Wolfgang Holzmair: Wunderhornlieder
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss, Felix Mendelssohn, Robert Schollum, Franz Schreker, Joseph Suder, Alexander von Zemlinsky, Johannes Brahms, Carl Maria von Weber, Eric Zeisl, Luise Reichardt, Eugen d' Albert, Erich Jacques Wolff, Arnold Schoenberg, Christian (August) Sinding, Robert Schumann, (Johann) Carl (Gottfried) Loewe, Armin Knab, Robert Franz, Wilhelm Kienzl, Gustav Mahler, Theodor Streicher
Genre:
Vocal
Label: Col legno
Magazine Review Date: 04/2014
Media Format: CD or Download
Media Runtime: 69
Mastering:
DDD
Catalogue Number: WWE1CD60024
Tracks:
Composition | Artist Credit |
---|---|
(3) Lieder, Movement: No. 3, Jagdlied (from Des Knaben Wunderhorn) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Mein Schatzerl is hübsch |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Wassersnot |
Luise Reichardt, Composer
Luise Reichardt, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(12) Lieder, Movement: No. 8, Andres Maienlied or Hexenlied (wds. Hölty |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder-Album für die Jugend, Movement: Das Käuzlein (Des Knaben Wunderhorn) |
Robert Schumann, Composer
Robert Schumann, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder-Album für die Jugend, Movement: Marienwürmchen (Des Knaben Wunderhorn) |
Robert Schumann, Composer
Robert Schumann, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(26) Deutsche Volkslieder, Movement: Schnitter Tod |
Johannes Brahms, Composer
Johannes Brahms, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(3) Balladen, Movement: No. 2, Herr Oluf (wds. Danish, trans Herder) |
(Johann) Carl (Gottfried) Loewe, Composer
(Johann) Carl (Gottfried) Loewe, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(6) Gesänge, Movement: Zu Strassburg auf der Schanz |
Robert Franz, Composer
Robert Franz, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(7) Lieder, Movement: Der Überläufer (from Des Knaben Wunderhorn) |
Johannes Brahms, Composer
Johannes Brahms, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Knabe und Veilchen |
Eugen d' Albert, Composer
Eugen d' Albert, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(4) Lieder |
Richard Strauss, Composer
Richard Strauss, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder aus 'Des Knaben Wunderhorn', Movement: Fuge, 'Fugue' |
Christian (August) Sinding, Composer
Christian (August) Sinding, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder aus 'Das Knaben Wunderhorn', Movement: Verlor'ne Müh |
Gustav Mahler, Composer
Gustav Mahler, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder aus 'Das Knaben Wunderhorn', Movement: Lob des hohen Verstandes |
Gustav Mahler, Composer
Gustav Mahler, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
An einen Boten |
Wilhelm Kienzl, Composer
Thérèse Lindquist, Piano Wilhelm Kienzl, Composer Wolfgang Holzmair, Baritone |
Weinschröterlied |
Theodor Streicher, Composer
Theodor Streicher, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Abschiedszeichen |
Armin Knab, Composer
Armin Knab, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Lieder, Movement: No. 2, Altdeutsches Minnelied (wds. Das Knaben Wun |
Alexander von Zemlinsky, Composer
Alexander von Zemlinsky, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(6) Lieder, Movement: Wie Georg von Frundsberg (Wds. Knaben Wunderhorn) |
Arnold Schoenberg, Composer
Arnold Schoenberg, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(Das) hungernde Wind |
Franz Schreker, Composer
Franz Schreker, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Ach hartes Herz, lass dich doch eins erweichen |
Erich Jacques Wolff, Composer
Erich Jacques Wolff, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Im Frühling, wenn die Maiglöckchen läuten |
Eric Zeisl, Composer
Eric Zeisl, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Auf dem Grabstein eines Kindes |
Eric Zeisl, Composer
Eric Zeisl, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
(Das) Bucklichte Männlein |
Alexander von Zemlinsky, Composer
Alexander von Zemlinsky, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Urlicht |
Joseph Suder, Composer
Joseph Suder, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Schneckenlocken |
Robert Schollum, Composer
Robert Schollum, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Wenn das Kind etwas nicht gern ist |
Robert Schollum, Composer
Robert Schollum, Composer Thérèse Lindquist, Piano Wolfgang Holzmair, Baritone |
Author: Richard Wigmore
In captious mode you might point to an excess of bardic homeliness: say, in Robert Franz’s ‘Zu Strassburg auf der Schanz’ and Brahms’s ‘Der Überläufer’, where a boy laments the loss of his girl to a macho huntsman, à la Schöne Müllerin. Joseph Suder’s ‘Urlicht’ sounds like a pale simulacrum of Mahler’s. But in such sympathetic performances there are many delights here, from Mendelssohn’s bounding ‘Jagdlied’ (the wistfulness at the end nicely caught), via two wryly affectionate miniatures from Schumann’s Liederalbum für die Jugend, to Zeisl’s delicately acerbic ‘Im Frühling’, sounding like latter-day Hugo Wolf.
These days Holzmair’s distinctive, tenorish high baritone can grow tight under pressure. Schoenberg’s song of a disgruntled knight (no hint of Wunderhorn simplicity here) stretches him to the limit. But at mezzo-forte and below his voice still sounds well. And characterisation is as imaginative as ever, whether in the mingled humour and tenderness of Strauss’s ‘Für fünfzehn Pfennige’, the deft, unexaggerated story-telling of Loewe’s tinkling, dancing ‘Herr Oluf’ (encounter the Erlking’s daughter at your peril), or the gentle simplicity he brings to lullabies by Humperdinck and Karl Weigl. The two acidly comic Mahler songs are gauged to perfection by Holzmair, faithfully abetted by Thérèse Lindquist. A pity, then, to end with a serious gripe. The booklet contains texts and an illuminating essay by Gavin Plumley but criminally stints on English translations. Given the rarity of much of this repertoire, you won’t get much help from the web either. How depressing that Col Legno seems to have such scant regard for its Anglophone market.
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