CORNELIUS Complete Lieder Vol 1

Assorted vocalists for first in Naxos’s Cornelius song series

Record and Artist Details

Composer or Director: (Carl August) Peter Cornelius

Genre:

Vocal

Label: Naxos

Media Format: CD or Download

Media Runtime: 68

Mastering:

DDD

Catalogue Number: 8 572556

8 572556. CORNELIUS Complete Lieder Vol 1. Landshamer/Schafer/Hausmann

Tracks:

Composition Artist Credit
(6) Lieder (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Christina Landshamer, Soprano
Matthias Veit, Piano
Trauer und Trost (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Markus Schäfer, Tenor
Matthias Veit, Piano
Brautlieder (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Christina Landshamer, Soprano
Matthias Veit, Piano
An Bertha (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Markus Schäfer, Tenor
Matthias Veit, Piano
Rheinische Lieder (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Mathias Hausmann, Baritone
Matthias Veit, Piano
(3) Lieder (Carl August) Peter Cornelius, Composer
(Carl August) Peter Cornelius, Composer
Markus Schäfer, Tenor
Matthias Veit, Piano
This is an enchanting disc. Peter Cornelius is best remembered, at least in Germany, as the composer of the opera The Barber of Baghdad, which has prompted multiple recordings. But he regarded himself as a latter-day minstrel, writing Romantic words for the many simple songs he wrote. The most striking of the six groups of Lieder on this first disc is Op 3, which has the title Trauer und Trost (‘Mourning and Consolation’). In the spirit of dedication and hushed intensity – well brought out by the tenor Markus Shäfer – there is a foretaste of Mahler, though much simplified. The Mahler connection comes out too in the Rheinische Lieder, with a galloping 6/8 for the third of the group, ‘Am Rhein’, only the result is hardly as distinctive as Mahler. All told, the six groups involve no fewer than 24 songs, almost all of them barely two minutes long. Playing the disc, one is thus encouraged to go on from one to the next; each has its felicitous melody and provides a perfect match for Cornelius’s own verse, very conventional in a happy Romantic way, not least the six Brautlieder (‘Bridal Songs’). The result is a disc that compels you to like it as it is so full of charm. Altogether a delightful revelation.

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