Strauss Isokosky

Richard Strauss - Selected Lieder Recordings 1901-1946 (2014) {3CD Set Marston Sesquicentennial Edition 53017-2}
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© 1901-46, 2014 Marston | 53017-2
Classical / Vocal / Early 20th Century / Historical

Richard Strauss’s (1864–1949) acceptance into the pantheon of great Lieder composers began in the early 1950s, perhaps marked by the enthusiastic reception of his Four Last Songs, premiered by Kirsten Flagstad eight months after Strauss’s death. It wasn’t long before these songs became widely performed, and by extension, his Lieder as a whole, began to gain greater acceptance as high art along with Schubert, Schumann, Brahms, and Wolf. This compilation concentrates on Strauss Lieder recordings from an earlier era that display the sort of vocal charm and straightforward approach to the music not usually heard in today’s style of Lieder singing. Many of these recordings are extremely important historic documents retaining their position as the definitive versions of Strauss Lieder. Some of the singers included here not only knew Strauss, but worked with him, and their recordings could have been heard and judged by him. This three CD-set contains forty songs in eighty-two performances by fifty-seven singers.

With its Chief Conductor Toshiyuki Kamioka at the helm, the Copenhagen Philharmonic performs three of Richard Strauss’s most sparkling scores: the Oboe Concerto, with soloist Andreas Fosdal, the First Horn Concerto, played by Jakob Keiding, and the suite from Der Bürger als Edelmann. Strauss’s Oboe Concerto is in three seamless movements: a pastoral opening with ornate oboe lines leads into a radiant slow movement and virtuoso finale. Strauss’s famous horn-playing father inspired his First Horn Concerto, which reveals his evident relish for the horn’s uninhibited, bucolic character as it cuts through the orchestral colours. Strauss’s music for Der Bürger als Edelmann (based on the 17th-century Molière-Lully collaboration Le bourgeois gentilhomme) is an early instance of neoclassicism, originally composed to be performed immediately before his opera Ariadne auf Naxos. The result is a quintessentially Straussian confection, combining lyricism and good humour.