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Schubert: Die Schone Mullerin - Matthias Goerne / Christoph Eschenbach (Schubert Edition Vol.3)

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Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Conductors of the first rank as well as eminent pianists are among his musical partners.

Since his opera début at the Salzburg Festival in 1997 (Papageno), ... Read more in Amazon's Matthias Goerne Store

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Frequently Bought Together

Schubert: Die Schone Mullerin - Matthias Goerne / Christoph Eschenbach (Schubert Edition Vol.3) + Schubert: Winterreise (Matthias Goerne Schubert Lieder Edition Vol. 9) + Franz Schubert: Schwanengesang, Sonata D.960 (Schubert Edition Vol.6)
Price For All Three: £43.24

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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song TitleArtist Time Price
Listen  1. Die schöne Müllerin, Op.25 D.795: 1. Das WandernChristoph Eschenbach and Matthias Goerne 2:42£0.99  Buy MP3 
Listen  2. Die schöne Müllerin, Op.25 D.795: 2. Wohin?Christoph Eschenbach and Matthias Goerne 2:43£0.99  Buy MP3 
Listen  3. Die schöne Müllerin, Op.25 D.795: 3. Halt!Christoph Eschenbach and Matthias Goerne 1:26£0.99  Buy MP3 
Listen  4. Die schöne Müllerin, Op.25 D.795: 4. Danksagung an den BachChristoph Eschenbach and Matthias Goerne 2:19£0.99  Buy MP3 
Listen  5. Die schöne Müllerin, Op.25 D.795: 5. Am FeierabendChristoph Eschenbach and Matthias Goerne 2:07£0.99  Buy MP3 
Listen  6. Die schöne Müllerin, Op.25 D.795: 6. Der NeugierigeChristoph Eschenbach and Matthias Goerne 5:19£0.99  Buy MP3 
Listen  7. Die schöne Müllerin, Op.25 D.795: 7. UngeduldChristoph Eschenbach and Matthias Goerne 2:33£0.99  Buy MP3 
Listen  8. Die schöne Müllerin, Op.25 D.795: 8. MorgengrußChristoph Eschenbach and Matthias Goerne 5:07£0.99  Buy MP3 
Listen  9. Die schöne Müllerin, Op.25 D.795: 9. Des Müllers BlumenChristoph Eschenbach and Matthias Goerne 3:34£0.99  Buy MP3 
Listen10. Die schöne Müllerin, Op.25 D.795: 10. TränenregenChristoph Eschenbach and Matthias Goerne 4:49£0.99  Buy MP3 
Listen11. Die schöne Müllerin, Op.25 D.795: 11. Mein!Christoph Eschenbach and Matthias Goerne 2:15£0.99  Buy MP3 
Listen12. Die schöne Müllerin, Op.25 D.795: 12. PauseChristoph Eschenbach and Matthias Goerne 5:29£0.99  Buy MP3 
Listen13. Die schöne Müllerin, Op.25 D.795: 13. Mit dem grünen LautenbandeChristoph Eschenbach and Matthias Goerne 1:49£0.99  Buy MP3 
Listen14. Die schöne Müllerin, Op.25 D.795: 14. Der JägerChristoph Eschenbach and Matthias Goerne 1:09£0.99  Buy MP3 
Listen15. Die schöne Müllerin, Op.25 D.795: 15. Eifersucht und StolzChristoph Eschenbach and Matthias Goerne 1:31£0.99  Buy MP3 
Listen16. Die schöne Müllerin, Op.25 D.795: 16. Die liebe FarbeChristoph Eschenbach and Matthias Goerne 5:12£0.99  Buy MP3 
Listen17. Die schöne Müllerin, Op.25 D.795: 17. Die böse FarbeChristoph Eschenbach and Matthias Goerne 2:03£0.99  Buy MP3 
Listen18. Die schöne Müllerin, Op.25 D.795: 18. Trockne BlumenChristoph Eschenbach and Matthias Goerne 4:53£0.99  Buy MP3 
Listen19. Die schöne Müllerin, Op.25 D.795: 19. Der Müller und der BachChristoph Eschenbach and Matthias Goerne 4:47£0.99  Buy MP3 
Listen20. Die schöne Müllerin, Op.25 D.795: 20. Des Baches WiegenliedChristoph Eschenbach and Matthias Goerne 9:18£0.99  Buy MP3 

Product Description

Product Description

HMF 901995; HARMONIA MUNDI - Francia; Classica Lirica


The German baritone Matthias s Goerne s right to be regarded as the successor to Fischer-Dieskau is strengthened by his singing of this great cycle of 20 songs with Christoph Eschenbach as the occasionally over-emphatic but always poetic pianist. Goerne s tone never rasps in climaxes and his sensitivity to the text is always apparent. Balance between the two artists is well-nigh perfect, and the recording is like having them in your room. --Michael Kennedy, The Sunday Telegraph, 10 May 2009

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Most Helpful Customer Reviews on (beta) 12 reviews
11 of 12 people found the following review helpful
Deeper Meaning - Inner Voice 21 Aug. 2009
By Polycarp Johnson - Published on
Format: Audio CD
I agree completely with the two reviews here about how to rate this album -- the highest rating possible. This version of the cycle will, I think, prove to be a classic among classics.

It cannot and does not intend to supplant or replace the 1961 recording by Fischer-Dieskau (one of Goerne's teachers) and Gerald Moore. That version presents Schubert's cycle in the parameters of late German classicism -- as a work modeled on Beethoven's "An die Ferne Geliebte" as indicated in the recording itself by the inclusion of the spoken "Prologue" and "Epilogue" (not included in the original publication of the songs in 1824)which reflect the humor and self-deprecation of the German classic period (and relate to the songs in the same fashion as the hempen homespuns' production of the Tragedy of Pyramus & Thisbe relates to A Midsummer Night's Dream). That interpretation by a singer with one of the most beautiful voices of the 20th century and who spent his life studying Schubert and by one of the great accompanists of the 20th century has become, for many, standard, although, because of the originality and talent of F-D and Moore, generally out of the reach of most singers. For those who have never heard "Die Schöne Müllerin", the F-D/Moore interpretation is probably still the best place to begin.

This interpretation by Goerne and Eschenbach, while it can be listened to completely on its own as extremely beautiful and powerfully creative, can best be understood with relation to the "standard" interpretation. Without any sacrifice of fidelity to the music, it interprets this song cycle written in 1823 when Schubert was 26 (he died in 1828 at 31) as a work of European Romanticism. The interpretation brings out what composers such as Schumann, Liszt, and Mahler heard in this work and, to my mind, makes very clear that what they heard with the seeds of their elaboration of it really is there in Schubert's music. For those very familiar with these songs, listening to this interpretation will, I think, leave them feeling as if they are hearing them again for the first time -- not as erratic though sometimes insightful performances of individual songs, but as a completely intentional and integrated interpretation of the entire cycle. It is an amazing achievement.

When I heard Goerne and Eschenbach perform live at Ravinia this summer (before I heard the album), my reaction to the first three songs ("Das Wandern" "Wohin" and "Halt") was to wonder why the "accompanist" (a truly great musician in his own right) seemed to be choosing the cadences and rhythms which operate against the vocal line. Suddenly, I realized why the pianist was sitting slightly forward of the singer (piano on a considerable diagonal). It is not an "accompaniment." It is an integral part of a through-composed work. The piano accompaniment is as important in this work as in Schumann's "Dichterliebe" and it is the inner voices (including rhythmic) in the accompaniment which tie the cycle together. One becomes acutely conscious of listening to two instruments at once: the piano and the human voice. That this interaction was precisely Schubert's intention can hardly be doubted, since the piano creates, until the very end of the cycle (when the brook speaks through the singer), the voice of the brook to which the singer repeatedly addresses himself. In addition, in several of these interpretations, one becomes intensely aware (because of Goerne's truly remarkable voice and musicality) of the resonances which are not on the fundamental pitch as is also the case for the piano.

The upshot of the consistent application of these techniques (which include Goerne's almost incomparable legato singing and unbelievable breath control allowing six bars to be covered at slow tempo without a breath) is the emphasis on what I think is the most fundamental emotion of this cycle and of much of Schubert's Lieder output: Sehnsucht (yearning). It is a powerful emotion which seeks transcendence. If you dim the lights and listen to this album, you will find, I think, that from No. 16 ("Die liebe Farbe" - "The Dear Color") through to the end ("Des Baches Wiegenlied" - "The Brook's Lullaby"), the interpretation succeeds completely (a success predicated on what has gone before). It may even bring you to tears. It gives a deeper meaning to the final words: "und der Himmel daoben, wie ist er so weit" ("and the heaven above, how very wide it is").
11 of 13 people found the following review helpful
A Remake with Goerne at the Top of HIs Form 15 May 2009
By Russell Low - Published on
Format: Audio CD
Seven years separate Matthias Goerne's last traversal of this monumental cycle on disc from this new one, recorded in September 2008. His previous recording on Decca (OOP) was highly controversial in that he chose to take many of the songs at extremes of tempo (fast and slow, but mostly slow), to the point where listeners and critics were very divided. In the intervening years, and after many more concert performances, Goerne's interpretation has deepened, though his overall conception remains the same. He still takes dangerously slow tempos during the more meditative songs, with the final song ('Des Baches Wiegenlied') lasting over nine minutes, much as before. Only a singer like Goerne can pull this feat off successfully, and that final song remains as hushed and hypnotic as ever. Indeed, his unique ability to spin legato phrase after legato phrase serves him well throughout. He's still as forceful as before in the more lively songs, but now singing with noticeably more freedom and abandon. 'Am Feierabend', for instance, fairly crackles with excitement. Extreme high notes, somewhat effortful before, now are hit with ease.

Die schone Mullerin, in Goerne's estimation, is a deeply tragic work, and his is a very personal statement, quite unlike, for example, the more emotionally neutral efforts of Fischer-Dieskau in his many versions. (And this is not meant in any way as a slight to The Master.) Goerne challenges the listener to accept his point of view, drawing us more and more into the distraught protagonist's psyche. If you're emotionally exhausted by the end, as I was, He will have succeeded in that regard.

Pianist Christoph Eschenbach sounds overly fussy and mannered at times, but at least he doesn't get in the way of Goerne's singing.

The recorded balance is odd: the piano is close while the voice is set at a distance, awash in reverberation. It sounds nothing like his previous recordings on Harmonia Mundi (to say nothing of his Decca recordings), where the balances were well-nigh ideal.
7 of 8 people found the following review helpful
A great recording -- Goerne comes into his own 16 May 2009
By Santa Fe Listener - Published on
Format: Audio CD Verified Purchase
My ears are certainly different from the previous reviewer's. I find a few points of agreement. In particular, Goerne's second go at Schone Mullerin is a great improvement over the first, and in this case the singer delivers a master class in Schubert singing. His tone is amazingly even from top to bottom. I also agree that he has a newfound freedom and abandon in his performance. Few modern lieder singers have matured to this level of musicality and beauty of expression. (Among current rivals, only the tenor Werner Gura comes to mind as Goerne's eqaul.)

The disagreements? Goerne's interpretation isn't consistently tragic; it's not even very inward. Eschenbach isn't fussy at the keyboard. His experience as a lieder accompanist goes back almost forty years when he accompanied Fischer-Dieskau, and here he is beyond reproach: sensitive, supple, never fussy but extremely natural. I must say I've never heard a better piano part since the mono version with Britten and Pears. Also, any claim that the tempos are slow is mistaken. If anything, Goerne paces the cycle quickly, with the exception of a few, very effective slower songs. Finally, the singer is not distant from the microphone, but the ambience is overly reverberant.

I know it's confusing when two reviewers seem to hear opposite things, but there is agreement that this is a rare recording, one of the most natural, flowing, and emotionally genuine Schone Mullerins since Wunderlich's forty years ago. Given that I have not been a dedicated admirer of Goerne in the past, this CD comes as a delightful surprise.
2 of 2 people found the following review helpful
I haven't been able to get this recording off my mind for weeks! 18 Jan. 2011
By D. Lopez - Published on
Format: Audio CD Verified Purchase
Matthias Goerne's earlier recording, with Eric Schneider, was one of the most beautiful and powerful things I'd ever experienced. It haunts me to this very day, because it is so incredibly forceful, it goes right for the jugular and never lets go until it leaves you floating all by yourself somewhere in deep outer space. Talk about a wallop. But this new recording is so incredibly different, and pretty much does the same thing, but in an entirely different fashion. Last time it was a young man screaming and crying, an erupting volcano, it was breathless and arresting. This time it's incredibly theatrical, sometimes disturbingly so, and this magnificent interpretation seems to be of someone who's about 1,000 years old -- or has at least lived with and thought intensively about this piece for the equivalent of about 1,000 years to us mere mortals. In terms of singing, he approaches it very differently, there are many instances (since I literally have every single breath and gesture of the earlier recording memorized) where this new interpretation were almost shockingly different to me. Where did this stuff come from. Who is this guy. Why can't every musician be like this. What maturity and sophistication and sincerity, and what a voice. Oh what a voice. And the pianist does an amazing job as well. The whole thing is very well recorded, with wonderful "hall" acoustics present throughout. And the packaging is also quite nice... Overall, I won't say this recording saved my life or reinvented the wheel, but that's perhaps because the earlier recording pushed me so far over the edge that I'm still trying to get on my feet.
1 of 1 people found the following review helpful
A cycle of deep and personal intensity. 21 Oct. 2013
By Abert - Published on
Format: Audio CD
There are currently great ‘baritone’ lieder interpreters, more so than tenors.
Foremost among the baritones is Matthias Goerne (born 1967), who is in fact a bass baritone (in lieder, however, it seems that there is no further categorization than tenor, baritone, and bass).
My favourite Die Schone Mullerins have always been the tenors’, and least of all bass singers’.
Goerne’s ‘Mullerin’ comes pretty close to a bass singer’s. However, Goerne’s voice is never ‘heavy’, if it is ‘thick’. He has an uncanny way in keeping his dark and thick voice smooth (if not light) and soft whenever it is called for, and in this regard his vocal technique is in fact light years ahead of Jonas Kaufmann, who similarly possesses a timbre (though tenor) that is on the ‘thick’ side.
Yet, I think in this Song Cycle, Kaufmann the operatic tenor’s output with Helmuth Deutsche still attracts me more, even though Goerne and Eschenbach’s output is nothing less than phenomenal.
Both Kaufmann and Goerne’s approaches are intense. However, in Kaufmann, at least we have a contrast of sunshine in the outer numbers, if the later ones get more and more vehement as the Cycle moves. The more extroverted, contrasted and equally impassioned approach of Kaufmann/Deutsche is more a pleasure to listen to in a longer run than the thoroughtly ultra-smooth, dark and even suffocating Goerne/Eschenbach reading.
I am not in any way disparaging this wonderful recording – rather, I think Goerne and Eschenbach have come up with a very unique reading of Die Schone Mullerin that succeeds in mesmerizing listeners instantly.
Both singer and pianist are equally intense, and Schubert’s music certainly allows for this, if not outright the text of W. Muller. Hence, I would say that Goerne/Eschenbach’s reading is more music-dominated, and perhaps even further, the singing is certainly more singer-dominated, since the character of the Muller is so much succumbed into Goerne’s very dominating musical personality.
Indeed, for the most balanced and poetic reading of this score, a high baritone version of Gerhaher/Huber is my own personal top-choice recommendation.
Despite this personal choice, however, in terms of artistry, this is still a full 5 star recording, no less.
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