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Album Savings: £12.98 compared to buying all songs
- Original Release Date: 5 Nov 2007
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
Buy this MP3 album with any other MP3 album under £8 and pay no more than £10 for both (terms and conditions apply). Just look for any album with this message, put it in your basket with another eligible title and the discount will be applied at checkout. |
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Auf eine Christblume I (Tochter des Walds) | Barbara Hendricks/Roland Pöntinen | 6:02 | £0.89 | ||
| Play | 2. Auf eine Christblume II from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 1:59 | £0.89 | ||
| Play | 3. Nixe Binsefuss from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 2:23 | £0.89 | ||
| Play | 4. Schlafendes Jesuskind from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 3:48 | £0.89 | ||
| Play | 5. Der Knabe und das Immlein from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 3:09 | £0.89 | ||
| Play | 6. Begegnung from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 1:33 | £0.89 | ||
| Play | 7. In der Frühe from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 2:32 | £0.89 | ||
| Play | 8. Auf einer Wanderung from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 4:12 | £0.89 | ||
| Play | 9. Verborgenheit from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 2:59 | £0.89 | ||
| Play | 10. Nimmersate Liebe from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 2:07 | £0.89 | ||
| Play | 11. Das Verlassene Mägdlein | Barbara Hendricks - Roland Pontinen | 3:16 | £0.89 | ||
| Play | 12. Der Gärtner from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 1:53 | £0.89 | ||
| Play | 13. Lebe wohl from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 2:38 | £0.89 | ||
| Play | 14. Er ist's from Mörike Lieder | Barbara Hendricks/Roland Pöntinen | 1:40 | £0.89 | ||
| Play | 15. Frühling übers Jahr from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 2:03 | £0.89 | ||
| Play | 16. Ganymed from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 5:06 | £0.89 | ||
| Play | 17. Die Spröde from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 2:15 | £0.89 | ||
| Play | 18. Die Bekehrte from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 3:09 | £0.89 | ||
| Play | 19. Mignon I (Heiß mich nicht reden) | Barbara Hendricks/Roland Pöntinen | 4:11 | £0.89 | ||
| Play | 20. Mignon II (Nur wer die Sehnsucht kennt) from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 2:07 | £0.89 | ||
| Play | 21. Mignon III (So lasst mich scheinen) from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 3:25 | £0.89 | ||
| Play | 22. Philine from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 3:02 | £0.89 | ||
| Play | 23. Mignon (Kennst du das Land) from Goethe Lieder | Barbara Hendricks/Roland Pöntinen | 6:32 | £0.89 |
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1 review
1 of 3 people found the following review helpful
Wolf sung for beauty and melody
7 Sep 2011
Format:Audio CD
John Steane, a fair and authoritative critic of singing at the Gramophone, dismissed this Wolf album from Barbar Hendricks when it was released in 2001. His chief complaint was that the moody, intense, shifting idiom of Hugo Wolf requires a response that the singer doesn't provide. He gave detailed reasons, with examples, of how she falls short. But in the back of my mind I kept wondering if Steane didn't hear a master of Wolf singing like Elisabeth Schwarzkopf and Dietrich Fischer-Diskau, who carried sensitivity to the text to a kind of ultimate. Precious few survive that comparison, and I don't think Hendricks tries to. It's worth remembering that both of her great predecessors have been accused quite often of micro-managing the songs they sang.
Hendricks gives us these mostly familiar Wolf lieder, the great bulk from the Morike and goethe collections, as beautiful melodies. She bypasses psychological depth and musical nuance in favor of a lyrical line that, frankly, she delivers with great charm. I think hers is the lightest voice I've ever encountered in these songs, and no doubt Steane is right to point out her lack of power. Hendricks was 52 when the recordings were made; age tends to markedly diminish a voice as fragile as hers. I don't mean to imply that she needs special pleading. If I hadn't read the dates, I would easily have guessed that she was in her thirties or forties. And thanks to her devotion to art songs - for which, I think, Hendricks is greatly under-appreciated in America - the shaping of each lied is assured and skillful.
The accompanist, Roland Pontinen, is skillful, too. We need more like him in lieder recitals, and I have no quibbles with the decision he makes to reduce the volume of his piano playing in keeping with the singer's timbre. At times, as in the rhapsodic "Er ists," that the performance is considerably too restrained and even cautious, as if Hendricks knows she can't go beyond a certain limit given the condition of her voice. On the other hand, there are many experienced listeners who dislike Schwarzkopf for cooing and Fishcer-Dieskau for barking, so this collection may be just the substitute they are looking for.
Hendricks gives us these mostly familiar Wolf lieder, the great bulk from the Morike and goethe collections, as beautiful melodies. She bypasses psychological depth and musical nuance in favor of a lyrical line that, frankly, she delivers with great charm. I think hers is the lightest voice I've ever encountered in these songs, and no doubt Steane is right to point out her lack of power. Hendricks was 52 when the recordings were made; age tends to markedly diminish a voice as fragile as hers. I don't mean to imply that she needs special pleading. If I hadn't read the dates, I would easily have guessed that she was in her thirties or forties. And thanks to her devotion to art songs - for which, I think, Hendricks is greatly under-appreciated in America - the shaping of each lied is assured and skillful.
The accompanist, Roland Pontinen, is skillful, too. We need more like him in lieder recitals, and I have no quibbles with the decision he makes to reduce the volume of his piano playing in keeping with the singer's timbre. At times, as in the rhapsodic "Er ists," that the performance is considerably too restrained and even cautious, as if Hendricks knows she can't go beyond a certain limit given the condition of her voice. On the other hand, there are many experienced listeners who dislike Schwarzkopf for cooing and Fishcer-Dieskau for barking, so this collection may be just the substitute they are looking for.
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