LiederKreis, Op.24: I. Morgens steh' ich auf und frage
LiederKreis, Op.24: II. Es treibt mich hin
LiederKreis, Op.24: III. Ich wandelte unter den Baeumen
LiederKreis, Op.24: IV. Lieb' Leiben, leg's Haendchen
LiederKreis, Op.24: V. Schoene Wiege meiner Leiden
LiederKreis, Op.24: VI. Warte, warte, wilder Schiffmann
LiederKreis, Op.24: VII. Berg' und Burgen schaum herunter
LiederKreis, Op.24: VIII. Anfangs wollt' ich fast verzagen
LiederKreis, Op.24: IX. Mit Myrten und Rosen
Belsazar, Op.57
Abends am Strand, Op.45, No.3
Die beiden Grenadiere (Op 49, No 1)
Dein Angesicht (Op 127, No 2)
Lehn deine Wang' (Op 142, No 2)
Es leuchtet meine Liebe (Op 127 No 3)
Meine Wagen rollet langsam (Op 142 No 4)
Dichterliebe (Op 48): I. Im wunderschoenen Monat Mai
Dichterliebe (Op 48): II. Aus meinen Traenen spriessen
Dichterliebe (Op 48): III. Die Rose, die Lilie
Dichterliebe (Op 48): IV. Wenn ich in deine Augen seh'
Dichterliebe (Op 48): V. Ich will meine Seele tauchen
Dichterliebe (Op 48): VI. Im Rhein, im heiligen Strome
Dichterliebe (Op 48): VII. Ich grolle nicht
Dichterliebe (Op 48): VIII. Und wuessten's die Blumen
Dichterliebe (Op 48): IX. Das ist ein Floeten und Geigen
Dichterliebe (Op 48): X. Hor' ich das Liedchen klingen
Dichterliebe (Op 48): XI. Ein Juengling liebt ein Maedchen
Dichterliebe (Op 48): XII. Am leuchtenden Sommermorgen
Dichterliebe (Op 48): XIII. Ich hab' im Traum geweinet
Dichterliebe (Op 48): XIV. Allnaechtlich im Traume
Dichterliebe (Op 48): XV. Aus laten Maerchen winkt es
Dichterliebe (Op 48): XVI. Die alten boesen Lieder
The texts used in these 32 songs are all by Heinrich Heine, a miniaturist poet whose unique, characteristic mixture of wistfulness and irony, often tinged with self-pity, was ideal material for the genius of that wistful, ... more »ironic musical miniaturist, Robert Schumann. Every lover of Lieder must regret that Franz Schubert did not discover Heine until he was dying and composed only a few Heine songs in his Schwanengesang. But that regret is mitigated by the fact that Schumann gave so much attention to Heine during the brief, intense period when he was focused on songwriting. Dichterliebe is one of the finest song cycles in the German language--surpassed, if at all, only by Schubert's Schoene Muellerin and Winterreise; and the other songs in this collection are comparable in quality. Bostridge's light, expressive voice captures every musical and emotional nuance, and Drake plays masterfully the virtuoso piano part. --Joe McLellan« less
The texts used in these 32 songs are all by Heinrich Heine, a miniaturist poet whose unique, characteristic mixture of wistfulness and irony, often tinged with self-pity, was ideal material for the genius of that wistful, ironic musical miniaturist, Robert Schumann. Every lover of Lieder must regret that Franz Schubert did not discover Heine until he was dying and composed only a few Heine songs in his Schwanengesang. But that regret is mitigated by the fact that Schumann gave so much attention to Heine during the brief, intense period when he was focused on songwriting. Dichterliebe is one of the finest song cycles in the German language--surpassed, if at all, only by Schubert's Schoene Muellerin and Winterreise; and the other songs in this collection are comparable in quality. Bostridge's light, expressive voice captures every musical and emotional nuance, and Drake plays masterfully the virtuoso piano part. --Joe McLellan
CD Reviews
My least favorite Liederkreis Op. 24
Santa Fe Listener | Santa Fe, NM USA | 09/28/2005
(3 out of 5 stars)
"The winds of fashion are always changing, and they've definitely been blowing in the direction of Ian Bostridge, whose voice is not one I love or even tolerate for more than a few songs. He uses it intensely and artistically, but its native quality is a typcial "white" English tenor, light in tone, mostly projected form the head, and of an irritatingly nasal timbre--one is constantly reminded of an adolescent whose voice has just changed. People do seem to love it, especiallly the English, and Bostridge's fussy way with texts is also admired.
For anyone who isn't thrilled by him, there is an overlapping recital of Schumann's Heine songs--oddly enough, also on EMI--by Thomas Hampson at his very best with Wolfgang Sawallisch as accompanist. For a tenor version sung by someone with a much fuller voice and less mannered approach to the texts, there is Christoph Pregardien on RCA/BMG. Having owned all three, I was happy to toss out this CD."
Stunning!
Sean Burns | Los Angeles, CA | 03/29/2008
(5 out of 5 stars)
"I think it is very interesting to read all of the conflicting reviews of this recording. It just goes to show that change is a difficult process (I think it speaks volumes for Bostridge that his recording could stir up so much controversy). For those who want lieder to always sound like the masters of the 20th century than this is probably a bit much. Personally I think Bostridge's instrument is absolutely perfect for this repertoire. He is expressive, poetic and extremely musical. I dont understand the hype with Wunderlich, i have his recording of the Dichterliebe and find it difficult to listen to. Bostridge on the other hand is masterful in his approach. For those that call it flat or boring I think we should remember that this is German chamber music not Italian opera. And while there is a profound expression of love, pain, loneliness, beauty, it is an internal expression. Its not Verdi. So to those that criticize the stylistic choices of Bostridge I have to strongly disagree. As a tenor myself, I cant think of anyone else I would rather sound like. His voice is astounding, and his interpretation is moving and original. Dont get me wrong, Diskau was a master, but so is Bostridge. Its just a different approach. Forget your preconceived notions of what this music is "supposed" to sound like and let the beauty in. He really is a phenomenal tenor. Not to mention that these are some of the very finest lieder ever written, Schumann surely was the greatest master of this form. Buy this recording!"
A deservedly celebrated recording
Yuan-chen Li | 02/18/1999
(5 out of 5 stars)
"If you're looking at this, you probably already know who Ian Bostridge is. He's the newest, best and brightest of the lyric tenors in the world today. In addition to his beautiful voice and the accomplished singing technique, Bostridge, only 33, has earned a doctorate in history and philosophy, written two books, and won two major Gramophone prizes, including the best 1998 solo vocal for the recording you're looking at. For idiosyncratic reasons, I still prefer Mark Padmore, but Bostridge's singing is so undeniably beautiful that even someone with the deepest biases is bound to be swayed."
Bostridge leans towards reflection rather than passion
jt52 | New Jersey | 08/16/2007
(5 out of 5 stars)
"To me, Fischer-Dieskau's much more intense and passionate recording of the Dichterliebe with Brendel remains the standard, but this Bostridge recording of the cycle certainly has its moments. I think the previous reviewer was overemphasizing the puzzlingly unsuccessful performance of "Iche grolle nicht" which is easily the weakest track on the CD. But the recording of song 10 from the cycle "When I hear the sound of song" is soft and tranquil and stunning (and polyphonically conscious) and is the best version of this song I've heard. Overall, I do prefer Bostridge's performance to Wunderlich's famous (and overrated) one.
But we're skirting around the edges of the issue when talking about Dichterliebe - I believe the main impetus for the recording was Bostridge's passion for the Op. 24 Heine Liederkries cycle, a wonderful group of songs that Bostridge interprets with excellence. This cycle has been a discovery for me. From the moment of Bell Jar-like madness of song 3 (I wandered among the trees) to the beautiful melody of 5 (the "Farewell to home" song) to the serene relief of the final song, 9 (Mit Myrten), it is a rich and very attractive set of songs.
A few other notes: if you haven't heard Bostridge's voice, you must. It's simply an amazing instrument. Also, this CD would be worth it for track 11 "Abends am Strand" alone, Schumann's 1960s pop neo-baroque concoction (I'm only half-kidding). And this CD is just plain useful because it contains all 4 songs which Schumann excised from the original version of the "Dichterliebe" and which were published posthumously.
Finally, Julius Drake accompanies marvellously and sensitively.
Highly recommended."
More than just beautiful
Yuan-chen Li | IL | 11/05/2009
(5 out of 5 stars)
"I am sitting in a class on Lieder by Schubert and Schumann. Ian Bostridge's voice is introduced by our instructor and has made a great impression to us listeners. We are not intended to judge how is his recording going to match our analysis, but the clarity of his voice, diction, control of dynamic are no doubt the best one to us. For example, his Erlkönig(by Schubert) makes the musical painting more vivid than just the sonic presentation of the song. I would take his interpretation into serious account. And I am so touched by the fourth song "Wenn ich in deine Augen seh'" of Dichterlibe in this album--listening to his singing "Ich Liebe Dich" makes me in heaven.
I also have Fischer Dieskau's recordings. To me, Ian Bostridge's version doesn't have the laziness as in Dieskau's albums. In terms of the accuracy of pitch, I definitely vote Ian's too. In addition, the register of Ian' voice follows the score (Dover edition) while Dieskau's is mostly major second lower. His beautiful voice occasionally tires me only if he tries to narrate the voice with a pale expression, such as the twelfth song "Am leuchtenden Sommermorgen" (indeed, his role in this song is a pale man).
To me, his voice fits into my contemporary well. The recording aesthetics is neat and sharp with every articulated nuance. It is a kind of an outcome of studio recording. I feel like I am very close to his microphone which creates a kind of feeling of loneliness and intimacy if I were the only one listening to it. I like his music making and this album."
Track Listings (32) - Disc #1