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Track Listings
| 1. Einerlei Op 69 No 3 [2'50] | |||
| 2. Der Stern Op 69 No 1 [2'13] | |||
| 3. Waldesfahrt Op 69 No 4 [3'38] | |||
| 4. Schlechtes Wetter Op 69 No 5 [2'36] | |||
| 5. Rote Rosen TrV119 [2'27] | |||
| 6. Die erwachte Rose TrV90 [3'29] | |||
| 7. Begegnung Trv98 [2'09] | |||
| 8. Wir beide wollen springen Trv175 [1'14] | |||
| 9. Das Bächlein Op 88 No 1 [2'32] | |||
| 10. Blick vom oberen Belvedere Op 88 No 2 [4'33] | |||
| 11. Krämerspiegel Op 66 Es war einmal ein Bock [2'59] | |||
| 12. Krämerspiegel Op 66 Einst kam der Bock als Bote [3'32] | |||
| 13. Krämerspiegel Op 66 Es liebte einst ein Hase [2'00] | |||
| 14. Krämerspiegel Op 66 Drei Masken sah ich am Himmel stehn [2'32] | |||
| 15. Krämerspiegel Op 66 Hast du ein Tongedicht vollbracht [0'59] | |||
| 16. Krämerspiegel Op 66 O lieber Künstler sei ermahnt [3'24] | |||
| 17. Krämerspiegel Op 66 Unser Feind ist, grosser Gott [1'28] | |||
| 18. Krämerspiegel Op 66 Von Händlern wird die Kunst bedroht [4'35] | |||
| 19. Krämerspiegel Op 66 Es war mal eine Wanze [3'33] | |||
| 20. Krämerspiegel Op 66 Die Künstler sind die Schöpfer [2'12] | |||
See all 24 tracks on this disc
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Product Description
Product Description
Hyperions Strauss Lieder series continues to demonstrate that the composers achievements in this genre are among the most fascinating and accomplished of his works. This latest volume includes, for instance, the delicious Schlechtes Wetter from Op 69, and the lovelyand unknownWaldesfahrt from the same group. The delicately beautiful Malve (never published in Strausss lifetime, and first performed by Kiri Te Kanawa in 1985), with which the recital ends, is known as Strausss Fifth Last Song.
The central work recorded here, Krämerspiegel, owes its genesis to Strausss long-lasting and bitter dispute with the German music publishing industry. A Berlin literary critic, Alfred Kerr, wrote him a witty set of satirical verses lampooning music publishers, mentioning many of Strausss principal enemies by name. Strauss set all twelve poems to music, and this practical joke finally saw the light of day in 1921. It is easy to understand why the cycle is now rarely performed, given that the texts consist entirely of in-jokes, and that the lions share of the music is given to the pianist. But Strausss music is well worth savouring, not least for its humorous references to Strausss own works, such as Der Rosenkavalier and Ein Heldenleben, and especially for the beautiful prelude to the eighth song and its reprise as the final extended postludeused by the composer nearly a quarter of a century later, in his opera Capriccio.
Roger Vignoles is the curator and pianist of this series, and also writes the informative booklet notes. Making her Hyperion debut is soprano Elizabeth Watts, of whom The Guardian commented at a recent Strauss Lieder recital: Watts, winner of the Lieder prize at Cardiff Singer of the World in 2007, is already a major artist, but this struck me as making a transformation into a great one, as well as allowing us to hear her in music she seems to have been born to sing. Watts has the right tonal glamour for Strauss along with that tricky combination of vocal ease and immaculate control that his work requires.
The central work recorded here, Krämerspiegel, owes its genesis to Strausss long-lasting and bitter dispute with the German music publishing industry. A Berlin literary critic, Alfred Kerr, wrote him a witty set of satirical verses lampooning music publishers, mentioning many of Strausss principal enemies by name. Strauss set all twelve poems to music, and this practical joke finally saw the light of day in 1921. It is easy to understand why the cycle is now rarely performed, given that the texts consist entirely of in-jokes, and that the lions share of the music is given to the pianist. But Strausss music is well worth savouring, not least for its humorous references to Strausss own works, such as Der Rosenkavalier and Ein Heldenleben, and especially for the beautiful prelude to the eighth song and its reprise as the final extended postludeused by the composer nearly a quarter of a century later, in his opera Capriccio.
Roger Vignoles is the curator and pianist of this series, and also writes the informative booklet notes. Making her Hyperion debut is soprano Elizabeth Watts, of whom The Guardian commented at a recent Strauss Lieder recital: Watts, winner of the Lieder prize at Cardiff Singer of the World in 2007, is already a major artist, but this struck me as making a transformation into a great one, as well as allowing us to hear her in music she seems to have been born to sing. Watts has the right tonal glamour for Strauss along with that tricky combination of vocal ease and immaculate control that his work requires.
Product Description
Elizabeth Watts, soprano - Roger Vignoles, piano
Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
By Entartete Musik
TOP 1000 REVIEWER
With all their swooning and sighing, Strauss's Lieder can, in the wrong hands, turn sickly. This latest instalment in Hyperion Records' edition of the Complete Songs, however, is a model of sentiment over sentimentality. Cardiff Recital Prize-winner Elizabeth Watts and pianist Roger Vignoles refine though never distance themselves (or their listeners) from these glorious songs and the emotions tell brilliantly on this fine addition to the survey.
Rather than the coy spin of Keira Duffy on Volume 5, Watts offers a richer tone, which gives real emotional weight to the material. She lends urgency to the 1883 song 'Rote Rosen', while its 1880 companion 'Die erwachte Rose' is performed with comparative delicacy. Vignoles gives an impression of Luftpausen at the tops of its phrases, becoming giddy in 'Blick vom oberen Belvedere', which Watts floats with ease.
Following such blooming delights and vistas, the main focus of the volume is Strauss's 1918 song cycle Krämerspiegel. A private attack against his publishers, the in-jokes of the texts may slightly evade us, yet Watts and Vignoles perform responsively and wittily. The tittering piccolo-like decorations in the accompaniment and the pert placement of 'O Schröpferschwarm, o Händlerkreis' put you immediately in mind of Rosenkavalier. After such mordant humour, Strauss's final song 'Malven' - written in 1949 as a tribute to Maria Jeritza - offers a tender final flower.
Rather than the coy spin of Keira Duffy on Volume 5, Watts offers a richer tone, which gives real emotional weight to the material. She lends urgency to the 1883 song 'Rote Rosen', while its 1880 companion 'Die erwachte Rose' is performed with comparative delicacy. Vignoles gives an impression of Luftpausen at the tops of its phrases, becoming giddy in 'Blick vom oberen Belvedere', which Watts floats with ease.
Following such blooming delights and vistas, the main focus of the volume is Strauss's 1918 song cycle Krämerspiegel. A private attack against his publishers, the in-jokes of the texts may slightly evade us, yet Watts and Vignoles perform responsively and wittily. The tittering piccolo-like decorations in the accompaniment and the pert placement of 'O Schröpferschwarm, o Händlerkreis' put you immediately in mind of Rosenkavalier. After such mordant humour, Strauss's final song 'Malven' - written in 1949 as a tribute to Maria Jeritza - offers a tender final flower.
2 of 3 people found the following review helpful
By Marius G
Here is another volume in the Hyperion Strauss song series, exquisitely sung by Elizabeth Watts accompanied by Roger Vignoles. This is a beautiful collection of songs including rarities as well as more well known songs. The recital includes an introduction for me to the musically rich song cycle Kramerspiegel - delightful with its anticipation of the moonlight music from Capriccio. Elizabeth Watts certainly has a way with words. They are clearly fundamental to her lieder interpretation. There is poise in her telling of each song, using tone colour and weight of tone to add meaning, and often leaning into words to highlight particular text. Das Bachlein is a slightly meandering brook but still has momentum in its delivery. I love the way she uses tone in Malvern to seemingly give each flower its own character. Amidst all this she still produces beautifully sustained phrasing. It is a beautiful voice and Strauss is clearly her thing.
Supportive, expressive and crystalline playing from Roger Vignoles as usual. The well paced accompaniments allow the songs to breathe, which illuminates the almost elegiac quality of the single songs in this collection.
Recorded level is quite low but the sound is beautifully balanced.
Supportive, expressive and crystalline playing from Roger Vignoles as usual. The well paced accompaniments allow the songs to breathe, which illuminates the almost elegiac quality of the single songs in this collection.
Recorded level is quite low but the sound is beautifully balanced.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.5 out of 5 stars
2 reviews
4.0 out of 5 stars
Excellent Strauss
11 April 2013
By Bruce A. Mcdonald
- Published on Amazon.com
Amazon Verified Purchase
Richard Strauss was a real master of lieder. This recording (superbly song and accompanied) includes one of his "cycles" in which he was taking potshots at various music publishers, etc. You'll need the words and the (excellent) program notes to find out which one Strauss was lampooning. Elizabeth Watts has a lovely high soprano voice and sings superbly in this imaginative program, and Roger Vignoles is his usual excellent self in his accompaniments. This may not be Strauss at his most lush and appealing, but he is highly interesting, and it's good to see a more "analytic" side of the fine composer.
0 of 3 people found the following review helpful
3.0 out of 5 stars
Closing out the series
7 Feb 2013
By Douglas A. Haff
- Published on Amazon.com
Amazon Verified Purchase
About half of the CD was a song cycle of Strauss' problems with his publishers. The other songs were very good especially the fifth last song. The performances were excellent.
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Go to Amazon.com to see both reviews
3.5 out of 5 stars
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