Die Taube

This album is a fascinating experiment. Schumann’s famous lieder cycle in a version for cello and guitar. The double album examines relationships between lovers, past and present, and the ephemeral space between humans and nature. Featuring Hanns Zischler, a star of Wim Wenders movies, music by Robert Schumann and Michaela Catranis, and a scintillating performance by Jerzy Chwastyk and Susanne Szambelan. World Premiere Recording of Schumann’s Dichterliebe for guitar and cello.

This album is a fascinating experiment. Schumann’s famous lieder cycle in a version for cello and guitar. The double album examines relationships between lovers, past and present, and the ephemeral space between humans and nature.

Robert Schumann’s talismanic song-cycle Dichterliebe has been recomposed by German composer and conductor Christian Jost. The results can now be heard on an album from Deutsche Grammophon which pairs the new score with recordings of Schumann’s Dichterliebe and the Liederkreis op.39 made by Jost’s wife, mezzo-soprano Stella Doufexis, a year before her tragic death from cancer. Jost’s reimagined Dichterliebe, performed by tenor Peter Lodahl and the Horenstein Ensemble, casts new light on the shifting moods of Schumann’s composition. Dichterliebe is set for worldwide release on April 12 via Deutsche Grammophon/Universal Music Canada, the country’s leading music company.

The fusion of lyricism and music in the Lied style, a form in which Schumann succeeded so subtly, finds a particular parallel in the interpretations of Schumann’s work by Peter Schreier and Norman Shetler. Their recordings, dating back half a century, are still regarded as reference works for their calmness and composure, as well as their warmth and intimacy. These works are presented with the same care and devotion as the music itself in these liner notes, as we are invited to experience the personal struggles and triumphs of one of the most famous composers of the Romantic era. For the first time, these legendary recordings are brought together and released in this 5 CD Edition.

“The growing synergy between tenor Andrew Goodwin and pianist Daniel de Borah has been one of the most exciting developments on the Australian performance scene in recent years.”

Above the album worked the Raiff Dantas Barreto - Lieder ohne Worte, and his release took place on 2021. The album has got songs with a total duration of more than an hour. A compilation is a compilation of original music.

The star tenor Daniel Behle sings for the first time here in a Genuin production. Together with the orchestra of the Kammeroper München, he interprets two of the most beautiful song cycles ever, namely Franz Schubert's Schwanengesang and Robert Schumann's Dichterliebe. In both cycles, Alexander Krampe transforms the original piano accompaniment into an exciting orchestral arrangement. This is best supported by the sonorous and supple voice of Daniel Behle: from the delicate weaving of Schubert's Liebesbotschaft to the pale surfaces of his Doppelgänger to the cutting rhythms of Schumann's Die alten, bösen Lieder.

Making their debut on Resonus with a ravishing programme of ‘Songs of Love and Death’ by Robert Schumann is the critically acclaimed duo of baritone Simon Wallfisch and pianist Edward Rushton. Alongside what is perhaps Schumann’s best-known Wanderlieder song series, Dichterliebe, Op. 48, from 1840, this distinguished pairing have explored two further series from Schumann’s notoriously productive ‘Liederjahr’ of 1840 – his Op. 35 setting of twelve poems by Justinus Kerner, and the Fünf Lieder, Op. 40, containing four songs by Danish writer Hans Christian Andersen.

The piercing intelligence and dry registered ardour of Peter Schreier's particular qualities as a Lieder singer are ideally suited to the impulsive, dramatic, often melancholy spirit of Schumann's idiom, which itself found fullest expression in the songs that he wrote throughout his life and which this set so usefully surveys, from the total identification of the Romantic artist with his life and loves in the Liederkreis Op.24 to elliptical and ruminative settings of Lenau, the last work that Schumann composed in Dresden before his move to Düsseldorf, now less well-known than they should be but touched by circumstantial tragedy: Lenau's death was announced on the day of the first performance. The composer felt 'as if I were a tolling-bell all unawares and later wrote to his publisher, urging a speedy release of the cycle: 'I should be pleased if you would help me create a modest monument to the great but unfortunate poet'.