Schubert: Austrian Contemporaries, Vol. 3

Editorial Reviews

All Music Guide - James Manheim
The ongoing giant project on the part of the Naxos label to record all of Schubert's songs is based on a classification scheme originally suggested by Schubert himself in a private publication of some of his songs: he grouped them by poet. The specific reaction of Schubert to Goethe's poetry has provided fertile ground for singers' interpretations for years, and the Naxos series has revealed a host of similar possibilities with other poets and genres, even if those possibilites have not always been exploited by the performers involved. The concept is perhaps at its weakest in catchall categories like the "Austrian Contemporaries" of the present disc and its two ...
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Editorial Reviews

All Music Guide - James Manheim
The ongoing giant project on the part of the Naxos label to record all of Schubert's songs is based on a classification scheme originally suggested by Schubert himself in a private publication of some of his songs: he grouped them by poet. The specific reaction of Schubert to Goethe's poetry has provided fertile ground for singers' interpretations for years, and the Naxos series has revealed a host of similar possibilities with other poets and genres, even if those possibilites have not always been exploited by the performers involved. The concept is perhaps at its weakest in catchall categories like the "Austrian Contemporaries" of the present disc and its two companions, for the poems Schubert sets reproduced not in the booklet but on a website containing an Adobe Acrobat file, in German and English have little in common beyond chronological contiguity with Schubert's own career. The plus side is that the album resurrects some of the rarer Schubert songs -- rarer precisely because the poets are today so little known -- and finds some real gems. Consider the ambitious freedom of structure in the "Frühlingslied, D. 919" Spring Song, which despite its clear harmonies points deep into the future in its treatment of text, not really arioso but organic. The program often seems to alternate between the jolly Schubert of German singing clubs and the radical visionary who devised the whole language of Romanticism without anybody ever figuring out what he was up to until he was gone. Another pleasure is the rich mezzo soprano of Daniela Sindram, who seems involved with the texts and articulates them clearly. Pianist Ulrich Eisenlohr, the artistic director of the series, has several nice chances to shine here sample the remarkable Beethovenian opening of "Blondel zu Marien, D. 626," on track 12, and in general, as usual, he shows a good sense of when to take an activist role with the piano and when to back off. The Naxos series as a whole may be for hardcore Schubert fanatics, but its structure also allows listeners to use the individual discs to fill holes in their collections -- a purpose for which this disc is well suited.
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Product Details

  • Release Date: 3/27/2007
  • Label: Naxos
  • UPC: 747313283323
  • Catalog Number: 8557833
  • Sales rank: 317,657

Tracks

Disc 1
  1. 1 Himmelsfunken ("Der Odem Gottes wehr"), song for voice & piano, D. 651 - Franz Schubert & Ulrich Eisenlohr (3:02)
  2. 2 Der Mondabend ("Rhein und freundlich"), song for voice & piano, D. 141 (Op. posth. 131/1) - Franz Schubert & Ulrich Eisenlohr (2:44)
  3. 3 Berta's Lied in der Nacht ("Nacht umhüllt mit wehendem Flügel"), song for voice & piano, D. 653 - Franz Schubert & Ulrich Eisenlohr (4:07)
  4. 4 Cora an die Sonne ("Nach so vielen trüben"), song for voice & piano, D. 263 - Franz Schubert & Gabriele von Baumberg (2:09)
  5. 5 Mein Gruss an den Mai ("Sei mir gegrüsst"), song for voice & piano, D. 305 - Franz Schubert & Ulrich Eisenlohr (3:18)
  6. 6 Die Blumensprache ("Es deuten die Blumen"), song for voice & piano, D. 519 (Op. posth. 173/5) - Franz Schubert & Ulrich Eisenlohr (2:17)
  7. 7 Der Blumen Schmerz (" Wie tönt es mir so schaurig"), song for voice & piano, D. 731 (Op. posth. 173/4) - Franz Schubert & Ulrich Eisenlohr (4:57)
  8. 8 Das Lied im Grünen ("Ins Grüne..."), song for voice & piano, D. 917 (Op. posth. 115/1) - Franz Schubert & Ulrich Eisenlohr (4:41)
  9. 9 Frühlingslied II ("Geöffnet sind des Winters Riegel"), for voice & piano, D. 919 - Franz Schubert & Ulrich Eisenlohr (5:18)
  10. 10 An die Sonne ("Sinke, liebe Sonne"), song for voice & piano, D. 270 (Op. posth. 118/5) - Franz Schubert & Gabriele von Baumberg (2:57)
  11. 11 Lambertine ("O Liebe"), song for voice & piano, D. 301 - Franz Schubert & Ulrich Eisenlohr (3:12)
  12. 12 Blondel zu Marien ("In düstrer Nacht"), song for voice & piano, D. 626 - Franz Schubert & Ulrich Eisenlohr (3:55)
  13. 13 Der Morgenkuss nach einem Ball ("Durch eine ganze Nacht"), song for voice & piano, D. 264 - Franz Schubert & Gabriele von Baumberg (2:28)
  14. 14 Die Unterscheidung ("Die Mutter hat mich jüngst gescholten"), song for voice & piano, D. 866/1 (Op. 95/1) - Franz Schubert & Ulrich Eisenlohr (5:22)
  15. 15 Die Männer sind méchant ("Du sagtest mir es, Mutter"), refrain song for voice & piano, D. 866/3 (Op. 95/3) - Franz Schubert & Ulrich Eisenlohr (2:45)
  16. 16 Das Echo ("Herzliebe, gute Mutter"), song for voice & piano, D. 990c (D. 868) (Op. posth. 130) - Franz Schubert & Ignaz Franz Castelli (4:40)
  17. 17 Die Liebe ("Wo weht der Liebe hoher Geist?"), song for voice & piano, D. 522 - Leon & Franz Schubert (3:37)
  18. 18 Ammenlied ("Am hohen, hohen Turm"), song for voice & piano, D. 122 - Franz Schubert & Ulrich Eisenlohr (1:44)
  19. 19 Die Macht der Liebe ("Überall, wohin mein Auge blicket"), song for voice & piano, D. 308 - Franz Schubert & Ulrich Eisenlohr (1:40)
  20. 20 Abendbilder ("Still beginnt's im Hain"), song for voice & piano, D. 650 - Franz Schubert & Ulrich Eisenlohr (6:26)
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Album Credits

Performance Credits
Daniela Sindram Primary Artist
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