Schumann Lieder
View record and artist detailsRecord and Artist Details
Composer or Director: Robert Schumann
Label: Capriccio
Magazine Review Date: 11/1993
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: 10 445
Tracks:
| Composition | Artist Credit |
|---|---|
| Myrthen, Movement: No. 1, Widmung (wds. Rückert) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 3, Der Nussbaum (wds. Mosen) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 7, Die Lotosblume (wds. Heine) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 9, Lied der Suleika (wds. Goethe) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 11, Lied der Braut aus dem Liebesfrühling I (wds. Rückert) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 12, Lied der Braut aus dem Liebesfrühling II (wds. Rückert) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 15, Aus den hebräischen Gesängen (wds. Byron, trans. Körner) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 21, Was will die einsame Träne? (wds. Heine) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Myrthen, Movement: No. 23, Im Westen (wds. Burns, trans. Gerhard) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| (6) Gedichte und Requiem |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| (6) Gedichte, Movement: No. 4, An den Sonnenschein |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| (12) Gedichte aus 'Liebesfrühling', Movement: No. 1, Der Himmel hat ein Träne geweint |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| (5) Lieder, Movement: No. 2, Muttertraum |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Romanzen und Balladen IV, Movement: No. 2, Das verlassne Mägdelein (wds. Mörike) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Romanzen und Balladen IV, Movement: No. 3, Tragödie (wds. Heine) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Spanisches Liederspiel, Movement: No. 6, Melancholie (S) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| Lieder und Gesänge III, Movement: No. 3, Geisternähe (wds. Halm) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
| (3) Gesänge, Movement: No. 3, Der Einsiedler (wds. Eichendorff) |
Robert Schumann, Composer
Hartmut Höll, Piano Mitsuko Shirai, Mezzo soprano Robert Schumann, Composer |
Author: hfinch
Mitsuko Shirai's naturally reflective mezzo-soprano warms to her latest Schumann recital, meticulously planned, and dominated by songs from the Myrthen and Lenau collections. The sharp, bright focus of Hartmut Holl's piano playing in this recording provides a supportive foil for the soft bloom of Shirai's own voice, and nowhere more effectively than in nine of the songs which Schumann composed as a musical bridal-wreath for Clara Wieck.
Shirai's sudden, religioso drawing-in of the voice at ''Du bist die Ruh'' of ''Widmung'' brings a numinous dimension to the song's expression, one which she recreates again, most affectingly, in Heine's ''Lotosblume'' and, later, his ''Tragodie''. ''Der Nussbaum'' is allowed to blossom freely, with no mannered bump in the accompaniment at the crest of the phrase. Its soft movement of leaf and light continues into the two ''Lieder der Braut'' in which Shirai seems to recall the world of tenderness in the shadow of mortality which is unique toFrauenliebe und-Leben.
The voice moves into the romantic-heroic mode for Robert Burns's ''ferhe Land und die wilde See'' in ''Im Westen'', and into the extremes of its register for the harmonic vagaries of Byron's Hebrew Song. It opens out to its most expansively expressive in the Requiem Schumann wrote for the poet Lenau, seven of whose poems are sung here. The ''Lied eines Schmiedes'' would perhaps benefit from a harder, firmer edge, but both Shirai and Holl are extraordinarily sensitive to Schumann's consummate twinning of word and note in ''Meine Rose'' and the elusive ''Kommen und Scheiden''.
Shirai returns to the mood of inwardness she is so skilled at recreating in eight Ausgewahlte Lieder, with a sparing use of half voice in the couplets of Ruckert's ''Der Himmel hat eine Trane geweint''. She brings an almost Wolfian attention to detail to Andersen's dark ''Muttertraum'' and to the contrasting bright rhythmic light of ''An den Sonnenschein'', before a movingly understated performance of Schumann's own ''Das verlassne Magdelein''.'
Shirai's sudden, religioso drawing-in of the voice at ''Du bist die Ruh'' of ''Widmung'' brings a numinous dimension to the song's expression, one which she recreates again, most affectingly, in Heine's ''Lotosblume'' and, later, his ''Tragodie''. ''Der Nussbaum'' is allowed to blossom freely, with no mannered bump in the accompaniment at the crest of the phrase. Its soft movement of leaf and light continues into the two ''Lieder der Braut'' in which Shirai seems to recall the world of tenderness in the shadow of mortality which is unique to
The voice moves into the romantic-heroic mode for Robert Burns's ''ferhe Land und die wilde See'' in ''Im Westen'', and into the extremes of its register for the harmonic vagaries of Byron's Hebrew Song. It opens out to its most expansively expressive in the Requiem Schumann wrote for the poet Lenau, seven of whose poems are sung here. The ''Lied eines Schmiedes'' would perhaps benefit from a harder, firmer edge, but both Shirai and Holl are extraordinarily sensitive to Schumann's consummate twinning of word and note in ''Meine Rose'' and the elusive ''Kommen und Scheiden''.
Shirai returns to the mood of inwardness she is so skilled at recreating in eight Ausgewahlte Lieder, with a sparing use of half voice in the couplets of Ruckert's ''Der Himmel hat eine Trane geweint''. She brings an almost Wolfian attention to detail to Andersen's dark ''Muttertraum'' and to the contrasting bright rhythmic light of ''An den Sonnenschein'', before a movingly understated performance of Schumann's own ''Das verlassne Magdelein''.'
Schumann Lieder
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