Alexander Krichel Leise Schubert#

Matthias Goerne marks a notable first with his latest album. He departs from the familiar territory of Schubert’s songs with piano accompaniment to perform a selection of pieces freshly arranged for voice and orchestra by his long-standing recital partner Alexander Schmalcz. Exploring this new terrain with Goerne are the musicians of The Deutsche Kammerphilharmonie Bremen. Schubert Revisited is released today.

Gustav Mahler arranged Schubert’s String Quartet No. 14 ‘Death and the Maiden’ by expanding it into a grand orchestral spectacle. It reveals his admiration for Schubert and serves to intensify the quartet’s journey through life, death and human resilience in this fusion of two great composers’ musical visions. Airat Ichmouratov’s Concerto Grosso No. 3 is subtitled ‘Liechtenstein’ and draws on the country’s breath-taking scenery and music in an expressive and virtuoso orchestral exploration. It was composed specifically for Alexander Gilman and the LGT Young Soloists, one of the most successful touring youth orchestras throughout the world.

Gustav Mahler arranged Schubert’s String Quartet No. 14 ‘Death and the Maiden’ by expanding it into a grand orchestral spectacle. It reveals his admiration for Schubert and serves to intensify the quartet’s journey through life, death and human resilience in this fusion of two great composers’ musical visions. Airat Ichmouratov’s Concerto Grosso No. 3 is subtitled ‘Liechtenstein’ and draws on the country’s breath-taking scenery and music in an expressive and virtuoso orchestral exploration. It was composed specifically for Alexander Gilman and the LGT Young Soloists, one of the most successful touring youth orchestras throughout the world.

This CD's main attraction for many will be Gil Shaham's velvety violin in gorgeous, largely off-beat music. Others will relish these Schubert works in arrangements that replace the piano with the expert guitar of Göran Söllscher, enhancing the impression of hearing Schubert's music in the intimate domestic setting for which it was written. Most of the works are short, melodically rich dance-based gems on which Shaham and Söllscher lavish a Romantic tonal fullness and freedom rarely heard these days. Sometimes that's a bit too much of a good thing, as works like the Violin Sonata in D veer close to the sentimental.

This CD's main attraction for many will be Gil Shaham's velvety violin in gorgeous, largely off-beat music. Others will relish these Schubert works in arrangements that replace the piano with the expert guitar of Göran Söllscher, enhancing the impression of hearing Schubert's music in the intimate domestic setting for which it was written. Most of the works are short, melodically rich dance-based gems on which Shaham and Söllscher lavish a Romantic tonal fullness and freedom rarely heard these days. Sometimes that's a bit too much of a good thing, as works like the Violin Sonata in D veer close to the sentimental.

She's not shy, this Anne-Sofie von Otter. Her performances are, to say the least, incredibly expressive. Her Suleika I (D. 720) is Brigitte Bardot in Contempt. Her Im Abendrot (D. 799) is Kim Novak in Vertigo. Her Totengräbers Heimweh is Eli Walach in The Good, the Bad and the Ugly. Nor is von Otter dumb. Her interpretations are sly, subtle, and very, very sensitive. Her Der Wanderer an den Mond (D. 870) is hearty and lightly but profoundly philosophical.

Mitsuko Uchida's slowly evolving Schubert cycle continues to thrill and scintillate with every new volume. At first glance, the works here might seem less essential than some of her previous offerings: an early (and infrequently played) sonata and the endlessly recorded Moments musicaux. However, just a few minutes' listening will soon persuade you otherwise. Schubert may have been only 20 when he penned this E-flat Sonata, but in Uchida's hands its expansive four-movement form is a perfect delight. She finds an ideally dancing lilt for the opening Allegro, not allowing the moments of drama to overshadow the movement's sunny disposition.

As a tireless champion of new interpretations of the old, the ever-adventurous Gidon Kremer has over the years forged a lasting relationship with, above most others, the music of Franz Schubert. One can only imagine, then, the excitement he must have felt when he learned of composer Victor Kissine’s having finished a string orchestral version of Schubert’s G-major String Quartet (op. posth. 161, D 887).