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Schumann: Dichterliebe, Liederkreis

Werner Güra Format: Audio CD
4.8 4.8 out of 5 stars 12 ratings
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Track Listings

1 Liederkreis, 12 Songs for Voice & Piano, Op. 39: In Der Fremde
2 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Intermezzo
3 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Waldesgespräch
4 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Stille
5 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Mondnacht
6 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Fremde
7 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Auf Einer Burg
8 Liederkreis, 12 Songs for Voice & Piano, Op. 39: In Der Fremde
9 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Wehmut
10 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Zwielicht
11 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Im Walde
12 Liederkreis, 12 Songs for Voice & Piano, Op. 39: Frühlingsnacht
13 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Im Wunderschönen Monat Mai
14 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Aus Meinen Tränen Sprießen
15 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Die Rose, Die Lilie, Die Taube
16 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Wenn Ich in Deine Augen Seh
17 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Ich Will Meine Seele Tauchen
18 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Im Rhein, Im Heiligen Strome
19 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Ich Grolle Nicht
20 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Und Wüßten's Die Blumen
21 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Das Ist Ein Flöten Und Geigen
22 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: HÖR Ich Das Liedchen Klingen
23 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Ein Jüngling Liebt Ein Mädchen
24 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Am Leuchtenden Sommermorgen
25 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Ich Hab Im Traum Geweinet
26 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Allnächtlich Im Traume
27 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Aus Alten Märchen
28 Dichterliebe, Song Cycle for Voice & Piano, Op. 48: Die Alten, Bösen Lieder

Editorial Reviews

Werner Güra, Jan Schultsz (piano)

Product details

  • Language ‏ : ‎ English
  • Product Dimensions ‏ : ‎ 5.62 x 4.92 x 0.33 inches; 3.84 ounces
  • Manufacturer ‏ : ‎ HARMONIA MUNDI
  • Original Release Date ‏ : ‎ 2010
  • Date First Available ‏ : ‎ May 12, 2010
  • Label ‏ : ‎ HARMONIA MUNDI
  • ASIN ‏ : ‎ B0031B7ETK
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.8 4.8 out of 5 stars 12 ratings

Customer reviews

4.8 out of 5 stars
4.8 out of 5
12 global ratings

Top reviews from the United States

Gio
5.0 out of 5 stars If You've Never heard Werner Güra ...
Reviewed in the United States on September 1, 2010
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.. you've missed one of the finest tenor voices since the invention of recording! Güra's CDs of Franz Schubert's 'Winterreise' and 'Schwanengesang' Lieder cycles, with pianist Cristoph Berner, are competitive with even the cherished historical recordings by Dietrich Fischer-Dieskau. Güra has a richer "instrument" - his voice - than Ian Bostridge and a more exciting "squillo" than Mathias Goerne.That's extremely high praise in the realm of Lieder singing!

Robert Schumann is a composer whose larger-scale works have never excited much enthusiasm in me, but these two cycles of Lieder, with accompaniment played by Jan Schultz on a 19th C Bechstein piano, are so very eloquent that I may have to re-evaluate their composer entirely. They are modeled, of course, on the Lieder of Franz Schubert, and comparison is inevitable. Schumann has a narrower affective range than Schubert; he's neither as 'lustig' nor as 'traurig' -- neither as bitter nor as sweet. He doesn't soar with the boyish freshness of Schubert's Schöne Müllerin, nor are his darkest tones as poignant as those of the Winterreise. The 'Liederkreis op 39' songs are settings of texts by Joseph von Eichendorff, while the Dichterliebe op 48 songs are settings of poems by Heinrich Heine. If Schumann ultimately falls short of Schubert - and he does - it's because his settings are more studied, uniform, formal than his model's. They seldom individuate the poems to the eloquent degree that Schubert achieved so effortlessly. And Schumann couldn't approach the melodic genius of Schubert, with the corollary that his piano accompaniments are sometimes more attention-grabbing than his vocal lines. Nevertheless, these two Lieder cycles are extraordinarily beautiful 'pure' music, and Werner Güra brings them vibrantly to life.
3 people found this helpful
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P. Kelley
5.0 out of 5 stars Fantastic singing
Reviewed in the United States on October 8, 2015
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This is one of those recordings that you simply can't stop listening to. Marlis Petersen sings divinely as do the other singers. Good to hear these pieces in the context of the complete cycles.
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JMB1014
5.0 out of 5 stars A joyous celebration of Schumann Lieder
Reviewed in the United States on October 24, 2014
Although I do not claim any special expertise in vocal music, I know an exuberant, delicious performance when I hear one, and this is it. Schumann's Spanisches Liederspiel (Op. 74) was one of his favorite pieces and it's easy to see why. It was written during a period of intense creativity during late 1848-early 1849, shortly before he moved, reluctantly, to Dusseldorf. This was around the time of the radical 1848 upheavals that rocked Europe and led to Wagner's being the subject of a wanted poster, while Schumann himself left town with his family in order to get out of serving in the militia. (With his poor eyesight, he was never soldier material anyway.) The songs are translated from Spanish and concern (what else?) love, as the title indicates. They are melodious compositions for anywhere from 1 to 4 singers. The singers here are all fluent in German and sing well together and with enthusiasm. In fact, I have seldom heard such a joyful collaboration anyplace. It is simply impossible to resist. Along with the Spanisches Liederspiel, the same artists (soprano, mezzo, tenor and bass/baritone, with two pianists) also recorded the almost as exuberant songs comprising the Spanische Liebeslieder (Op. 138) and the more intimate Minnespiel (Op 101). My reason for getting this CD was to hear more of Marlis Petersen, whom I have just enjoyed in the Metropolitan Opera's buoyant "Le nozze di Figaro." With her sweet voice, she acquits herself splendidly and is the strongest of the performers.

A booklet includes a cover photo of all performers, an essay on the works being performed (in German, French and English) and the lyrics, also in German and translated into French and English. The sound is excellent.
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Huntley Dent
3.0 out of 5 stars Gura's way with Schumann is lovely, lyrical, and monotonous
Reviewed in the United States on October 7, 2010
I count myself a great admirer of Werner Gura, who accomplished the near impossible when he applied his light lyric tenor to Schubert's profoundly emotional Schwanengesang -- long the province of baritones and mezzos -- and made a success of it. He showed what artistry and expressivity could do. Schumann's songs tend to come from a passionate intensity that is just as hard for a light voice to convey convincingly, and here I think Gura's success is mixed. In an era of "Ian Bostridge can sing everything except maybe Tristan" the Lieerkreis Op. 39 has moved away form baritones, but Gura must equal them in emotional weight. He doesn't succeed in the more dramatic songs, but it's not just a matter of weight. For some reason he restrains himself. "Im Walde" is too mild-mannered, and the tempting Lorelei of "Waldgesprach" could be selling tranquilizers, not sex. "Mondnacht" is meltingly sweet, and throughout Gura's tone is silvery and pure. I sense that he might be falling in love with it a bit too much.

Passion and anguish are inescapable in the Dichterliebe songs. My attention was already wandering from Gura's undeviating mellowness, but I had fears about his pianist, Jan Schultsz, whose recessive, cautious style certainly didn't bode well for expressing the strong piano part in this cycle. The first song, "Im wunderschonen Monat Mai," i sung and played without a rhythmic basis -- it just swims with the current. But the two most telling songs are "Im Rein, im heiligen Strome" and "Ich grolle nicht," the heaviest ones in the cycle, which could easily have been part of Schwanengesang's Heine selections. Gone is Gura's emotional intensity that was so effective before. He glides through the two songs like a knife through pabulum.

Ultimately, that's the problem with this rather faceless recital. The singer applies the same lyric smoothness to everything, and the result, although very lovely at times, grows monotonous.
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GeorgeAndCie
5.0 out of 5 stars Un must !
Reviewed in France on March 17, 2024
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Un enregistrement comme un rêve !!!
Lumineux et d’une beauté inouïe.
Des les premières secondes on est conquis. Rien n’est forcé, on voudrait que cela ne s’arrête jamais ce qui est, pour ce genre de musique, rare.
Bref, foncez !
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cats are cool
5.0 out of 5 stars I've become a huge fan
Reviewed in the United Kingdom on April 22, 2013
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I've been searching for some years for a decent new recording of the Dichterliebe. I've heard Fischer-Dieskau's recording before and though I like much of it, my favourite of the songs (Ich Grolle Nicht) doesn't quite work for me, although I cannot fault the master of lieder Fiescher-Dieskau, that one just didn't do it for me. So having become an admirer of Werner Güra's recordings, I was very excited to find his Dichterliebe recording on CD, and with added bonus of the Liederkreis. The modern recording production is so utterly faultless, and the sound of the piano from Schumann's time is so warm and suited to the song cycles. I also am glad to say I finally found the voice and interpretation of Ich Grolle Nicht that I have been waiting for. I am now an even bigger fan of Werner's. Utterly heart melting tone with diction and emotion that is very touching. The whole album is spellbinding. If you love Schumann and/or the Lieder genre, then u need to have this in your collection.
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Dr Graham R. Edwards
5.0 out of 5 stars Wonderful disc.
Reviewed in the United Kingdom on September 12, 2016
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Sent immediately, Wonderful disc.
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HERVÉ Thierry
5.0 out of 5 stars Un disque pour Audiophile Mélomane
Reviewed in France on November 9, 2010
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Cela fait longtemps que le public lyrique apprécie les lieder pour voix seule de Robert Schumann. En revanche, de nos jours du moins, ses chansons pour voix multiples lui sont généralement étrangères. C'est un constat d'autant plus regrettable que l'écoute de ce disque vivifiant nous réserve des moments d'une intense musicalité. Il comprend deux cycles de chansons espagnoles, le Spanisches Liederspiel op. 74 et les Spanische Liebesliederop. 138, entre lesquels vient s'intercaler un troisième, tout aussi différent que sublime, le Minnespiel op. 101. Si les premiers nommés ne doivent leur appellation essentiellement qu'au fait qu'ils se basent sur des poèmes traduits de l'espagnol, ils n'en portent pas moins les marques d'une ferveur et d'une ingénuité que l'on a souvent pour habitude d'attribuer à la grande Ibérienne. Toujours chanté en allemand, mais avec une tonalité plus profonde, le Minnespiel se dispense, quant à lui, de toute forme de pittoresque. Sa poésie est moins ardente et plus distinguée que celle de ses opus limitrophes, favorisant ainsi une douce ambiance apaisante et mélancolique. Réunis autour de cet honorable projet, les quatre chanteurs et les deux pianistes s'impliquent jusqu'à nous faire regretter de ne pas nous être penchés plus tôt sur ce versant moins éclairé de l'impressionnante production schumannienne. Sans lourdeur ou emphase, tous vont dans la même direction : celle qui conduit à la transparence, à la fraîcheur et à l'équilibre. Ici, l'harmonie est un principe auquel nul ne semble pouvoir déroger. Quelle que soit la nature de leurs compositions (solos, duos ou quatuors, accompagnés d'un piano à deux ou à quatre mains), ces « chansonnettes » prennent dans ces conditions privilégiées d'interprétation et d'enregistrement une dimension insoupçonnée. Composés au milieu du XIXe par un homme bientôt au seuil de la folie, ces trois cycles rares semblent appartenir à une autre époque : à celle où Schumann était un être enflammé, romantique et sagement optimiste. Une surprise de taille pour un disque positivement irrésistible.
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jacqueslefataliste
4.0 out of 5 stars Très beau, mais un peu timide selon moi
Reviewed in France on June 2, 2012
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Comme tous les récitals de lieder gravés par Werner Güra, celui-ci est de très haut niveau. J'ai pourtant éprouvé dès le début une très légère réserve qu'il m'a fallu du temps pour comprendre. C'est en réécoutant les Dichterliebe op. 48 que les choses sont devenues plus claires: Güra et Schultsz, tout en étant comme d'habitude d'une grande poésie, sont tout simplement un peu trop timides. Des exemples? "Ich will meine Seele tauchen" est retenu au lieu d'être plein de douloureux désir. Ensuite, "Im Rhein, im heiligen Strome", puis "Ich grolle nicht", manquent de cette puissance verticale qui rend ces lieder si beaux et si marquants. Ainsi, quand on a dans l'oreille les interprétations de Fischer-Dieskau (avec  Eschenbach  ou avec  Brendel ), de  Goerne  ou (pour rester chez les ténors) de  Pregardien , on attend un engagement plus viscéral et on reste donc ici un peu sur sa faim.

Ce disque est très beau (qu'on ne s'y trompe pas: l'art de Güra et de Schultsz reste considérable), mais il ne constitue pas selon moi la référence absolue pour ces deux cycles majeurs (op. 39 et 48).
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