Name: Richard Strauss: The Complete Songs 4
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Maltman and Vignoles strike the right note of hard-won simplicity for Goethe's 'Gefunden' and Heine's 'Mit deinen blauen Augen'. Miles then signs in with the wonderful night-boat meditation... — BBC Music Magazine, May 2009, 4 out of 5 stars More…

Release Date: 2nd Feb 2009
Catalogue No: CDA67667
Label: Hyperion
Series: Richard Strauss Complete Songs
Length: 60 minutes

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Strauss, R: Funf Lieder, Op. 15

Work length11:23

$5.00

$6.25

Christopher Maltman (baritone), Roger Vignoles (piano)

I. Madrigal

Track length3:05

$1.00

$1.25

II. Winternacht

Track length1:45

$1.00

$1.25

III. Lob des Leidens

Track length2:24

$1.00

$1.25

IV. Aus den Liedern der Trauer

Track length1:47

$1.00

$1.25

V. Heimkehr

Track length2:22

$1.00

$1.25

Excerpt, Strauss, R: Lieder (3), Op. 31

Work length1:39

$1.00

$1.25

Christopher Maltman (baritone), James Boyd (viola), Roger Vignoles (piano)

IV. Stiller Gang

Track length1:39

$1.00

$1.25

Excerpt, Strauss, R: Fünf Lieder, Op. 39

Work length8:03

$2.00

$2.50

Christopher Maltman (baritone), Roger Vignoles (piano)

III. Der Arbeitsmann

Track length3:44

$1.00

$1.25

V. Lied an meinen Sohn

Track length4:19

$1.00

$1.25

Excerpt, Strauss, R: Fünf Lieder, Op. 41

Work length4:57

$2.00

$2.50

Christopher Maltman (baritone), Roger Vignoles (piano)

III. Am Ufer

Track length2:39

$1.00

$1.25

V. Leise Lieder …

Track length2:18

$1.00

$1.25

Excerpt, Strauss, R: Fünf Lieder, Op. 47

Work length4:46

$1.00

$1.25

Christopher Maltman (baritone), Roger Vignoles (piano)

II. Des Dichters Abendgang

Track length4:46

$1.00

$1.25

Excerpt, Strauss, R: Lieder (8), Op. 49, TrV 204

Work length3:05

$1.00

$1.25

Christopher Maltman (baritone), Roger Vignoles (piano)

IV. Das Lied des Steinklopfers

Track length3:05

$1.00

$1.25

Excerpt, Strauss, R: Sechs Lieder, Op. 56

Work length8:15

$3.00

$3.75

Christopher Maltman (baritone), Roger Vignoles (piano), Alastair Miles (bass)

I. Gefunden

Track length2:24

$1.00

$1.25

IV. Mit deinen blauen Augen

Track length1:31

$1.00

$1.25

III. Im Spätboot

Track length4:20

$1.00

$1.25

Strauss, R: Vom kunftigen Alter, Op. 87 No. 1

Work length5:23

$1.00

$1.25

Alastair Miles (bass), Roger Vignoles (piano)

Strauss, R: Erschaffen und Beleben, Op. 87, No. 2

Work length2:30

$1.00

$1.25

Alastair Miles (bass), Roger Vignoles (piano)

Strauss, R: Und dann nicht mehr, Op. 87 No. 3

Work length6:04

$1.00

$1.25

Alastair Miles (bass), Roger Vignoles (piano)

Strauss, R: Im Sonnenschein, Op. 87 No. 4

Work length4:42

$1.00

$1.25

Alastair Miles (bass), Roger Vignoles (piano)

About
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About

Hyperion’s Strauss Lieder series is fast becoming a worthy successor to the seminal Schubert and Schumann Lieder sets on the label. This fourth volume features a veteran of these recordings, the great British bass-baritone Christopher Maltman.

Contrary to a commonly held perception of Strauss as a Lieder composer, what most of the songs in the present volume show is that he was not shy of addressing serious themes. Settings of Rückert, Dehmel, Goethe and others are tinged with a dark regret which is enhanced by their bass tessitura. Strauss the opera composer is evident in the epic scale of the lieder written post-Salome. Roger Vignoles provides his famous extensive booklet notes, with commentary about each individual song and scholarly discourse on the poetry.

Reviews

May 2009

Maltman and Vignoles strike the right note of hard-won simplicity for Goethe's 'Gefunden' and Heine's 'Mit deinen blauen Augen'. Miles then signs in with the wonderful night-boat meditation of Op. 56 No. 4, underlining the need for a true bass with the last low D flat. ...his imposing timbre fits the operatic scope of the three Rückert settings.

2010

With one possible exception, these are all among Strauss's more rarely performed songs, and quite undeservedly so. Most are highly characteristic and clearly written with affection, while those that may not immediately proclaim the composer's identity ('Das Lied des Stein- klopfers' for instance) are among the most interesting.
Perhaps that sense of a structured improvisation may (as in the Rückert setting 'Und dann nicht mehr') call for a restraining hand, but more often it is such an appealing personal quality that complaint would be sourly puritanical.
Indeed some of the joy arises in just those moments, such as the inspired passage between verses in 'Des Dichters Abendgang', when Strauss the pianist takes over and claims his composer's freedom.
Roger Vignoles captures well the expansiveness and generosity of the writing for piano. He is also a sensitive accompanist in songs where the piano part is relatively simple. “Heimkehr”, the last song of Op 15, is one of these, and this is also the exception to the songs' general unfamiliarity.
It is well sung, with finely controlled high pianissimi, by Christopher Maltman, who has all but the last five songs (mostly Op 81), which are written specifically for bass. It must be said that with the first sound of Alastair Miles, one is immediately aware of a change, not merely in the quality and nature of the voice, but in its production too. Maltman is a valuable artist in many respects, but recording exposes an unevenness of emission which his art is usually able to render inconspicuous 'in the flesh'. Miles impresses deeply, down indeed to the depths of his low D flat.

14th February 2009

This fourth volume of songs in the Hyperion series matches Strauss's masterpieces to weaker offerings, all given equal shrift by the pianist Roger Vignoles and his singers. Maltman has the lion's share, his molasses-rich lower range and walnut-polished upper melting into the ethereal Am Ufer and finding gruff humour in Das Lied des Steinklopfers. Alastair Miles's robust, sensitive bass excels in Im Spätboot, perfectly capturing the eerie, dark atmosphere of Strauss's weary boat passenger.

Special offer. Richard Strauss: The Complete Songs 4

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