Wolf - Kennst du das Land (Lieder to texts by Goethe, Morike & Eichendorff) | Harmonia Mundi HMC902245

Wolf - Kennst du das Land (Lieder to texts by Goethe, Morike & Eichendorff)

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Label: Harmonia Mundi

Cat No: HMC902245

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 29th April 2016

Contents

Works

Wolf, Hugo

Eichendorff-Lieder (20)
» no.3 Verschwiegene Liebe
Goethe-Lieder
» no.5 Mignon I 'Heiss mich nicht reden'
» no.6 Mignon II 'Nur wer die Sehsucht kennt'
» no.7 Mignon III 'So lasst mich scheinen'
» no.9 Mignon IV 'Kennst du das Land'
» no.24 Blumengruss
» no.26 Die Sprode
» no.27 Die Bekehrte
» no.28 Fruhling ubers Jahr
» no.29 Anakreons Grab
Lieder (6) fur eine Frauenstimme
» no.4 Wiegenlied im Sommer (Reinick)
» no.6 Mausfallenspruchlein
Morike-Lieder
» no.2 Der Knabe und das Immlein
» no.3 Ein Stundlein wohl vor Tag
» no.6 Er ist's
» no.7 Das verlassene Magdlein
» no.11 An eine Aeolsharfe
» no.13 Im Fruhling
» no.14 Agnes
» no.16 Elfenlied
» no.42 Erstes Liebeslied eines Madchens
» no.45 Nixe Binsefuss
» no.51 Bei einer Trauung

Artists

Sophie Karthauser (soprano)
Eugene Asti (piano)

Works

Wolf, Hugo

Eichendorff-Lieder (20)
» no.3 Verschwiegene Liebe
Goethe-Lieder
» no.5 Mignon I 'Heiss mich nicht reden'
» no.6 Mignon II 'Nur wer die Sehsucht kennt'
» no.7 Mignon III 'So lasst mich scheinen'
» no.9 Mignon IV 'Kennst du das Land'
» no.24 Blumengruss
» no.26 Die Sprode
» no.27 Die Bekehrte
» no.28 Fruhling ubers Jahr
» no.29 Anakreons Grab
Lieder (6) fur eine Frauenstimme
» no.4 Wiegenlied im Sommer (Reinick)
» no.6 Mausfallenspruchlein
Morike-Lieder
» no.2 Der Knabe und das Immlein
» no.3 Ein Stundlein wohl vor Tag
» no.6 Er ist's
» no.7 Das verlassene Magdlein
» no.11 An eine Aeolsharfe
» no.13 Im Fruhling
» no.14 Agnes
» no.16 Elfenlied
» no.42 Erstes Liebeslied eines Madchens
» no.45 Nixe Binsefuss
» no.51 Bei einer Trauung

Artists

Sophie Karthauser (soprano)
Eugene Asti (piano)

About

The brief period between 1888 and 1897, between the great cycles devoted to single poets and the songs on sonnets of Michelangelo, saw Wolf at the zenith of his creativity. That period saw the genesis of the songs later published in anthologies after Mörike, Eichendorff and Goethe. Although even the early songs before 1888 reveal no arbitrariness in the choice of texts, it is this concentration on individual literary figures that characterises the highpoint of Wolf’s output. Their names resound in the ears of all who love German Romantic literature and are familiar with its transposition into the world of the Lied. While Schubert often mined an unexpected vein of poetry in lesser authors, his distant successor Hugo Wolf drank at the source of these giants. Wolf was undoubtedly a virtuoso in the art of making audible the huge dimension of what remains unsaid, though implied. Perhaps he had only one true peer: his former Viennese fellow student Gustav Mahler.

Belgian soprano Sophie Karthäuser studied with Noelle Barker at the Guildhall School of Music and Drama in London. She is now in great demand, especially as a Mozart singer. She sang her first Pamina (Die Zauberflöte) under René Jacobs and her first Susanna (Le nozze di Figaro) under William Christie. Since winning the Audience Prize at the Wigmore Hall Song Contest she has developed an acclaimed career as a recitalist, enjoying a particularly close artistic partnership with the distinguished American pianist Eugene Asti.

Reviews

A lovely Handel and Mozart singer, Sophie Karthäuser here proves herself a natural in Lieder. In a discography dominated by tenors and (especially) baritones, her all-Wolf recital, centred on settings of Mörike and Goethe, is doubly welcome. Karthäuser’s choice of songs, too, couldn’t be more apt. In her Mörike selection she mixes a handful of favourites with cherishable rarities such as the desolate ‘Agnes’, with its sadly tolling ostinato, and ‘Nixe Binsefuss’, a mischievous fairy scherzo that sounds like refracted Mendelssohn. ... In sum, a recital to delight all Wolf lovers, and an ideal entrée for those still to be converted to the peculiar richness and intensity of his art.  Richard Wigmore
Gramophone August 2016
Gramophone Editor's Choice

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