Track Listing

1. Lieder: Die Forelle, D. 550 (Schubart)
2. Lieder: Ganymed, D. 544 (Goethe)
3. Lieder: Im Fr�hling, D. 882 (Schulze)
4. Lieder: An den Mond, D. 196 (H�lty)
5. Lieder: Heidenr�slein, D. 257 (Goethe)
6. Lieder: Wandrers Nachtlied II, D. 768 (Goethe)
7. Lieder: Erster Verlust, D. 226 (Goethe)
8. Lieder: Der Fischer, D. 225 (Goethe)
9. Lieder: Fischerweisse, D. 881 (Schlecta)
10. Lieder: Nacht und Tr�ume, D. 827 (Collin)
11. Lieder: Der Zwerg, D. 771 (Collin)
12. Lieder: An die Musik, D. 547 (Schober)
13. Lieder: Du bist die Ruh, D. 776 (R�ckert)
14. Lieder: Auf dem Wasser zu singen, D. 774 (Leopold)
15. Lieder: An Silvia, D. 891 (Shakespeare/Bauernfeld)
16. Lieder: Litanei auf das Fest Allerseelen, D. 343 (Jacobi)
17. Lieder: Fr�hlingsglaube, D. 686 (Uhland)
18. Lieder: Im Haine, D. 738 (Bruchmann)
19. Lieder: Der Musensohn, D. 764 (Goethe)
20. Lieder: Wandrers Nachtlied I, D. 224 (Goethe)
21. Lieder: Seligkeit, D. 433 (H�lty)
22. Lieder: Erlk�nig, D. 328 (Goethe)

Product Details

• Amazon Sales Rank: #57187 in Music
• Released on: 1998-04-27
• Number of discs: 1
• Dimensions: .23 pounds
• Running time: 69 minutes

Customer Reviews

ALMOST TOO BEAUTIFUL
These are some of the best known songs by the greatest songwriter of all time, and Bostridge brings his usual beautiful tone and phrasing to each one of them. For a new listener to classical songs wanting an overview of Schubert's 500 or more "lieder" (famous romantic poems set to original music), Bostridge's warm phrasing, his soft but accurate German, and the fine playing of accompanist Julius Drake, will make this recital perfect.

At this level of talent and artistry, it is almost inexcusable to indulge in nitpicking, but listeners who are already familiar with recitals by the German masters may find some of these tenor interpretations just too lyrical. Take the two grim Gothic fantasies as the clearest example: "Der Zwerg" depicts a beautiful young queen being slowly strangled and dumped into the sea by a twisted and deformed court jester who has been driven mad by jealousy for her affections. "Erlkonig" tells of a man racing through the forest on horseback unaware that the soul of the young son in his arms is being stolen away by the phantom Forest King. These are hideous images, and I am not completely convinced that Bostridge (for all his staggering talent and discipline) has yet developed the subtle dramatic judgement that they demand - the great Fischer-Dieskau has confirmed that in this regard the lied is infinitely more demanding than opera.

Thus in Der Zwerg, the sustained beauty of Bostridge's singing gives us few cues that we are listening to anything radically different from the ruminations on love, art, nature and loss that make up the bulk of the album. And yet in Erlkonig (a specially demanding piece that requires the singer to represent a narrator and three different characters), he overshoots in the opposite direction - he gives a performance of chilling power and dramatic range, but only at the expense of the subtlety and the overarching unity of style and voice that should set even the most dramatic art-song apart from opera. (The singer of a narrative song is required to be a story-teller, not an actor).

These quibbles needed explaining, but they will be of minor importance to anyone but a Teutonic purist. Bostridge's glorious bel canto voice, already one of the brightest lights in Britain's music industry, may at present be less than perfectly matched to the classical German art-song. However, few exponents of the lied have reached musical maturity before middle age, and Bostridge (whose cover photo incidentally bears a striking resemblance to the great French baritone of the post-war years, Gerard Souzay) has many years in which to develop this highly specialised art. More to the point, this is a fine album in its own right, and one that will sound better to most British and American ears than the gruffer and more clipped renditions of the great German baritones.

amazing music, amazing voice...
"A-men" to John Little for complaining about the lack of a 6-star rating. This is a CD of the best songs ever written for anybody by anybody, ever, sung by the best interpreter of the best songs ever written for anybody by anybody, ever.

Incredibly beautifully, carefully, and thoughtfully performed - I take my hat off to you, Mr. Bostridge.

Couldn't agree more!!
There are those people who simply do not like Bostridge's voice and/or his approach to Lieder but don't include me among them! He has obviously given a great deal of thought to both the music and words and despite what J C Bailey has said I do not find them short of characterisation at all. Julius Drake is all that an accompanist should be, although "accompanist" is really the wrong word: it implies a subservient role, and the pianist in Schubert Lieder is - or should be - an equal partner with the singer (as Drake is here).

This CD can be thoroughly recommended to both the long-standing Schubert aficionado and someone coming to his lieder for the first time. For the latter: welcome to a wonderful new world of musical experience! You will never regret entering into it