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Kerner & Andersen Lieder [Import]

Thomas Hampson , Robert Schumann , Geoffrey Parsons Audio CD
4.5 out of 5 stars  See all reviews (4 customer reviews)

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Audio CD, Import, 2006 --  

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Product Details

  • Performer: Geoffrey Parsons
  • Composer: Robert Schumann
  • Audio CD (July 18, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Alliance
  • ASIN: B000000SC3
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #506,534 in Music (See Top 100 in Music)

1. Kurzes Erwachen ('Ich bin im Mai gegangen'), song for voice & piano, WoO 21/4
2. Gesänges Erwachen ('Könnt' ich einmal wieder singen'), song for voice & piano, WoO 21/5
3. An Anna I ('Lange harrt' ich'), song for voice & piano, WoO 21/6
4. An Anna II ('Nicht im Tale'), song for voice & piano, WoO 10/2
5. Im Herbste ('Zieh' nur, du Sonne'), song for voice & piano, WoO 10/3
6. Lust der Sturmnacht ('Wenn durch Berg und Tale draussen'), song for voice & piano, Op.35/1
7. Stirb, Lieb' und Freud'! ('Zu Augsburg steht ein hohes Haus'), song for voice & piano, Op. 35/2
8. Wanderlied ('Wohlauf! noch getrunken den funkelnden Wein!'), song for voice & piano, Op. 35/3
9. Erstes Grün ('Du junges Grün, du frisches Gras!'), song for voice & piano, Op. 35/4
10. Sehnsucht nach der Waldgegend ('Wär' ich nie aus euch gegangen'), song for voice & piano, Op. 35/5
11. Auf das Trinkglas eines verstorbenen Freundes ('Du herrlich Glas, nun stehst du leer'), song for voice & piano, Op. 35/6: Auf das Tri
12. Wanderung ('Wohlauf und frisch gewandert ins unbekannte Land!'), song for voice & piano, Op. 35/7
13. Stille Liebe ('Könnt' ich dich in Liedern preisen'), song for voice & piano, Op. 35/8
14. Frage ('Wärst du nicht, heil'ger Abendschein!'), song for voice & piano, Op. 35/9
15. Stille Tränen ('Du bist vom Schlaf erstanden'), song for voice & piano, Op. 35/10
16. Wer machte dich so krank? ('Dass du so krank geworden...'), song for voice & piano, Op. 35/11
17. Alte Laute ('Hörst du den Vogel singen?'), song for voice & piano, Op. 35/12
18. Songs (5) for voice & piano, Op. 40: Märzveilchen
19. Songs (5) for voice & piano, Op. 40: Muttertraum
20. Songs (5) for voice & piano, Op. 40: Der Soldat
See all 24 tracks on this disc

Customer Reviews

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Most Helpful Customer Reviews
By Sven
Format:Audio CD
These two song cycles have been recorded countless times, but this one with the Graham Johnson and Marjana Lipovsek is one of my favorites. Johnson of course only works with excellent singers, so you can be pretty sure any of his recordings will be worth a listen. But Lipovsek is unfortunately under recorded in this repertoire. This performance really stands along with or exceeds the ones from singers who are perhaps more famous.
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4.0 out of 5 stars Why??? June 22, 2012
By Sassy
Format:Audio CD
Why do I see the above two reviews here? They are not about Lipovsek's recording! Is this a mistake? The reviews here are are Hampson and Fischer-Dieskau! What a pity!
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3 of 6 people found the following review helpful
5.0 out of 5 stars Reissue of a CD that put Hampson on the map January 19, 2008
Format:Audio CD|Verified Purchase
No current American singer -- and precious few from the past -- has established a career in German art song to the extent that Hampson has. He began early, winning praise and prizes for a series of recordings on Teldec. This is a reissue of one of the most arcane, since it contains the rarely heard Kerner-Lieer Op. 35 and the even rarer Andersen Lieder Op. 40. I found no notable songs in the latter group, but the Kerner Lieder, while not as inspired as Schumann's four famous song cycles (Dichtrliebe, Frauenliebe und lebel, and the two Liederkreis Op. 24 and 39), still deserve a listen.

Fischer-Dieskau dominates in Lieder, of course, and he made a wonderful recording of the Kerner-Lieder when he was around thirty, in 1954 (recently brought to CD by Audite), yet Hampson exhibits the same abilities at the same high level: he's fresh, direct, in perfect technical command, and persuasive with the text. As a native speaker, F-D's German carries more nuance and feeling. Still, Hampson's youthful voice is thrilling, and Geoffrey Parsons was a better accompanist than Gunther Weissenborn for F-D.

In sum, this is a fairly arcane recording, definitely not the place to start if you don't know Schumann's songs, but a treasure for lovers of lieder as an art.
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1 of 3 people found the following review helpful
4.0 out of 5 stars Issues of Suitability September 9, 2010
Format:Audio CD|Verified Purchase
I've heard Thomas Hampson -- live, on CD, on DVD -- sing so superbly, with such expressive control of dynamics, that I'm reluctant to be critical of anything he performs. However, this recording of Robert Schumann 'piano-Lieder' with texts by Justinus Kerner and Adalbert Chamiso is disappointingly "hit-and-miss". The fundamental problem is the suitability of Hampson's voice and vocal technique to the music per se. Hampson is a baritone, and a darkish baritone to boot. On the songs that lie within his best range, he's magnificent. Unfortunately, many of these songs, especially the "Five Early Songs", require him to stretch into his 'tenor' register, and his timbre becomes strained, at times even unpleasant. In several passages, he needs to 'break' into his falsetto; what emerges is painfully close to a coyote yelp. I'm suppose I'm risking censure, but I have to say that the Five Early Songs are 'generic' at their best, and demand sheer beauty of timbre to be worth hearing at all, and Hampson did himself and us no favor by placing them first on this CD.

The Five Lieder based on Danish poems by hans Christian Andersen, translated to german by Chamiso, suit Hampson's vocal personality better. They are essentially 'rude blasts' of Romantic Angst, despair and madness, requiring the sort of stagey earnestness that Hampson does very well. The piano 'setting' of the less obviously strophic vocal line is more expressive in these pieces also, though I find the timbre of Geoffry Parsons's piano at times too glassy. The last two tracks on the CD are later compositions from op. 127 and 142, both speaking of the singer's "solace" in music. Frankly, Schumann's setting of the poems scarcely suggests solace, consolation, or even conciliation to my ears.
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