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Editor’s Pick Lieder
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Editor’s Pick Lieder

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SKU: SK0188698-US20260105-083122 Category: Tag:
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1. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 1, Zueignung
2. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 2, Nichts
3. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 3, Die Nacht
4. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 4, Die Georgine
5. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 5, Geduld
6. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 6, Die Verschwiegenen
7. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 7, Die Zeitlose
8. 8 Gedichte Aus "Letzte Blätter", Op. 10, Trv 141: No. 8, Allerseelen
9. 4 Lieder, Op. 27, Trv 170: No. 3, Heimliche Aufforderung
10. 4 Lieder, Op. 36, Trv 186: No. 2, Für Fünfzehn Pfennige
11. Schlichte Weisen, Op. 21, Trv 160: No. 4, Ach Weh Mir Unglückhaftem Mann
12. 5 Kleine Lieder, Op. 69, Trv 237: No. 5, Hlechtes Wetter
13. 5 Lieder, Op. 32, Trv 174: No. 1, Ich Trage Meine Minne
14. 6 Lieder Aus "Lotosblätter", Op. 19, Trv 152: No. 2, Breit' Über Mein Haupt Dein Schwarzes Haar
15. 4 Lieder, Op. 28, Trv 170: No. 4, Morgen!
16. Wesendonck-Lieder, Wwv 91: No. 1, Der Engel
17. Wesendonck-Lieder, Wwv 91: No. 2, Stehe Still!
18. Wesendonck-Lieder, Wwv 91: No. 3, Im Treibhaus
19. Wesendonck-Lieder, Wwv 91: No. 4, Schmerzen
20. Wesendonck-Lieder, Wwv 91: No. 5, Träume

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Two of the greatest practitioners of High Romantic art song were, not surprisingly, also exceptional opera composers: Richard Wagner (1813-1883) and Richard Strauss (1864-1949). While the former cultivated all-encompassing music dramas to the near exclusion of everything else, the latter worked successfully in genres ranging from chamber music to grand symphonies. German lieder attained a relative highpoint in the work of Franz Schubert, whose 600+ individual songs and organic song cycles deserve pride of place. However, that achievement must not overshadow the later evolution of the genre in generations from Mendelssohn to Schoenberg. Great lieder are distinguished by psychological commentary provided by purely musical means, whereby details of range, harmony and chromaticism, and the role of the accompaniment provide deeper reflection on (often) quite superficial love poetry. Such opportunities for richer exploration increased in the late 19th century as poets-along with philosophers and psychologists-probed deeper into the human psyche.

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