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Schubert: The Hyperion Schubert Edition, Vol. 28 [CD]

Graham Johnson Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: £14.29 & FREE Delivery in the UK. Details
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Graham Johnson is recognised as one of the worlds leading vocal accompanists. Born in Rhodesia, he came to London to study in 1967. After leaving the Royal Academy of Music his teachers included Gerald Moore and Geoffrey Parsons. In 1972 he was the official pianist at Peter Pears' first masterclasses at The Maltings, Snape which brought him into contact with Benjamin Britten a link which ... Read more in Amazon's Graham Johnson Store

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Frequently Bought Together

Schubert: The Hyperion Schubert Edition, Vol. 28 + Schubert: An 1826 Schubertiad (Hyperion Schubert Edition, Vol. 26) + Schubert: The Hyperion Schubert Edition, Vol. 21 Schubert in 1817 & 1818
Price For All Three: £42.70

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Product details

  • Performer: John Mark Ainsley, Graham Johnson, Michael George, Christine Schäfer
  • Orchestra: London Schubert Chorale
  • Conductor: Stephen Layton
  • Composer: Franz Schubert
  • Audio CD (1 Jan 2000)
  • Number of Discs: 1
  • Format: CD
  • Label: Hyperion
  • ASIN: B000002ZFM
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 180,536 in Music (See Top 100 in Music)

1. Versunken D715
2. Im Gegenwartigen Vergangenes D 710
3. Mahomets Gesang D721
4. Geheimes D719
5. Johanna Sebus D728
6. Mignon *Heiss mich nicht reden) D726
7. Die Nactigall D724
8. Sei mir gegrusst! D741
9. Fruhlingsgesang D740
10. Der Wachtelschlag D742
11. Geist der Liebe
12. Die Liebe hat gelogen D751
13. Du liebst mich nicht D756
14. Todesmusik D758
15. Selige Welt D743
16. Ihr Grab D736
17. Schatzgrabers Begehr D761
18. Der Musensohn D764
19. Am Flusse D766
20. An die Entfernte D765
See all 22 tracks on this disc

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
5.0 out of 5 stars An 1822 Schubertiad 5 Aug 2000
By A Customer
Format:Audio CD
Schubert: an 1822 Schubertiad
This disc contains some of Schubert's most - loved music, including settings of Goethe such as the incomparable "Der Musensohn," the unjustly neglected "Im Gegenwärtigen Vergangenes" and the adorable "Geheimes," and many of the performances amongst the 22 tracks do full justice to these miraculous songs. However, some listeners will be puzzled as to why our introduction to the baritone Maarten Koningsberger should be so lengthy, since he is given no fewer than ten songs here, including some of the most familiar in the repertoire - puzzled, because, although his voice is soft and pleasant to the ear, it lacks any special distinction and, for this listener, had the effect of sending me back to Fischer-Dieskau with renewed admiration, especially for "Am Flusse" and "An die Entfernte."
Amongst the many very fine performances here, two stand out - Christine Schäfer's "Der Musensohn" and John Mark Ainsley's "Geheimes. " The former is ideally youthful, sung with lovely tone and Schäfer's characteristic attention to words, and Graham Johnson's playing is perfectly judged; he writes that Schubert intended this song to "excite the listener with its irrepressible gaiety" and this is exactly what he achieves.
Johnson writes brilliantly about "Geheimes;" - describing this music as "suggestive as a wink, and as delicate as a blush," he tells us that he knows people who, to his distress, "laugh out loud" at Peter Pears' recording of it.
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Amazon.com: 5.0 out of 5 stars  2 reviews
8 of 8 people found the following review helpful
5.0 out of 5 stars An 1822 Schubertiad 5 Aug 2000
By Melanie Eskenazi - Published on Amazon.com
Format:Audio CD
Schubert: an 1822 Schubertiad
This disc contains some of Schubert's most - loved music, including settings of Goethe such as the incomparable "Der Musensohn," the unjustly neglected "Im Gegenwärtigen Vergangenes" and the adorable "Geheimes," and many of the performances amongst the 22 tracks do full justice to these miraculous songs. However, some listeners will be puzzled as to why our introduction to the baritone Maarten Koningsberger should be so lengthy, since he is given no fewer than ten songs here, including some of the most familiar in the repertoire - puzzled, because, although his voice is soft and pleasant to the ear, it lacks any special distinction and, for this listener, had the effect of sending me back to Fischer-Dieskau with renewed admiration, especially for "Am Flusse" and "An die Entfernte."
Amongst the many very fine performances here, two stand out - Christine Schäfer's "Der Musensohn" and John Mark Ainsley's "Geheimes. " The former is ideally youthful, sung with lovely tone and Schäfer's characteristic attention to words, and Graham Johnson's playing is perfectly judged; he writes that Schubert intended this song to "excite the listener with its irrepressible gaiety" and this is exactly what he achieves.
Johnson writes brilliantly about "Geheimes;" - describing this music as "suggestive as a wink, and as delicate as a blush," he tells us that he knows people who, to his distress, "laugh out loud" at Peter Pears' recording of it. I have to confess to being one of those who tend to blush with embarrassment at some versions of this perfect little song, but the present version induces only admiration and the desire to hear it again and again. To quote Johnson again, "the word - setting alone is a miracle of inventiveness," and Ainsley does it full justice. He conveys that characteristic Schubertian hesitancy sweetly yet without a trace of archness - there is something ingenuous about his voice, so that, whilst he cannot resist just a hint of a lisp at "bedeute," he is able to convince us of his eagerness and rapture, and his phrasing and diction in the last line "Ihm die nächste süsse Stunde" with its lovely stress on "süsse" is utterly captivating.
Koningsberger is most successful in "Sei mir gegrüsst!" where he manages to hold the listener's attention throughout the lover's many protestations, and in "Du liebst mich nicht" where he evokes the desperation and hopelessness of the speaker without crossing the line into over-acting. The following track is "Todesmusik" which is, to me, one of Schubert's finest songs; sadly, Koningsberger is not really up to either the intense drama or the technical demands here, and this rendition cannot be compared to that of Fischer-Dieskau.
The same is true of "Wilkommen und Abschied" which Ainsley sings with plenty of testosterone but, unusually for him, the phrasing is rather hectic and the words seem mostly indefinite in their emphasis, although he does rise to the occasion at "Ich hofft es, ich verdient' es nicht" with its characteristically heartfelt emphasis on "verdient."
Modified rapture, then, but still deserving 5 stars.
1 of 5 people found the following review helpful
5.0 out of 5 stars what a wondferful cd 30 Dec 1999
By joni chu - Published on Amazon.com
Format:Audio CD
once again. graham johnson amaze all of us with this schubert edition. the singer is superb. i can stop hearing this cd.
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