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Schubert: Die Schöne Müllerin Import


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Audio CD, Import, December 10, 2013
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Schubert: Die Schöne Müllerin + Schubert: Winterreise
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Product Details

  • Performer: Florian Boesch, Malcolm Martineau
  • Conductor: None
  • Composer: Franz Schubert
  • Audio CD (December 10, 2013)
  • Number of Discs: 1
  • Format: Import
  • Label: ONYX CLASSICS
  • ASIN: B00FEMGBW0
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #163,226 in Music (See Top 100 in Music)

Editorial Reviews

Florian Boesch and Malcolm Martineau continue their journey through the Schubert song cycles with Die Schone Mullerin, composed in 1823 to poetry by Wilhelm Muller. The words are simple but depict powerful human emotions and vivid images of nature. Schubert's imagination was seized by the opportunities the poems offered, and his music captures the dramatic conflicts and character portraits in a way he never achieved in his operatic works. The same team's recording of Winterreise was warmly received by critics, with The Guardian calling it, ''unquestionably superb,'' and Gramophone Magazine hailing it as, ''inspired and quite unforgettable.''

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2 of 2 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on December 15, 2013
Format: Audio CD
With the passing of Dietrich Fischer-Dieskau it's only natural to look at his descendants. Almost every German baritone with an interest in lieder singing was either taught by F-D or came under his influence. There is no heir apparent if we measure by F-D's eminence and the fact that he was before the public for over five decades. Which native-speaking baritone wants to compete with the multiple versions of Schoene Mullerin that Fischer-Dieskau recorded? Here we get the Austrian Florian Boesch who has steadily increased in stature, and he delivers a performance" that is very far from being like his great predecessor's. No barking, no shooting out consonants like a nail gun, and hardly a raised voice except for the most spare use of forte in climaxes.

I wonder if every lieder devotee will take to such artless singing, which backs away form the intensity of Wunderlich, Pears, and most especially Julius Patzak in his riveting, even harrowing reading from the Forties - all successful rivals to F-D. Boesch's gentle reading creates an intimate atmosphere - we are almost in a drawing room with Schubert at the keyboard - and yet there's the risk of blandness. I don't think he quite overcomes this danger - our young miller should sound more joyous at first and more devastated at the last.

Boesch takes the middle way, both in his limited dynamic range and the restraint of his emotions. I'm not fond of the somewhat brittle, rat-a-tat of the pianist in fast passages and therefore taken aback that it's the highly accomplished Malcolm Martineau. He and the singer seem to be collaborating on an approach redolent of "Schubert lite," I suppose. Has the period-performance preference for clipped, shallow phrasing crept in here?
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2 of 2 people found the following review helpful By Ralph Moore TOP 500 REVIEWER on December 10, 2013
Format: Audio CD
A recording of "Die Schöne Müllerin" by a baritone is instantly problematic, as the lower tessitura and downward transposition can compromise the listener's entrenched image of the protagonist as a vulnerable lovelorn youth and instead present him as a more robust, masculine entity. Furthermore, the swift semi-quaver piano accompaniment, especially in the earlier, more turbulent songs, can be more suggestive of thunderous ocean depths than babbling brooks.

Nonetheless, other lower voices have successfully negotiated this most celebrated of song cycles; I have particularly enjoyed Jorma Hynninen's 1988 account (see my review). This recording was made a couple of months after an acclaimed Wigmore Hall recital and, as long as you are receptive to a baritone version, must now be regarded in the same light as the superb "Winterreise" on the same label by the same pairing of artists.

Florian Boesch's voice is intrinsically beautiful: virile but still youthful and sappy, and this helps counteract the danger of his sounding too mature. He is capable of great tonal and dynamic variety: time and again, he lightens his voice and uses a ppp mezza voce, even though he is great reserves of power for climactic moments as in "Die böse Farbe". Vibrato is used sparingly, sometimes wholly suppressed then applied only to enhance the intensity of emotion. The intensity of his interpretation is heightened by his wonderful, pellucid diction.

Martineau matches the singer with pianism of surprising violence, emphasising syncopations and judiciously inserting sudden little juddering gaps in the line without ever sounding crude.
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Schubert: Die Schöne Müllerin
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