Boech - Martineau - Schubert Florian Boesch and Malcolm Martineau

• 1 Der Fischer, D. 225 02:52
• 2 Der König in Thule, D. 367 02:44
• 3 Der Zwerg, D. 771 05:11
• 4 Im Frühling, D. 882 04:26
• 5 Nachtviolen, D. 752 02:53
• 6 An den Mond, D. 259 02:41
• 7 An mein Herz, D. 860 02:57
• 8 Frühlingsglaube, D. 686 02:49
• 9 Heidenröslein, D. 257 01:45
• 10 Die Vögel, D. 691 01:05
• 11 Fischerweise, D. 881 02:56
• 12 Geheimes, D. 719 01:31
• 13 Lachen und Weinen, D. 777 01:54
• 14 Erster Verlust, D. 226 01:43
• 15 An die Musik, D. 747 (version b) 02:09
• 16 Du bist die Ruh, D. 776 03:49
• 17 Gruppe aus dem Tartarus, D. 583 03:12
• 18 Der Gott und die Bajadere, D. 254 08:52
• 19 Der Tod und das Mädchen, D. 531 02:36
• 20 Abendstern, D. 806 02:20
• 21 Die Liebe hat gelogen, D. 751 02:38
• 22 Am Tage aller Seelen, D. 343 (Litanei auf das Fest aller Seelen) 04:41
• 23 Schwanengesang, D. 744 02:37
• 24 Der Sieg, D. 805 03:31
• Total Runtime 01:13:52

Info for Boech - Martineau - Schubert

Florian Boesch and Malcolm Martineau have recorded the three great Schubert song cycles for ONYX, and have earned a formidable reputation as a partnership that delivers, in recital and in the studio, some of the most thought-provoking and challenging interpretations of Schubert Lieder of our time. ‘Inspired and quite unforgettable’, said Gramophone of their Winterreise, while The Sunday Times commented, ‘Never, in my experience, has Winterreise sounded bleaker than in this magnificently sombre and vivid account’, and The Guardian called it ‘unquestionably superb’. The BBC Music Magazine described Die schöne Müllerin as ‘one of the most challenging and provocative new recordings of this cycle – and one of the best performed and recorded’.

Schubert Lieder recital: Es war ein König in Thule is sung by Gretchen in her room, after her first chance meeting with Faust outside the cathedral. The words of the ballad that come unbidden to her mind, after she has refused his offer to escort her home, speak volumes about her unconscious desire and unfaltering faithfulness, and Schubert’s square D minor melody, with its unchanging rhythm, expresses like no other setting the innocent girl’s trancelike state. Although Claudius, the poet of Der Tod und das Mädchen, presents Death as a consoling friend, its skeletal form terrifies the girl; Schubert, with a stroke of genius, announces Death’s comforting presence by a shift from the minor to F and C major, keys which continue until the end of the stanza. Lachen und Weinen bore no title in the first edition of Rückert’s poem – Schubert took the first line as his title and created a song that typifies the bitter- sweet nature of his melodies. The message of Goethe’s Der Gott und die Bajadere tallies with his humanistic philosophy: pariahs of society should not be despised. There’s something hypnotic about Schubert’s setting, especially the contrasting melodies for the trochaic and dactylic sections of each verse. Litanei auf das Fest aller Seelen, composed soon after the death of Schubert’s mother in August 1816, celebrates November 2nd, when Catholics seek through prayer and almsgiving to alleviate the suffering of souls in purgatory. An die Musik breathes a feeling of reverence that begins with the downward leap of a sixth between ‘holde’ and ‘Kunst’. The design is simplicity itself: all references to life’s reverses are set in the lower part of the stave, while at the mention of a better world the voice soars aloft, supported on the rising bass line. …

Florian Boesch, baritone
Malcolm Martineau, piano

Recorded 21–25 May 2015 at All Saints, Finchley, London
Engineered by Andrew Mellor
Produced by Andrew Mellor

No biography found.

Booklet for Boech - Martineau - Schubert