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SCHUBERT, SCHUMANN, WAGNER, BRAHMS, GRIEG, HANDEL, Hans Hotter, Gerald Moore

The Early Emi Recodings

  • 1. Der Wanderer ("Ich komme vom Gebirge her"), song for voice & piano (Der Unglückliche), D. 489 (4:43)
  • 2. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 : Der Doppelgänger (4:02)
  • 3. Gruppe aus dem Tartarus II ("Horch, wie Murmeln"), song for voice & piano, D. 583 (Op. 24/1) (3:45)
  • 4. Die beiden Grenadiere ("Nach Frankreich zogen zwei Grenadier"), song for voice & piano, Op. 49/1 (4:34)
  • 5. Wer machte dich so krank? ("Dass du so krank geworden..."), song for voice & piano, Op. 35/11 (2:03)
  • 6. Alte Laute ("Hörst du den Vogel singen?"), song for voice & piano, Op. 35/12 (2:20)
  • 7. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 : Die Stadt (2:52)
  • 8. Meeres Stille ("Tiefe Stille herrscht im Wasser"), song for voice & piano, D. 216 (Op. 3/2) (2:14)
  • 9. Die Meistersinger von Nürnberg, opera, WWV 96 : Und doch, s'will halt nich gehn (4:01)
  • 10. Die Meistersinger von Nürnberg, opera, WWV 96 : Doch eines Abends spat (3:45)
  • 11. Die Walküre (The Valkyrie), opera, WWV 86b : Leb' wohl (4:40)
  • 12. Sonntag ("So hab ich doch die ganze Woche"), song for voice & piano, Op. 47/3 (1:47)
  • 13. Ständchen ("Der Mond steht über dem Berge"), song for voice & piano, Op. 106/1 (1:42)
  • 14. Jeg elsker Dig (I Love but Thee), song for voice & piano, Op. 5/3 (2:26)
  • 15. Mondnacht ("Es war als hätt der Himmel..."), song for voice & piano (Liederkreis), Op. 39/5 (4:04)
  • 16. Die schöne Müllerin, song cycle, for voice & piano, D. 795 (Op. 25) : Wohin? (2:29)
  • 17. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 : Am Meer (4:13)
  • 18. Schwanengesang (Swan Song), song cycle for voice & piano, D. 957 : Der Doppelgänger (4:03)
  • 19. Mit vierzig Jahren ist der Berg erstiegen, song for voice & piano, Op. 94/1 (4:02)
  • 20. Giulio Cesare in Egitto, opera, HWV 17 : Dall' ondoso periglio...Aure, deh per piet? (8:32)
  • 21. Joshua, oratorio, HWV 64 : Soll'ich in Mamres Segens Au'n (3:22)
  • 22. Samson, oratorio, HWV 57 : Wie willig trägt mein Vaterherz (3:04)
  • 23. Ba?l?ro, folksong for voice & orchestra (Chants d'Auvergne, Series 1, No. 2) (3:23)
  • 24. Dourou-dourou, lullaby for voice & piano (2:46)
  • 25. Élégie: O doux printemps d'autrefois, for voice & piano (from "Mélodies, Vol.1") (2:12)
  • 26. Mélodies (2), for voice & piano, Op. 50 : No. 2, Coeur en péril (2:17)
  • 27. La Ronde, for voice & piano (1:10)
  • 28. Le for?t (4:19)
  • 29. Oh! quand je dors (I), song for voice & piano, S. 282i (LW N11/1) (4:45)
  • 30. Danza, Danza, Fanciulla Gentile for voice & piano (or orchestra) (1:22)
  • 31. Jeg elsker Dig (I Love but Thee), song for voice & piano, Op. 5/3 (1:36)
  • 32. Stornellatrice, song for soprano & piano, P. 69 (from opera "Re Enzo") (1:58)
  • Hans Hotter - tenor
  • Gerald Moore - piano
  • SCHUBERT
  • SCHUMANN
  • WAGNER
  • BRAHMS
  • GRIEG
  • HANDEL
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59.00 PLN

CD:

Nr kat.: SBT1199
Label  : Testament (UK)

Hans Hotter, Michael Raucheisen, Gerald Moore, Hermann von Nordberg Philharmonia Orchestra George Weldon Wiener Philharmoniker, Meinhard von Zallinger Here is nearly 80 minutes of singing from one of the greatest bass-baritones of the century, the Wotan of one's dreams, who, more than any other lower-voiced lieder singer, married verbal acuity to musical values--in other words, this CD delivers sheer bliss. "Early" for EMI is actually Hans Hotter's prime, so the voice is still fresh while interpretive maturity is in high gear. The first song, Schubert's Der Wanderer D. 489, sums it up: the voice is totally secure, from the firm, resonant bottom to the gleaming top; the musical line is preserved intact, even as Hotter colors words and phrases to intensify their meaning; and the devastating final line, "Dort, wo du nicht bist, dort ist das Gluck" ("Wherever you are not, there lies happiness"), sung in dark, sepulchral tones, hits home with devastating force. Hotter's vast range is reflected by his rhetorical grandeur in Schumann's Die beiden Grenadiere and in the way he wraps his huge voice around more fragile fare such as Brahms' Ständchen and Schumann's Mondnacht. Examples of two of his unforgettable Wagner roles, Hans Sachs and Wotan, unfortunately are incomplete (lost matrixes are the culprits), but what remains is eminently worth hearing. So is Hotter's Handel. The aria from Julius Caesar is delivered in the original Italian with a verbal sensitivity and vocal richness that shames the puny countertenors who sing it these days. The oratorio selections, unfortunately sung in German translation, share similar virtues. Excellent remastering yields mono sound that puts the voice in the room with you. Full texts and translations complete a production that's a joy from start to finish. --Dan Davis, ClassicsToday.com