A Romantic Songbook
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Music CD Cover
Composer: Carl LoeweComposer: Felix Mendelssohn
Composer: Franz Schubert
Composer: Robert Schumann
Composer: Richard Strauss
Composer: Hugo Wolf
Composer: Hamilton Harty
Performer: Thomas Quasthoff
Performer: Justus Zeyen
Edition: Music CD
CD Release Date: 2004-05-11
Music Label: Deutsche Grammophon
Soundtracks:
- Fruhlingsglaube D 686
- Heidenroslein D 257
- Die Forelle D 550
- Im Fruhling D 882
- Auf Der Bruck D 853
- Im Abendrot D 799
- Ungeduld (Die Schone Mullerin D 795, No.7)
- Belsatzar Op.57
- 1.Widmung
- 2.Freisinn
- 24.Du Bist Wie Eine Blume
- Fruhlingsglaube (12 Lieder Op.9, No.8)
- Auf Flugein Des Gesanges (6 Lieder Op.34, No.2)
- Auf Einer Wanderung
- Der Genesene An Die Hoffnung
- Storchenbotschaft
- Odins Meeresritt Op.118
- Herr Oluf Op.2, No.2
- Tom Der Reimer Op.135a
- 1.Zueignung
- 8.Allerseelen
- 3.Heimliche Aufforderung
- 4.Morgen!
- Danny Boy
Free Music Notes for A Romantic Songbook
Free Music Review: Quasthoff at his most inspiring
Hit: 5 Stars
Thomas Quasthoff has set the highest standards for himself in lieder singing, challenging the dominance, on records, of Schwarzkopf and Fischer-Dieskau. Here he seems to soar even above those exalted artists, because of his thrilling range, total commitment, deep insisght, and complete lack of artifical "personality." The arc of his mastery has risen from his fine RCA years to reach this peak, and now he has no one to surpass but himself. It's a humbling experience to hear an artist of this greatness...perhaps the last living exemplar of a great German singing tradition.
A Romantic Songbook Poster
Thomas Quasthoff is unique as singer and artist. His voice, always astonishingly powerful, has over the years acquired an ever-growing warmth, purity, range, and expressiveness, and his extraordinary wealth of dynamics, colors, nuances, and inflections is truly amazing. He uses these for instant changes of mood and atmosphere, while his seemingly unlimited breath control lets him spin endless lines and phrases. In these songs, all these qualities are on full display; indeed, Quasthoff admits choosing them with this in mind. However, the program is beautiful, judiciously varied and contrasted, combining popular favorites like Schubert's "Trout" and "Heidenr?slein" with unfamiliar gems by his unjustly forgotten contemporary Carl Loewe, who wrote hundreds of splendid ballads. Of special interest are two very different settings of the same Ludwig Uhland poem, "Fr?hlingsglaube" ("Faith in Spring"), one by a very young Mendelssohn, the other by a mature Schubert. The former overflows with youthful exuberance, joyousness, and ecstasy; the latter breathes lyrical serenity. In a rather unusual reading, Quasthoff starts it with a sense of tremulously hopeful anticipation, gradually becoming more confident and finally blossoming out into radiant affirmation. Otherwise, the Schubert group is least convincing: always sensitive to the fusion of text and music, Quasthoff, perhaps seduced by the resources of his vocal palette, indulges in fussy, excessive "word-painting" and loses the songs' essential simplicity. However, in the more complex, dramatic, declamatory songs, this works wonderfully. Loewe's ballads, in which he impersonates three distinct characters, and Schumann's "Belsatzar" become veritable operas, and he regains a moving simplicity in the more lyrical songs, like Mendelssohn's "On Wings of Song" and a Strauss group. Justus Zeyden is an exemplary collaborator, but even he is defeated by the long sustained notes in Strauss' "Morgen!" where the violin obbligato is sadly missing. In "Danny Boy," Quasthoff turns himself into a very persuasive American-style crooner. --Edith EislerClassical Music CDs
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