In the version for mezzo sporano, alto or baritone and string orchestra, the 6 late song compositions by Johannes Brahms are given a completely new and surprising sound. Most of them are in the original keys for lower voices.

Audio examples FAGOT

The last fourteen songs were probably composed in 1827/28. They were compiled and published posthumously under the title "Schwanengesang" by the Viennese publisher Tobias Haslinger. It is an unusual compilation of songs whose texts could not be more different in style and literary rank

Ludwig Rellstab's poems thematize the loss of love and longing for love of the lyrical ego in a romantic, rapturous manner. Partly friendly, partly melancholy, they seem like rereadings of Schubert's cycles based on poems by Wilhelm Müller. Often composed in a major key, with inherent movement and harmonic euphony. This also applies to "Die Taubenpost" after a text by Seidl. One exception is the song "In der Ferne", dominated by a certain agonizing static, which relaxes in the last verse. The same applies to "Aufenthalt" with its restlessness and dramatic bass lines characterized by continuous triolics

This version is arranged for high voice or clarinet and string orchestra.

Robert Schumanns congenial song cycle after poems of Joseph v Eichendorff gets in this version for soprano or tenor and string orchestra absolutely new sound aspects. You will be surprised!

Robert Schumanns congenial song cycle after poems of Joseph v Eichendorff gets in this version for alt or baritone and string orchestra absolutely new sound aspects. You will be surprised!

Robert Schumanns congenial song cycle after poems of Joseph v Eichendorff gets in this version for alt or baritone und string orchestra absolutely new sound aspects. You will be surprised!

Robert Schumanns congenial song cycle after poems of Joseph v Eichendorff gets in this version for soprano or tenor und string orchestra absolutely new sound aspects. You will be surprised!

A poet's love is a cycle of 16 songs by the composer Robert Schumann, whose Opus 48 was one of the highlights of the romantic art song. The cycle was written in 1840 for poems from Heinrich Heine's "Lyrisches Intermezzo", a collection of 65 poems that had appeared in tragedies together with a lyrical intermezzo in 1823, then in the Book of Songs in 1827. Of the 20 songs composed, 16 were finally printed.
Here is a version for soprano and string orchestra with completely new sound aspects.

A poet's love is a cycle of 16 songs by the composer Robert Schumann, whose Opus 48 was one of the highlights of the romantic art song. The cycle was written in 1840 for poems from Heinrich Heine's "Lyrisches Intermezzo", a collection of 65 poems that had appeared in tragedies together with a lyrical intermezzo in 1823, then in the Book of Songs in 1827. Of the 20 songs composed, 16 were finally printed.
Here is a version for soprano and string orchestra with completely new sound aspects.

This very charming song cycle "Frauenliebe und -leben" of Robert Schumann gets in this version for soprano or mezzo soprano and string orchestra an absolutely new and surprising sound.

The selection of six solo songs creates a link from lively serenity over irony until to solemn severity. In this version for soprano and string orchestra the selected song compositions get a sharply contoured sound.

In this version for mezzo soprano/alto or bariton and string orchestra the 6 christmas songs of  Peter Cornelius get an absolutely new and surprising sound. Also included are the first two versions of "The Shepherds" and "The Kings".

1.Christbaum, 2a. Die Hirten (1:35), 2b. Die Hirten (3:07) , 3a. Die Könige (5:13), 3b. Die Könige (6:25), 4. Simeon (8:40), 5. Christus der Kinderfreund (10:58), 6. Christkind (13:03).

The tone of abysmal despair breaks through in the second part of “Schwanengesang”, in the six Heine songs. The verses by the poet of the same age (from his “Book of Songs”) were published in 1827, just in time to trigger a late caesura in Schubert's oeuvre.
Once again, the composer had found a poet who challenged him, who offered him more than memorable linguistic images that could be effortlessly translated into music. Heine was the poet who most sharply captured the feeling of world-weariness that dominated Schubert and his generation.

His settings were correspondingly drastic, illusionless and shocking in their tonal realism. A song like that of the “unhappy Atlas”, who is burdened with “the whole world of pain”, is emblematic of this sense of world and time. In order to give it adequate musical expression, Schubert opened up completely new dimensions of vocal interpretation.

This version is arranged for high voice or clarinet and string orchestra.

A poet's love is a cycle of 16 songs by the composer Robert Schumann, whose Opus 48 was one of the highlights of the romantic art song. The cycle was written in 1840 for poems from Heinrich Heine's "Lyrisches Intermezzo", a collection of 65 poems that had appeared in tragedies together with a lyrical intermezzo in 1823, then in the Book of Songs in 1827. Of the 20 songs composed, 16 were finally printed.
Here is a version formezzo soprano, alto or baritone and string orchestra with completely new sound aspects.

A poet's love is a cycle of 16 songs by the composer Robert Schumann, whose Opus 48 was one of the highlights of the romantic art song. The cycle was written in 1840 for poems from Heinrich Heine's "Lyrisches Intermezzo", a collection of 65 poems that had appeared in tragedies together with a lyrical intermezzo in 1823, then in the Book of Songs in 1827. Of the 20 songs composed, 16 were finally printed.
Here is a version for mezzosoprano, alto or baritone and string orchestra with completely new sound aspects.

The tone of abysmal despair breaks through in the second part of “Schwanengesang”, in the six Heine songs. The verses by the poet of the same age (from his “Book of Songs”) were published in 1827, just in time to trigger a late caesura in Schubert's oeuvre.
Once again, the composer had found a poet who challenged him, who offered him more than memorable linguistic images that could be effortlessly translated into music. Heine was the poet who most sharply captured the feeling of world-weariness that dominated Schubert and his generation.

His settings were correspondingly drastic, illusionless and shocking in their tonal realism. A song like that of the “unhappy Atlas”, who is burdened with “the whole world of pain”, is emblematic of this sense of world and time. In order to give it adequate musical expression, Schubert opened up completely new dimensions of vocal interpretation.

This version is arranged for mezzo soprano, alto or baritone and string orchestra.

The last fourteen songs were probably composed in 1827/28. They were compiled and published posthumously under the title "Schwanengesang" by the Viennese publisher Tobias Haslinger. It is an unusual compilation of songs whose texts could not be more different in style and literary rank

Ludwig Rellstab's poems thematize the loss of love and longing for love of the lyrical ego in a romantic, rapturous manner. Partly friendly, partly melancholy, they seem like rereadings of Schubert's cycles based on poems by Wilhelm Müller. Often composed in a major key, with inherent movement and harmonic euphony. This also applies to "Die Taubenpost" after a text by Seidl. One exception is the song "In der Ferne", dominated by a certain agonizing static, which relaxes in the last verse. The same applies to "Aufenthalt" with its restlessness and dramatic bass lines characterized by continuous triolics

This version is arranged for mezzo soprano, alto or baritone and string orchestra.

This arrangement is based on the famous gradual 'Locus iste' and is scored for 4-part mixed choir and youth orchestra. Several thematic sections of the work are used as an instrumental introduction, which finally lead into a tutti with the original choral movement.

Bruckner composed 'Locus iste' on August 11, 1869 for the inauguration ceremony of the votive chapel of Linz Cathedral. The performance did not take place on the day of the inauguration of the votive chapel, but four weeks later, on October 29, at the same location.

level: medium