Magazine article Gramophone

'Wunderhornlieder'

Magazine article Gramophone

'Wunderhornlieder'

Article excerpt

'Wunderhornlieder'

d'Albert Knabe und Veilchen, Op 28 No 7 Brahms Schnitter Tod, WoO34 No 13. Der Uberlaufer, Op 48 No 2 Franz Zu Strassburg auf der Schanz, Op 12 No 2 Humperdinck Christkindleins Wiegenlied Kienzl An einen Boten Knab Abschiedszeichen C Loewe Herr Oluf, Op 2 No 2 Mahler Des Knaben Wunderhorn--Lob des hohen Verstandes; Verlorne Muh' Mendelssohn Andres Maienlied, Hexenlied', Op 8 No 8. Jagdlied, Op 84 No 3 L Reichardt Wassersnot Schoenberg Wie Georg von Frundsberg von sich selber sang. Op 3 No 1 Scholium Schneckenlocken. Wenn das Kind etwas nicht gem isst Schreker Das hungernde Kind Schumann Liederalbum fur die Jugend, Op 79--No 11, Kauzlein; No 14, Marienwurmchen Sinding Fuge, Op 15 No 6 R Strauss Fur funfzehn Pfennige, Op 36 No 2 Streicher Weinschroterlied Suder Urlicht Weber Mein Schatzerl ist hubsch. Op 64 No 1 K Weigl Zum Einschlafen J Wolff Ach hartes Herz, lass dich doch eins erweichen Zeisl Kinderlieder--No 1, Im Fruhling, wenn dei Maiglockchen lauten; No 5, Auf dem Grabstein eines Kindes in einem Kirchhof im Odenwald Zemlinsky Lieder, Op 2, Book 2--No 2, Altdeutsches Minnelied. Das bucklichte Mannlein, Op 22 No 6 Wolfgang Holzmair bar Therese Lindquist pf

Col Leano [F] WWE1CD60024 (70' * DDD * T)

Early in the 19th century Achim von Arnim and Clemens Brentano assembled the Knaben Wunderhom collection of German folk poems, both real and fake, in reaction against the Enlightenment and all things French. Composers, most famously Mahler, proceeded to set them in droves. In a typically enterprising programme, Wolfgang Holzmair celebrates what he terms the Wunderhorn poems' 'longing for simplicity and order' through settings that range from guileless Weber and Mendelssohn to songs from the 1930s (though you might not guess it) by Erich Zeisl and Robert Scholium.

In captious mode you might point to an excess of bardic homeliness: say, in Robert Franz's 'Zu Strassburg auf der Schanz' and Brahms's 'Der Uberlaufer', where a boy laments the loss of his girl to a macho huntsman, a la Schone Mullerin. Joseph Suder's 'Urlicht' sounds like a pale simulacrum of Mahler's. But in such sympathetic performances there are many delights here, from Mendelssohn's bounding 'Jagdlied' (the wistfulness at the end nicely caught), via two wryly affectionate miniatures from Schumann's Liederalbum fur diejugend, to Zeisl's delicately acerbic 'Im Fruhling', sounding like latter-day Hugo Wolf. …

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.