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ON 4041
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ON 4041

Schumann/ Heine - Lieder

Released Date:
01 Apr 2009

Originally recorded in 2009
Artists:

Florian Boesch

baritone

Malcolm Martineau

piano

Venue:

CREAR, Argyll, Scotland

13-17 Jun 2007

Producer:

Andreas Ruge



Engineer:

Andreas Ruge



Record Label
Onyx

Genre:

Piano


Vocal & Song

Total Time - 59:35
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  Lieder  
   
 

ROBERT SCHUMANN

  Poet: Heinrich Heine (1797-1856)  
   
 

Liederkreis op.24

  
1 Morgens steh' ich auf und frage 1:02
2 Es treibt mich hin, es treibt mich her 1:13
3 Ich wandelte unter den Bäumen 3:22
4 Lieb' Liebchen, leg's Händchen 0:54
5 Schöne Wiege meiner Leiden 4:19
6 Warte, warte, wilder Schiffmann 1:53
7 Berg' und Burgen schaun herunter 3:25
8 Anfangs wollt' ich fast verzgen 0:54
9 Mit Myrten und Rosen, lieblich und hold 4:01
   
 

Romanzen und Balladen Der arme Peter op.53 no.3

  
10 I Der Hans und die Grete tanzen herum 1:22
11 II In meiner Brust, da stizt ein Weh 1:29
12 III Der arme Peter wankt vorbei 2:22
   
13 

Die beiden Grenadiere op.49 no.1

 3:43
14 

Abends am Strand op.45 no.3

 3:14
15 

Die feindlichen Brüder op.49 no.2

 2:22
16 

Belsazar op.57

 5:02
   
 

Myrten op.25

  
17 No.24 Due bist wie eine Blume 1:50
18 No.21 Was will die einsame Träne? 2:03
19 No.7 Die Lotosblume 1:40
   
 

Tragödie op.64 no.3

  
20 I Entflieh mit mir und sei mein Weib 1:30
21 II Es fiel ein Reif in der Frühlingsnacht 3:02
   
22 

Es leuchtet meine Liebe op.127 no.3

 2:01
23 

Lehn deine Wang' op.142 no.2

 0:49
24 

Dein Angesicht op.127 no.2

 2:14
25 

Mein Wagen rollet langsam op.142 no.4

 3:49
   
Schumann: Lieder – Florian Boesch

ONYX is proud to present an exceptional Schumann recital by the outstanding Austrian baritone Florian Boesch. The recital consists of that greatest of Heine settings, the Op. 24 Liederkreis, plus many of the great romances and ballads, including Belsatzar (Belshazzar), Op. 57, also to a text by Heine. Boesch is rapidly becoming known as one of the most truthfully dramatic lieder interpreters of our day, and made a sensational debut at the Edinburgh Festival in 2005 with Malcolm Martineau.

Florian Boesch studied in Vienna with Robert Holl. In 2003 he made his operatic debut with Opernhaus Zürich as Papageno, and is now working with many of the world’s greatest conductors, including Gergiev, Bychkov, Harnoncourt, Herreweghe, Viotti and Adam Fischer. In addition to his operatic work, he is perhaps unusual in devoting much of his time to lieder, having performed at the Wigmore Hall in London, the Concertgebouw, Amsterdam, the Edinburgh Festival, Mozarteum in Salzburg, Wiener Konzerthaus, Palais des Beaux-Arts in Brussels and the Schubertiade Festival Schwarzenberg.



ONYX is proud to present an exceptional Schumann recital by the outstanding Austrian baritone Florian Boesch. The recital consists of the greatest Heine settings, the op24 Liederkreis, plus many of the great Romances and Ballads including Belshazzar (Belsazar). Boesch is rapidly becoming  known as one of the most truthfully dramatic lieder interpreters of our day, and made a sensational debut at the Edinburgh Festival in 2005 with Martineau.
 
Florian Boesch studied in Vienna with Robert Holl. In 2003 he made his operatic debut with Opernhaus Zürich as Papageno, and is now working with many of the world’s greatest conductors including  Gergiev, Bychkov, Harnoncourt, Herreweghe, Viotti and Adam Fischer.  
 
Despite his opera work he is perhaps unusual in devoting much of his time to lieder with performances at London’s Wigmore Hall, Concertgebouw Amsterdam, Edinburgh Festival, Mozarteum Salzburg, Wiener Konzerthaus, Palais des Beaux-Arts Brussels, the Schubertiade Festival Schwarzenberg.

"Manic depressive, romantically obsessed and impractical at most aspects of his profession, Robert Schumann is not much of a role model for young musicians, which may explain why so few of them pay him more than perfunctory attention. A mere fragment of his 250 songs are widely known and specialist performers are scarce.
 
The Austrian baritone Florian Boesch, a regular on the opera circuit, reveals himself here as a Schumann natural, flickering with finely controlled mood in and out of the shadows of 25 poems by Heinrich Hiene. The shadows are alternately inviting and ominous. Boesch, partnered by Malcolm Martinaeu’s senistive pianism, evokes them in vocal brush strokes that range in texture from velvet to hemp.
 
Some of the songs are fairytales, others - like Belshazzar’s Feast - dramatic scenes in which Boesch personifies mad kings, runaway coachmen and broken Napoleonic soldiers straggling home from Russia. This is mood music of the highest artistry, never comfortable and seldom cheerful, but penetrating the human condition like a surgical laser beam, healing as it sears."  *****
 
Norman Lebrecht

 

Evening Standard - 8 April 2009

"The Austrain baritone opens with an exquisitely guaged Liederkreis, op24, full of subtle emotional twists and turns. The rest is a carefully varied selection of settings of words by Heine. Many are balladic - the op49 pair, Die beiden Grenadiere and Die feindlichen Bruder, the three-part Der arme Peter, op53/3, and Balsazar, op57 - and reveal Boesch as an accomplished storyteller. But it’s in the more reflective pieces - includingthe three Heine settings from Myrthen, op25, Tragodie, op64/3, and, to end, a cluster of later songs - where he is most affecting, his art set in the best possible light by the exquisite playing of his pianist, Martineau."   ****
 
Stephen Pettitt 
 

The Sunday Times - 3 May 2009

"There are more than 40 Schumann songs to texts by Heine, all composed in his "year of song", 1840, and the baritone Florian Boesch sings 25 of them here. Though Boesch sometimes makes a bit too much of expressive effects, so much that his rubato distorts the shape of a phrase, in general he is an outstanding ionterpreter, with a wonderful range of colours in his voice which he uses with great distinction and effect. His acccount of the Liederkreis is a slow-burning, intropsective affair. But he can be totally forthright, as in the ballad Balthazar, which has a tremendous dramatic presence. Having an accompanist as perceptive and exquisitely musical as Malcolm Martineau is a big asset, too. These are lieder perfomances of a very high order indeed."  ****

Andrew Clements

The Guardian - 1 May 2009



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