Great Voices of the Century
View record and artist detailsRecord and Artist Details
Composer or Director: Johannes Brahms, Franz Schubert, Gabriel Fauré, Robert Schumann, Jaroslav Kricka, Edvard Grieg, Pyotr Ilyich Tchaikovsky, Alexandre Georges, César Cui, Charles (Louis Eugène) Koechlin, Hugo (Filipp Jakob) Wolf, Johann Sebastian Bach
Label: Sanctus Recordings
Magazine Review Date: 5/1997
Media Format: CD or Download
Media Runtime: 76
Mastering:
ADD
Catalogue Number: SCSH001
Tracks:
| Composition | Artist Credit |
|---|---|
| (11) Zigeunerlieder, Movement: No. 1, He, Zigeuner, greife |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 2, Hochgetürmte Rimaflut |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 3, Wisst ihr, wann mein Kindchen |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 4, Lieber Gott, du weisst |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 5, Brauner Bursche führt zum Tanze |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 6, Röslein dreie in der Reihe |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 7, Kommt dir manchmal |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (11) Zigeunerlieder, Movement: No. 11, Rote Abendwolken ziehn |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (4) Lieder, Movement: Der Tod, das ist die kühle Nacht (wds. Heine) |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (7) Lieder, Movement: No. 1, Der Gang zum Liebchen (wds. Anon) |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| (6) Lieder, Movement: No. 1, Therese (wds. Keller) |
Johannes Brahms, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Johannes Brahms, Composer |
| Schwanengesang, 'Swan Song', Movement: No. 11, Die Stadt |
Franz Schubert, Composer
Elena Gerhardt, Mezzo soprano Franz Schubert, Composer Gerald Moore, Piano |
| Dithyrambe |
Franz Schubert, Composer
Elena Gerhardt, Mezzo soprano Franz Schubert, Composer Gerald Moore, Piano |
| Jäger, ruhe von der Jagd, 'Ellens Gesang II' |
Franz Schubert, Composer
Elena Gerhardt, Mezzo soprano Franz Schubert, Composer Gerald Moore, Piano |
| Wiegenlied |
Franz Schubert, Composer
Elena Gerhardt, Mezzo soprano Franz Schubert, Composer Gerald Moore, Piano |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Der Mond hat eine schwere Klag |
Hugo (Filipp Jakob) Wolf, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Und willst du deinen Liebsten |
Hugo (Filipp Jakob) Wolf, Composer
Elena Gerhardt, Mezzo soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| (7) Rondels, Movement: L'hiver |
Charles (Louis Eugène) Koechlin, Composer
Charles (Louis Eugène) Koechlin, Composer Elof Nielsen, Piano Povla Frijsh, Soprano |
| (La) pluie |
Alexandre Georges, Composer
Alexandre Georges, Composer Elof Nielsen, Piano Povla Frijsh, Soprano |
| (6) Songs, Movement: No. 3, At the ball (wds. Tolstoy) |
Pyotr Ilyich Tchaikovsky, Composer
Elof Nielsen, Piano Povla Frijsh, Soprano Pyotr Ilyich Tchaikovsky, Composer |
| (6) Songs, Movement: No. 4, With a waterlily (Med en vandlije) |
Edvard Grieg, Composer
Edvard Grieg, Composer Elof Nielsen, Piano Povla Frijsh, Soprano |
| (2) Songs, Movement: No. 1, Dans les ruines d'une abbaye (wds. Hugo: c1 |
Gabriel Fauré, Composer
Elof Nielsen, Piano Gabriel Fauré, Composer Povla Frijsh, Soprano |
| (L')Albatros |
Jaroslav Kricka, Composer
Daisy Bucktrout, Piano Jaroslav Kricka, Composer Povla Frijsh, Soprano |
| (25) Songs, Movement: The statue of Tsarskoïe Selo |
César Cui, Composer
César Cui, Composer Daisy Bucktrout, Piano Povla Frijsh, Soprano |
| Claudine von Villa Bella, Movement: Liebe schwärmt auf allen Wegen |
Franz Schubert, Composer
Daisy Bucktrout, Piano Franz Schubert, Composer Povla Frijsh, Soprano |
| Melodies of the Heart, Movement: No. 3, I love but thee (Jeg elsker dig) |
Edvard Grieg, Composer
Daisy Bucktrout, Piano Edvard Grieg, Composer Povla Frijsh, Soprano |
| (4) Lieder, Movement: No. 2, Die Mainacht (wds. Hölty) |
Johannes Brahms, Composer
Instrumental Ensemble Johannes Brahms, Composer Lotte Lehmann, Soprano |
| (5) Lieder und Romanzen, Movement: Vergebliches Ständchen (wds. trad) |
Johannes Brahms, Composer
Instrumental Ensemble Johannes Brahms, Composer Lotte Lehmann, Soprano |
| Myrthen, Movement: No. 1, Widmung (wds. Rückert) |
Robert Schumann, Composer
Berlin State Opera Orchestra Frieder Weissmann, Conductor Lotte Lehmann, Soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 24, Du bist wie eine Blume (wds. Heine) |
Robert Schumann, Composer
Berlin State Opera Orchestra Frieder Weissmann, Conductor Lotte Lehmann, Soprano Robert Schumann, Composer |
| Erlkönig |
Franz Schubert, Composer
Franz Schubert, Composer Frieder Weissmann, Piano Lotte Lehmann, Soprano |
| Anna Magdalena Notenbuch, Movement: Aria, BWV508: Bist du bei mir (? by Stölzel) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Lotte Lehmann, Soprano Paul Mania, Organ |
| Gretchen am Spinnrade |
Franz Schubert, Composer
Ernö Balogh, Piano Franz Schubert, Composer Lotte Lehmann, Soprano |
Author:
A new label offering an interesting selection of reissues from the 78rpm era is always assured of a welcome here; but in this instance it must be coupled with a hope that the quality of transfer will improve. Perhaps principles of selection and presentation should be reconsidered also. Elena Gerhardt has been absent from the lists for too long, but it will not advance her cause to have her reintroduced as here, with Brahms’s Zigeunerlieder recorded at the age of 56 and sounding more like 65. That 1939 series does indeed have some lovely things in it, and if the recital had opened with Der Tod, das ist die kuhle Nacht or Die Stadt (both of which are included) the great artist would have been presented to her modern public in a way that could have secured immediate recognition of her quality. As it is, the sudden onslaught of “He, Zigeuner” is all too much: like being swept up on to the dance floor by some awful old woman who laughs gaily while all look on aghast. The Lehmann recordings also call for too much by way of apology and explanation. The accompaniments by (in turn) ‘instrumental trio’, orchestra and organ are deplorable enough, but then when piano accompaniment is supplied in Erlkonig it is almost worse; and rather than being Frieder Weissman’s fault (“a disaster”, the writer of the notes calls him) the blame probably lies with Lehmann herself who (presumably) favoured this impossibly fast tempo.
It would be a pleasure if one could now turn to the Povla Frijsh records and recommend the disc on their account. Certainly they are the subtle, many-shaded performances of a rare and fascinating artist, but comparison with their reproduction in the complete edition on Pearl (4/95) shows how inferior the transfers are in this new compilation – and how very desirable it is to have these items along with the rest of Frijsh’s all too small output. All in all, then, it seems that this first Sanctus issue will have to go without its Osanna.'
It would be a pleasure if one could now turn to the Povla Frijsh records and recommend the disc on their account. Certainly they are the subtle, many-shaded performances of a rare and fascinating artist, but comparison with their reproduction in the complete edition on Pearl (4/95) shows how inferior the transfers are in this new compilation – and how very desirable it is to have these items along with the rest of Frijsh’s all too small output. All in all, then, it seems that this first Sanctus issue will have to go without its Osanna.'
Great Voices of the Century
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