In the autumn of 2005 Hyperion released their complete Schubert song edition, some 18 years after they started recording. The composition of these songs spanned the same number of years. Between Lebenstraum … gesang in c”, a fragment dating from 1810 when he was thirteen and Der Taubenpost written a few weeks before his death late in 1828, Schubert set over 700 texts, mostly solo songs but also part songs and for ensemble. Almost all were with piano accompaniment. Everything that has survived is included
Hailed by the Philadelphia Inquirer as, ''The most intellectually and vocally gifted male art-song interpreter of his generation,'' baritone Matthias Goerne presents the eighth volume in his ongoing Matthias Goerne Schubert Edition for harmonia mundi. The featured work is Schubert's setting of Goethe's two-part poem Wanderers Nachtlied. A renowned Schubert interpreter, Goerne is renowned worldwide for his complete commitment to the composer and text. On this new 2-CD set he is joined by two exceptional collaborators, pianists Helmut Deutsch and Eric Schneider.
To mark the 50th anniversary of the pianist’s death, EMI has brought out the largest and most comprehensive Cortot collection ever. The set offers nearly every commercial studio recording released under Cortot’s name on 78 shellac, vinyl LP, 45 rpm single, or compact disc, including unpublished takes already released on CD. To be sure, it is not quite “The Complete Cortot”. For example, the collection omits Cortot’s 1903 sessions accompanying soprano Felia Litvinne, plus a 1925 recording containing the second half only of Chopin’s First Ballade coupled on shellac with the same composer’s Second Impromptu. There is no broadcast material, either. However, we do get Cortot’s unpublished 1957 Chopin Preludes and Ballades, along with a few samples from the pianist’s long-rumored, unfinished Beethoven cycle recorded at the Ecole Normale in 1958/59
Consummation. This is what the piano music of Arnold Schönberg (1874-1951) and Franz Schubert (1979-1828) have in common, the bridge that Thomas Larcher brings to this welcoming solo recital, his first for ECM. To underscore this point, he shuffles Schönberg’s Klavierstücke op. 11 with Schubert’s posthumous Klavierstücke D 946. By turns halting and didactic, the opening pairing opens into the fresh air of Schubert’s precisely syncopated revelry. The contrasts between the two composers are obvious to the ear, but to the heart Schönberg is an extended exhalation to Schubert’s inhalation. Where Schönberg plots slow, jagged caverns, Schubert runs furtively above ground in the sunshine. Yet both seem so urgent to tell their stories, offering lifelong journeys from relatively young minds.