Wolf: Kennst du das Land Sophie Karthäuser & Eugene Asti

• Hugo Wolf (1860-1903)
• 1 Goethe Lieder, Mignon I: Heiß mich nicht reden 03:17
• 2 Goethe Lieder, Mignon II: Nur wer die Sehnsucht kennt, weiß , was ich leide! 01:49
• 3 Goethe Lieder, Mignon III: So lasst mich scheinen, bis ich werde 03:16
• 4 6 Lieder für eine Frauenstimme: 6. Mausefallensprüchlein 01:07
• 5 Mörike-Lieder, Heft I: 7. Das verlassene Mägdelein 03:00
• 6 Mörike Lieder, Heft IV: 45. Nixe Binsefuß 02:14
• 7 Goethe-Lieder: 24. Blumengruß 01:16
• 8 Goethe-Lieder: 28. Frühling über's Jahr 01:47
• 9 Goethe-Lieder: 29. Anakreons Grab 02:29
• 10 Goethe Lieder, Mignon: Kennst du das Land, wo die Zitronen blühn? 06:02
• 11 Mörike Lieder, Heft II: 1. Im Frühling 04:27
• 12 Mörike Lieder, Heft IV: 51. Bei einer Trauung 01:56
• 13 Mörike Lieder, Heft II: 14. Agnes 03:07
• 14 Mörike Lieder, Heft II: 16. Elfenlied 01:52
• 15 Goethe-Lieder: 26. Die spröde 01:53
• 16 Goethe-Lieder: 27. Die Bekehrte 02:38
• 17 Verschwiegene Liebe 02:09
• 18 Mörike-Lieder, Heft I: 2. Der Knabe und das Immlein 02:55
• 19 Mörike-Lieder, Heft I: 3. Ein Stündlein wohl vor Tag 01:48
• 20 Mörike-Lieder, Heft I: 6. Er ist's 01:23
• 21 Mörike-Lieder, Heft I: 11. An eine Äolsharfe 05:31
• 22 Mörike Lieder, Heft IV: 42. Erstes Liebeslied eines Mädchens 01:24
• 23 6 Lieder für eine Frauenstimme: 4. Wiegenlied im Sommer 02:50
• Total Runtime 01:00:10

Info zu Wolf: Kennst du das Land

The brief period between 1888 and 1897, between the great cycles devoted to single poets and the songs on sonnets of Michelangelo, saw Wolf at the zenith of his creativity. That period saw the genesis of the songs later published in anthologies after Mörike, Eichendorff and Goethe. Although even the early songs before 1888 reveal no arbitrariness in the choice of texts, it is this concentration on individual literary figures that characterises the highpoint of Wolf s output. Their names resound in the ears of all who love German Romantic literature and are familiar with its transposition into the world of the lied. While Schubert often mined an unexpected vein of poetry in lesser authors, his distant successor Hugo Wolf drank at the source of these giants. Wolf was undoubtedly a virtuoso in the art of making audible the huge dimension of what remains unsaid, though implied. Perhaps he had only one true peer: his former Viennese fellow student Gustav Mahler. Belgian soprano Sophie Karthäuser studied with Noelle Barker at the Guildhall School of Music and Drama in London. She is now in great demand, especially as a Mozart singer. She sang her first Pamina (Die Zauberflöte) under René Jacobs and her first Susanna (Le nozze di Figaro) under William Christie. Since winning the Audience Prize at the Wigmore Hall Song Contest she has developed an acclaimed career as a recitalist, enjoying a particularly close artistic partnership with the distinguished American pianist Eugene Asti.

Sophie Karthäuser, soprano
Eugene Asti, piano

Keine Biografie vorhanden.

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