Alexander Krichel Leise Schubert#

In nearly every respect this is outstanding. The Rondo brillant and the Fantasie, both written for the virtuoso duo of Karl von Bocklet and Josef Slawik, can sound as if Schubert were striving for a brilliant, flashy style, foreign to his nature. Both are in places uncomfortable to play (when first published, the Fantasie’s violin part was simplified), but you would never guess this from Faust’s and Melnikov’s performance; they both nonchalantly toss off any problem passages as though child’s play. The Fantasie’s finale and the Rondo brillant are irresistibly lively and spirited, and this duo’s technical finesse extends to more poetic episodes – Melnikov’s tremolo at the start of the Fantasie shimmers delicately, while the filigree passagework in the last of the variations that form the Fantasie’s centrepiece have a delightful poise and sense of ease.

Although some of the other volumes in the Singphoniker's collection of Schubert's complete part-songs for male voices have greater masterpieces – Vol. 1's Nachthelle (D. 892) and Vol. 5's Gesang der Geister über den Wasser (D. 714) – Vol. 3 has the highest number of good songs and the lowest number of composition exercises, which may make it the most easily appealing volume. Starting with the glorious Wein und Liebe (D. 901) and ending with the exquisite Grab und Mond (D. 893), there are hardly any songs in this collection that are not first-rate Schubert.

A voyage of discovery through a lesser-known area of Schubert’s rich and prolific output, this collection comprises seven themed CDs: Transience; Love; Eternity; Heroism; Nature; Celebrations, and Circle of Friends. “Each disc has its share of the treasures,” wrote Gramophone, “The Arnold Schoenberg Choir is a fine body of musicians … they show a virtually unflawed beauty and opulence of tone.” Vocal soloists include Ruth Ziesak, Angelika Kirchschlager, Christoph Prégardien and Robert Holl, and among the featured pianists are András Schiff and Andreas Staier. This complete edition of Schubert’s secular choral works won major prizes in Germany, France, Belgium and Japan on its first release in 1997.

Schubert's 'Wanderer Fantasy' and Schumann's 'Fantasie' are two highly remarkable works: while musically embodying the romantic spirit of the age in their unconventional structures and lyrically imaginative styles, they also act as self-portraits to their creators through the evocation of their creative process. In these new orchestrations by Joseph James, the familiar beauty of the works is rekindled in exciting and fresh interpretations performed by the illustrious English Chamber Orchestra alongside concertante solos from members of the Schubert Ensemble.

Two well-known tenor greats go on a special journey of discovery: René Kollo and Jay Alexander sing evening songs by Schubert, Brahms, Mendelssohn and Schumann. The famous songs from the Romantic era have all been rearranged for string orchestra and have been produced in this form in the studio for the first time. The unique album, which will be released on February 11, 2022, combines two well-known voices that complement each other perfectly in their differences. The two singers can be heard as a duet and as a soloist, creating a completely new listening experience for these songs.

Khatia Buniatishvili’s first Schubert recording includes Schubert’s great last Piano Sonata (D 960), the 4 popular Impromptus and Ständchen (arr.by Liszt). Khatia will be performing the repertoire on a worldwide tour, including London’s Barbican on 1st April. Khatia is one of the today’s leading classical pianists, having performed at the most prestigious venues and events including New York’s Carnegie Hall, the BBC Proms at the London’s iconic Royal Albert Hall and Salzburg Festival.

Here’s an unexpected and most welcome entry in Decca’s Legendary Performances series. Clifford Curzon was a card-carrying perfectionist who broached recording with the enthusiasm of a man on his way to the gallows. Yet time has been good to his small discography. You won’t find heartstopping dynamic surges in Curzon’s 1954 Schumann C Major Fantasie, but you’ll hear beautifully proportioned lines that never fail to sing, plus sturdy mono engineering that does full justice to Curzon’s ravishing palette of color and nuance. The pianist’s focused delicacy throughout Kinderszenen contrasts to Gieseking’s cool watercolors and Horowitz’s garish, broad brushstrokes, among notable mono versions.