Anna Lucia Richter: Liederkreis
View record and artist detailsRecord and Artist Details
Composer or Director: Benjamin Britten, Michael Gees, Johannes Brahms, Robert Schumann
Genre:
Vocal
Label: Challenge Classics
Magazine Review Date: 04/2016
Media Format: CD or Download
Media Runtime: 76
Mastering:
DDD
Catalogue Number: CC72687
Tracks:
Composition | Artist Credit |
---|---|
Folk Song Arrangements, Movement: The trees they grow so high |
Benjamin Britten, Composer
Anna Lucia Richter, Soprano Benjamin Britten, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 1, In der Fremde |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Folk Song Arrangements, Movement: The ash grove |
Benjamin Britten, Composer
Anna Lucia Richter, Soprano Benjamin Britten, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 2, Intermezzo |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Liederkreis, Movement: No. 3, Waldesgespräch |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Liederkreis, Movement: No. 4, Die Stille |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Liederkreis, Movement: No. 5, Mondnacht |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Liederkreis, Movement: No. 6, Schöne Fremde |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Folk Song Arrangements, Movement: How sweet the answer |
Benjamin Britten, Composer
Anna Lucia Richter, Soprano Benjamin Britten, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 7, Auf einer Burg |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
(26) Deutsche Volkslieder, Movement: In stiller Nacht |
Johannes Brahms, Composer
Anna Lucia Richter, Soprano Johannes Brahms, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 8, In der Fremde |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Folk Song Arrangements, Movement: The last rose of summer |
Benjamin Britten, Composer
Anna Lucia Richter, Soprano Benjamin Britten, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 9, Wehmut |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
(26) Deutsche Volkslieder, Movement: Da unten im Tale |
Johannes Brahms, Composer
Anna Lucia Richter, Soprano Johannes Brahms, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 10, Zwielicht |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
(49) Deutsche Volkslieder, Movement: Ich weiss mir'n Maidlein hübsch und fein |
Johannes Brahms, Composer
Anna Lucia Richter, Soprano Johannes Brahms, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 11, Im Walde |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Folk Song Arrangements, Movement: The Salley Gardens (also unison vv and piano) |
Benjamin Britten, Composer
Anna Lucia Richter, Soprano Benjamin Britten, Composer Michael Gees, Composer |
Liederkreis, Movement: No. 12, Frühlingsnacht |
Robert Schumann, Composer
Anna Lucia Richter, Soprano Michael Gees, Composer Robert Schumann, Composer |
Author: Richard Fairman
There can be few performances of Schumann’s Op 39 that feel so abstracted. A good half of the songs are lost in reverie – ‘Mondnacht’ shimmering in a silvery light, the second ‘In der Fremde’ gossamer-light, almost effete. An extreme point is reached with ‘Wehmut’, sung at a painstakingly slow pace (Schumann does admittedly say Sehr langsam) as though in a trance. It comes as no surprise to find the Brahms and Britten folksongs also very withdrawn, though Richter’s English is good and the Britten songs rise to more open-hearted climaxes. The arcs of radiant tone in ‘The Salley Gardens’ feel like the disc’s high point.
The ‘extempore’ tracks that intervene, the last of them emerging without a break from the Schumann, wrap everything in their own mist, at least until the more dramatic involvement of the final couple. It all adds up to a strange experience, not unpleasant as such, but distinctly enervating.
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