Track Listing

1. Lied Eines Schiffers An Die Dioskuren, D.360
2. Nachtstuck, D.672
3. Auf Der Donau, D.553
4. Abendstern, D.806
5. Auflosung, D.807
6. Geheimes, D.719
7. Versunken, D.715
8. Schafers Klagelied, D.121
9. An Die Entfernte, D.765
10. Am Flusse, D.766
11. Wilkommen Und Abschied, D.767
12. Die Gotter Griechenlands, D.677
13. An Die Leier, D.737
14. Am See, D.746
15. Alinde, D.904
16. Wehmut, D.772
17. Uber Wildermann, D.884
18. Auf Der Riesenkoppe, D.611
19. Sei Mir Gegrusst, D.741
20. Dass Sie Hier Gewesen, D.775
21. Der Geistertanz, D.116

Product Details

• Amazon Sales Rank: #171203 in Music
• Released on: 2001-07-03
• Number of discs: 1

Amazon.com
Ian Bostridge's second Schubert recital for EMI (which features a welcome number of the less familiar songs) is even more impressive than the first--and that's saying something. Much of the disc finds him in a somber mood, from the hymnlike tone of the first song, "Lied eines Schiffers an die Dioskuren" ("Sailor's Song to the Dioscuri"), via "Nachtstück" ("Nocturne") to "Wehmut" ("Melancholy"). But though the tone is frequently valedictory and the tempo often slow, there is never a lack of variety.

That is Bostridge's achievement as much as Schubert's--he has designed his program with great sensitivity, and his voice seems to have grown in soulfulness and depth (try "Abendstern"--"The Evening Star"--to hear how much he can wring out of such apparently simple lines) to be even more mellifluous than previously, cherishing each word and finding total accord with pianist Julius Drake. Bostridge delights, too, in the rare happier moments, such as two of the Goethe settings, "Geheimes" ("A Secret") and "Versunken" ("Rapt Absorption"), which explore the lighter side of love. The recording is beautifully lifelike, and the liner notes are excellent. This is the work of a supreme artist caught at the height of his powers. --Harriet Smith

From International Record Review - subscribe now
This, the second volume of mainly familiar Schubert Lieder performed by Ian Bostridge and Julius Drake, should prove as rewarding and memorable as the first. There is no particular theme to the programme, and the songs span most of Schubert's career – from 1814 until 1827. There are pairings (such as Auf der Riesenkoppe and Sei mir gegrusst, with the last words of the first leading into the second), and little groupings of songs that are adjacent in the Deutsch chronological catalogue. Above all, one has the relaxed feeling that the performers chose these particular Lieder in this particular order because they sounded good that way, justifying the choice by the joy of the music-making and the beauty of the songs. The first half of the programme consists of five settings of Schubert's melancholy friend Mayrhofer, and six of Goethe. Two each by Bruchmann (another friend) and Rückert, and single songs to words by Schiller, Rochlitz, Collin, Schulze, Körner and Matthisson conclude this very attractive disc. Richard Wigmore's perceptive insert note guides the listener skilfully through the wide-ranging selection.Bostridge sings with deep insight into the essence of each song; his idiomatically inflected German is admirable, though final consonants occasionally lack the firmness of the native speaker. If low notes once or twice lack resonance and rounded quality, his voice is supple, eloquent and easeful throughout a wide dynamic and emotional range, with finely floated quiet phrases, and vehemence in Schubert's occasional outbursts (the opening of An die Leier, for instance). Julius Drake is an imaginative as well as a sympathetic interpreter of the piano parts (which are seldom mere accompaniments). Whether invoking the calm at the close of Nachtstuck, the ardour of the night-ride and tryst in Willkommen und Abschied, or the only half-serious spookiness of Der Geistertanz at the end of the disc, he sets the scene and portrays it with masterly insight and control. The piano tone is well captured (apart from a touch of jangle in Auflösung). The recording aptly balances instrument and voice, forward yet not too close. This is a recital of great distinction.Peter Branscombe

Customer Reviews

Another must for lovers of Schubert Lieder
Though I have a huge collection of CDs and LPs, and my favorite composer is still technically Bach, probably followed by Mozart, I often find myself turning to recordings of Lieder, the "art songs" of such composers as Schubert, Schumann, and Brahms.

Listening to these wonderful works, set to mostly first-class poetry at times serious, at times humorous, is one of the most satisfying experiences I can think of. And since one so rarely finds recitals of Lieder even in major cities or at festivals, recordings are perhaps the only way some listeners will ever hear these masterpieces.

I cherish my CDs of some of these same songs by their foremost exponent, Dietrich Fischer-Dieskau, but Bostridge offers a fresh look, different voice, and similar interpretive intelligence. He is as characterful as the great Fischer-Dieskau in portraying different roles and parts within songs having more than one "character", as well as in expressing the emotions of the protagonist in those having one part--often in songs of longing. That is so important in vocal works; some singers literally sound as if they don't have the slightest idea of what is being sung.

This is a fine assortment of songs, with one that is surprisingly effective in its placement on the recording. (The selection of what songs to place on a recording, and what order to use, is as difficult as in planning a recital, or should be anyway.)

This is apparently going to be an continuing series, as this is volume two of his Schubert Lieder. Texts and translations included, along with a short and helpful summary.

Like my experience with the first recording, my hearing this selection similarly makes me look forward to more, not just from Bostridge, but from his fabulous accompanist, Julius Drake. For example, in Volume 1, Drake's accompaniment in "Auf dem Wasser zu Singen" perfectly depicted the setting of that "water piece"; here we find the same kind of brilliant portrayal in "Am Flusse" and "Am See".

This is another must-have, and pick up a few more copies for your friends, whether they are acquainted with Lieder or not!

A REAL SUCCESS
This is Bostridge's second volume of "lieder" (i.e. musical settings of German romantic poems) by Schubert, and much of what I wrote in my review of his volume one applies equally here. These are wonderful songs by the greatest songwriter of all time, and Bostridge brings his usual beautiful tone and phrasing to each one of them. It would be pointlessly controversial to give any less than five stars.

The same reservations apply as before: Bostridge's voice is just too pure and lovely for some of Schubert's songs. However, it's fair to say that this later release is more successful than volume 1. In the earlier volume, he was courageously cutting heads with the greatest lieder-singers of all time on what could almost be called "Lieder's Greatest Hits". And it has to be said that for all his beauty of tone and phrasing, he has yet to develop the gravity or indeed the dramatic range and flexibility to put his name up there with the native German greats like Fischer-Dieskau, Prey, or more recently Baer and Quasthoff. In this latest volume, however, Bostridge has selected material that is more clearly suited to his terrific gifts - for the most part less well known but still outstanding compositions that involve less narrative and more reflection.

The experienced lieder aficionado who is attentive to the German lyrics may still find Bostridge's delivery insufficently deep in terms of both pitch and nuance. However, none of this is meant as negative criticism. Bostridge's glorious bel canto voice is one of the brightest lights in Britain's music industry. Lieder-singing is a highly specialised art-form in which even native German performers rarely reach their peak until middle age. And above all, this is a fine album in its own right - in fact one that most English speakers will actually find preferable to a more Teutonic and dramatic performance.

A Great Lieder Singer, with some unsuitable songs
There can be no doubtabout Bostridge's standing in the Lieder world - his recitals commonly sells out, even if he's performing relatively obscure material like Finzi.

Having first sampled him in the wonderful Schumann disc, buying this disc was a no-brainer. Bostridge lives up to my high expectations, singing with transcendental feeling; you know he's actually reliving the experience of the song, conveying the composer's thoughts instead of displaying his own vocal powers.

However, I'm not sure all the songs here are appropriately chosen - Bostridge has a very English tone, meaning a little short on power and size. Auflosung displayed this weakness - the tempo is too slow, the voice lacking in power and grandeur to project the song's intensity - just compare it to the intense Fassbaender / Johnson Hyperion recording will show that this song is less docile than it is here. Sometimes, he uses a slight crooning sound, which sounds fine, but after repeated listening, you wish he can project a fuller sound. I still enjoyed this CD but there are 500+ songs out there and I'm sure Bostridge can find more than enough that suits his voice!