder.
But you buy this for the part songs. BTW, John Elliot Gardner remade this collection (as he remade Benjamin Britten's Percy Grainger album) but fell short (on both). This is the standard for this literature.
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