Gerald Finley and Julius Drake return to Schumann, following a magisterially intense Dichterliebe which won them a third Gramophone award. Here they focus on the two contrasting Liederkreis (song-circle) cycles based upon texts by Heine and Eichendorff. Heine's poetry in Schumann's Op.24 contains extremes of elation and despair that call all of Finley's considerable dramatic powers into play. Eichendorff's seductive, crepuscular 'night-songs' of Op.39 require the velvety tone for which this singer is equally revered. Separating these two great works are the Sechs Gedichte aus dem Liederbuch eines Malers, which find Schumann in more homespun, folksong-influenced vein.
13 Sonntags Am Rhein (Sechs Gedichte Aus Dem Liederbuch Eines Malers Op. 36 Reinick)
14 Standchen
15 Nichts Schoneres
16 An Den Sonnenschein
17 Dichters Genesung
18 Liebesbotschaft
19 Morgens Steh'ich Auf Und Frage (Liederkreis Op. 24 Heine)
20 Es Treibt Mich Hin
21 Ich Wandelte Unter Den Baumen
22 Lieb Liebchen, Leg's Handchen
23 Schone Wiege Meiner Leiden
24 Warte, Warte, Wilder Schiffmann
25 Berg' Und Burgen Schaun Herunter
26 Anfangs Wollt 'Ich Fast Verzagen
27 Mit Myrthen Und Rosen
Gerald Finley and Julius Drake return to Schumann, following a magisterially intense Dichterliebe which won them a third Gramophone award. Here they focus on the two contrasting Liederkreis (song-circle) cycles based upon texts by Heine and Eichendorff. Heine's poetry in Schumann's Op.24 contains extremes of elation and despair that call all of Finley's considerable dramatic powers into play. Eichendorff's seductive, crepuscular 'night-songs' of Op.39 require the velvety tone for which this singer is equally revered. Separating these two great works are the Sechs Gedichte aus dem Liederbuch eines Malers, which find Schumann in more homespun, folksong-influenced vein.
