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Wanderer

Editorial Reviews

All Music Guide - James Manheim
German countertenor Andreas Scholl is known not only for his gorgeous voice, but gutsy programming, and he may never have been more gutsy than in this set of German Romantic and proto-Romantic an important distinction of which more in a moment songs. It's pretty clear that any of the composers included on this album would have doubled over with laughter at the idea of hearing his music sung by a countertenor, and the highly gendered quality of the music of the 19th century is one of its primary motivating forces. Thus there's real excitement in hearing that Scholl does, in fact, pull it off. Quoted in the notes, he offers the expected platitudes about how what matters in ...
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Editorial Reviews

All Music Guide - James Manheim
German countertenor Andreas Scholl is known not only for his gorgeous voice, but gutsy programming, and he may never have been more gutsy than in this set of German Romantic and proto-Romantic an important distinction of which more in a moment songs. It's pretty clear that any of the composers included on this album would have doubled over with laughter at the idea of hearing his music sung by a countertenor, and the highly gendered quality of the music of the 19th century is one of its primary motivating forces. Thus there's real excitement in hearing that Scholl does, in fact, pull it off. Quoted in the notes, he offers the expected platitudes about how what matters in singing lieder is not voice type but connection with the music. Yet there's more than that to what's happening here. Scholl does not simply program a typical lieder recital; rather, he tailors his repertoire to his unusual voice. Haydn, with three songs, and Mozart two are overrepresented, and this helps bridge the acceptance gap: the simple, folklike melodies of these songs Haydn's are in English require less suspension of disbelief than do the full-blown Romantic pieces. Moving into Schubert, Scholl makes some interesting choices. The famed "Ave Maria" is a piece of sheer Italianate melody that works beautifully in Scholl's voice; it's of a piece with any number of his earlier recordings. In "Der Tod und das Mädchen, D. 531" Death and the Maiden, the source of a tremendous set of variations in one of Schubert's string quartets, Scholl sings both of the dialogic parts himself: the Maiden is his usual countertenor voice, while he sings Death as a baritone. The strangeness of this leapfrogs, as it were, that of hearing a countertenor sing Schubert. Add to these the fact that Scholl mostly avoids songs with romantic and erotic themes, and it adds up to an album that continually surprises rather than one that is trying to force something into a mold where it doesn't belong. Accompanist Tamar Halperin stays mostly out of the way, which is the right thing to do, and in all Scholl can claim another in his string of triumphs, even if it's maybe not the first one for newcomers to start out with.
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Product Details

  • Release Date: 10/16/2012
  • Label: Decca
  • UPC: 028947846963
  • Catalog Number: 001752902
  • Sales rank: 179,254

Tracks

Disc 1
  1. 1 In stiller Nacht, zur ersten Wacht, folk song for voice & piano, WoO 33/42 - Johannes Brahms & Scholl (3:06)
  2. 2 The Wanderer, song for voice and keyboard (from English canzonettas, set 2), H.26a/32 - Franz Joseph Haydn & Anne Hunter (3:19)
  3. 3 Recollection, song for voice & keyboard, H. 26a/26 (from English Canzonettas I) - Franz Joseph Haydn & Anne Hunter (5:20)
  4. 4 Es ging ein Maidlein zarte, folk song for voice & piano (Deutsche Volkslieder), WoO 33/21 - Johannes Brahms & Scholl (2:33)
  5. 5 Das Veilchen, song for voice & piano, K. 476 - Wolfgang Amadeus Mozart & Gery Bramall (2:11)
  6. 6 Waltzes (12), Ländler (17) and Écossaises (9) for piano, D. 145 (Op. 18): Waltz No. 6 in B minor - Franz Schubert & Paul Mitchell (1:24)
  7. 7 Im Haine ("Sonnenstrahlen durch die Tannen"), song for voice & piano, D. 738 (Op. 56/3) - Franz Schubert & Franz von Bruchmann (2:42)
  8. 8 Despair ("The anguish of my bursting heart"), song for voice & piano (English Canzonettas I), H. 26a/28 - Franz Joseph Haydn & Anne Hunter (5:11)
  9. 9 Abendstern ("Was weilst du einsam an dem Himmel"), song for voice & piano, D. 806 - Franz Schubert & Johann Mayrhofer (2:11)
  10. 10 An Mignon ("Über Tal und Fluss getragen"), song for voice & piano, D. 161 (Op.19/2) - Franz Schubert & Johann Wolfgang von Goethe (2:53)
  11. 11 Mein Mädel hat einen Rosenmund, folk song for voice & piano, WoO 33/25 - Johannes Brahms & Scholl (1:54)
  12. 12 Abendempfindung an Laura ("Abend ist's"), song for voice & piano, K. 523 - Wolfgang Amadeus Mozart & Joachim Heinrich Campe (4:59)
  13. 13 Der Tod und das Mädchen ("Vorüber, ach vorüber"), song for voice & piano, D. 531 (Op. 7/3) - Franz Schubert & Matthias Claudius (2:20)
  14. 14 All mein Gedanken, folk song for voice & piano, WoO 33/30 - Johannes Brahms & Scholl (2:34)
  15. 15 Da unten im Tale, folk song for voice & piano, WoO 33/6 - Johannes Brahms & Scholl (1:36)
  16. 16 Der Jüngling auf dem Hügel ("Ein Jüngling auf dem Hügel"), song for voice & piano, D. 702 (Op. 8/1) - Franz Schubert & Heinrich Huttenbrenner (5:03)
  17. 17 Ellens Gesang III ("Ave Maria"), song for voice & piano, D. 839 (Op. 52/6) - Franz Schubert & Scholl (4:44)
  18. 18 Intermezzo for piano in A major, Op. 118/2 - Johannes Brahms & Paul Mitchell (6:18)
  19. 19 Du bist die Ruh, song for voice & piano, D. 776 (Op. 59/3) - Franz Schubert & Friedrich Rückert (3:45)
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Album Credits

Performance Credits
Scholl Primary Artist
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