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Strauss / Bengtsson / Tysman - Lieder - SUPER-AUDIO CD [Super Audio CD (SACD)]

SKU: 10675534

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Richard Strauss composed a career total of more than two hundred songs, most of them for a high female voice. The master repeatedlyw as inspired by sopranos, and the fact that he married one of these ladies, Pauline de Ahna, is proof of his intimate association with this wonderful art. Maria Bengtsson's fine selection from all his compositional periods demonstrates the versatility of Straussian composition, and in Sarah Tysman she has a piano partner whose subtle interpretations far transcend mere accompaniment. Commenting, illustrating, harmonizing- Strauss indeed assigns very important tasks to the piano. In InchMorgen!Inch it is more the case that the voice accompanies the piano; thunder and storm are experienced in InchSchlechtes WetterInch; and in InchStandchenInch we can even feel the youth's jittery nerves. The writer's shout verging on bitonality at the end of InchFur funfzehn PfennigeInch shows what undiscovered possibilities lie in store in traditional harmony; of course, until the end of his long life, Strauss rejected all atonal advances. Maria Bengtsson meets these challenges with the natural magnificence of a virtuoso also schooled on Strauss's theatrical oeuvre. And her teamwork with Sarah Tysman can be experienced in impressive transparency above all in this meticulously produced album. Details 1. Herr Lenz Op. 37,5 2. Meinem Kinde Op. 37,3 3. FÜR Funfzehn Pfennige Op. 36,2 4. Hat Gesagt - Bleibt?S Nicht Dabei 5. Das Rosenband Op. 36,1 6. Morgen Op. 27,4 7. Einerlei Op. 69,3 8. Allerseelen Op. 10,8 9. Cäcilie Op. 27,2 10. Malven Av 304 11. Heimliche Aufforderung Op. 27,3 12. Die Nacht Op. 10,3 13. Nichts Op. 10,2 14. Ständchen Op. 17 15. Traum Durch Die Dämmerung 16. Schlagende Herzen Op. 29,2 17. Nachtgang Op. 29,3 18. Schlechtes Wetter Op. 69,5 19. Ich Trage Meine Minne Op. 32,1 20. Wie Erkenn Ich Mein Treu

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  • Genre
    Classical
    Description
    Richard Strauss composed a career total of more than two hundred songs, most of them for a high female voice. The master repeatedlyw as inspired by sopranos, and the fact that he married one of these ladies, Pauline de Ahna, is proof of his intimate association with this wonderful art. Maria Bengtsson's fine selection from all his compositional periods demonstrates the versatility of Straussian composition, and in Sarah Tysman she has a piano partner whose subtle interpretations far transcend mere accompaniment. Commenting, illustrating, harmonizing- Strauss indeed assigns very important tasks to the piano. In InchMorgen!Inch it is more the case that the voice accompanies the piano; thunder and storm are experienced in InchSchlechtes WetterInch; and in InchStandchenInch we can even feel the youth's jittery nerves. The writer's shout verging on bitonality at the end of InchFur funfzehn PfennigeInch shows what undiscovered possibilities lie in store in traditional harmony; of course, until the end of his long life, Strauss rejected all atonal advances. Maria Bengtsson meets these challenges with the natural magnificence of a virtuoso also schooled on Strauss's theatrical oeuvre. And her teamwork with Sarah Tysman can be experienced in impressive transparency above all in this meticulously produced album. Details 1. Herr Lenz Op. 37,5 2. Meinem Kinde Op. 37,3 3. FÜR Funfzehn Pfennige Op. 36,2 4. Hat Gesagt - Bleibt?S Nicht Dabei 5. Das Rosenband Op. 36,1 6. Morgen Op. 27,4 7. Einerlei Op. 69,3 8. Allerseelen Op. 10,8 9. Cäcilie Op. 27,2 10. Malven Av 304 11. Heimliche Aufforderung Op. 27,3 12. Die Nacht Op. 10,3 13. Nichts Op. 10,2 14. Ständchen Op. 17 15. Traum Durch Die Dämmerung 16. Schlagende Herzen Op. 29,2 17. Nachtgang Op. 29,3 18. Schlechtes Wetter Op. 69,5 19. Ich Trage Meine Minne Op. 32,1 20. Wie Erkenn Ich Mein Treu
    Artist
    STRAUSS / BENGTSSON / TYSMAN
    Title
    Lieder
    Format
    Super Audio CD (SACD)
    Label
    MDG
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Not Yet Reviewed

Richard Strauss composed a career total of more than two hundred songs, most of them for a high female voice. The master repeatedlyw as inspired by sopranos, and the fact that he married one of these ladies, Pauline de Ahna, is proof of his intimate association with this wonderful art. Maria Bengtsson's fine selection from all his compositional periods demonstrates the versatility of Straussian composition, and in Sarah Tysman she has a piano partner whose subtle interpretations far transcend mere accompaniment. Commenting, illustrating, harmonizing- Strauss indeed assigns very important tasks to the piano. In InchMorgen!Inch it is more the case that the voice accompanies the piano; thunder and storm are experienced in InchSchlechtes WetterInch; and in InchStandchenInch we can even feel the youth's jittery nerves. The writer's shout verging on bitonality at the end of InchFur funfzehn PfennigeInch shows what undiscovered possibilities lie in store in traditional harmony; of course, until the end of his long life, Strauss rejected all atonal advances. Maria Bengtsson meets these challenges with the natural magnificence of a virtuoso also schooled on Strauss's theatrical oeuvre. And her teamwork with Sarah Tysman can be experienced in impressive transparency above all in this meticulously produced album. Details 1. Herr Lenz Op. 37,5 2. Meinem Kinde Op. 37,3 3. FÜR Funfzehn Pfennige Op. 36,2 4. Hat Gesagt - Bleibt?S Nicht Dabei 5. Das Rosenband Op. 36,1 6. Morgen Op. 27,4 7. Einerlei Op. 69,3 8. Allerseelen Op. 10,8 9. Cäcilie Op. 27,2 10. Malven Av 304 11. Heimliche Aufforderung Op. 27,3 12. Die Nacht Op. 10,3 13. Nichts Op. 10,2 14. Ständchen Op. 17 15. Traum Durch Die Dämmerung 16. Schlagende Herzen Op. 29,2 17. Nachtgang Op. 29,3 18. Schlechtes Wetter Op. 69,5 19. Ich Trage Meine Minne Op. 32,1 20. Wie Erkenn Ich Mein Treu

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