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Love's Spring

Raoul Steffani | Magdalena Kozena | Gerold Huber

Love's Spring

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917286526
Catnr: CC 72865
Release date: 05 November 2021
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Label
Challenge Classics
UPC
0608917286526
Catalogue number
CC 72865
Release date
05 November 2021

"Both singers excel at the upper register of their range. Steffani's baritone has the sonority of a lithe lower tenor, while Kožená avoids the smoky tones of a near-contralto, opting for a sound closer to a lyric soprano. These ranges and vocal qualities suit the Schumanns' songs very well and prevent them from being tedious or grating..."

Fanfare, 01-4-2022
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Artist(s)
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About the album

Raoul Steffani: The album you have here is the culmination of a long-cherished desire – a programme devoted to both Robert and Clara Schumann and the musical dialogue that blossomed between them during the early years of their married life, through their poems and song compositions. I am absolutely delighted and grateful for the opportunity to record this programme along with a selection of Robert Schumann’s most beautiful duets, in a truly luxurious pairing with mezzo-soprano Magdalena Kožená and my regular piano accompanist Gerold Huber.
Het was een lang gekoesterde wens van bariton Raoul Steffani om ooit een programma te wijden aan zowel Robert, als Clara Schumann. Aan de muzikale dialoog, die in de eerste jaren van hun huwelijk, door hun gedichten en liedcomposities, tussen hen tot bloei kwam. Steffani’s droom is werkelijkheid geworden. Zijn nieuwe album Love’s Spring bestaat uit een unieke en prachtige selectie van liederen van Robert én Clara Schumann en bood hem de kans om samen te werken met de internationaal vermaarde mezzosopraan Magdalena Kožená en zijn vaste pianist Gerold Huber. Het resultaat is een waar genot voor hart en geest!

Liebesfrühling, Op. 37, de hoofdcyclus van dit programma heeft vanaf de eerste kennismaking en uitvoering ervan, met enige regelmaat en in verschillende samenstellingen op het recitalrepertoire van Steffani gestaan. Hij is verheugd en dankbaar dit programma en een selectie van Robert Schumanns meest prachtige duetten, voor Challenge Classics vast te mogen leggen samen met Magdalena Kožená en Gerold Huber.

Geïnspireerd door de gedichten uit Friedrich Rückerts Liebesfrühling componeerde Robert Schumann in januari 1841 zijn eigen negen liederen. In hun huwelijksdagboek spoorde hij Clara aan ook de pen ter hand te nemen. Ondanks Clara’s gebruikelijke onzekerheid en zelfkritiek, resulteerde dat, tot grote tevredenheid van haar man, in toonzettingen van gedichten van Rückert, vermoedelijk als verjaardagsgeschenk voor Robert. In de liedcyclus belichten Clara’s liederen Er ist gekommen, Liebst du um Schönheit en Warum willst du andere fragen het vrouwelijk perspectief. Ze gaan over ontluikende liefde en lente, passend bij het prille stadium van hun huwelijk. Rückerts teksten staan vol met natuur- en gevoelslyriek, die zich in de liederen van Robert en Clara als een dialoog ontpoppen tussen een vrouwen- en mannenstem, afgewisseld met korte duetten van de hand van Robert.

De vijf liederen Op. 40 zijn gebaseerd op gedichten - met gedoemde liefde als leidraad - van Hans Christian Andersen. Dat thema sprak Robert Schumann ongetwijfeld aan. In de zomer van 1840, het moment van componeren, mocht hij van Friedrich Wieck, zijn pianoleraar en toekomstig schoonvader, nog steeds niet met zijn geliefde Clara trouwen. Andersens teksten maakten een andere compositorische stijl in de componist los. Schumann wilde de korte cyclus niet besluiten met tragiek en waanzin en gebruikte daarvoor een opgewekte tekst, waarin de liefde overwint.

Met haar liederen voor Liebesfrühling, Op. 37 schreef Clara Schumann meteen enkele van de meest aansprekende liederen uit de gehele cyclus. De jaren daarop componeerde Clara vaak liederen als kerst- of verjaardagsgeschenk voor Robert. Op zijn aandringen stelde Clara in 1844 een eigen collectie liederen samen, haar Sechs Lieder, Op. 13 met naast vier liederen die ze door de jaren heen als geschenk voor Robert had gecomponeerd ook twee liederen uit 1842; Der Mond kommt still gegangen en Die stille Lotosblume. Beide liederen op teksten van tijdgenoot Geibel werden opgedragen aan de Deense Koningin Caroline Amalie als dank voor haar gastvrijheid tijdens een concertreis.

Raoul Steffani wordt alom geprezen om zijn natuurlijk geluid en uitstekende dictie en zijn talent om overtuigend emoties over te brengen. Hij was winnaar van de Elisabeth Evertsprijs (2016), de Dutch Classical Talent Publieksprijs (2018) en de GrachtenfestivalPrijs (2018). Zijn eerste album ‘Deep in a Dream’ (2018, Challenge Classics) met pianist Gerold Huber kreeg veel lovende kritieken ("…this is all first-rate, refined singing with lucid diction, elegant technique, and a palpable affinity for what he is singing." - American Record Guide). Raoul geeft regelmatig recitals samen met Huber en maakte zijn recitaldebuut in grote concertzalen zoals het Koninklijk Concertgebouw Amsterdam, Elbphilharmonie Hamburg, Megaron Concert Hall Athene en gaf concerten in Los Angeles, San Francisco , Parijs, München, Wenen en Spanje.

De Tsjechische mezzosopraan Magdalena Kožená trad op als soliste met 's werelds beste orkesten, waaronder de Berliner, Vienna, Czech en New York Philharmonic onder leiding van o.a. Abbado, Boulez, Jansons en Haitink. Op het operapodium was Magdalena te zien in hoofdrollen bij onder meer de Metropolitan Opera, Salzburger Festspiele, Royal Opera House en de Staatsoper Berlin. Magdalena trad op met de pianisten Daniel Barenboim, Yefim Bronfman, Malcolm Martineau en Mitsuko Uchida in de Carnegie Hall, Wigmore Hall en het Concertgebouw Amsterdam.


Raoul Steffani: Das vorliegende Album ist die Erfüllung eines lang gehegten Wunsches - ein Programm, das sowohl Robert als auch Clara Schumann und dem musikalischen Dialog gewidmet ist, der zwischen ihnen in den ersten Jahren ihres Ehelebens durch ihre Gedichte und Liedkompositionen entstanden ist. Ich bin hocherfreut und dankbar für die Gelegenheit, dieses Programm zusammen mit einer Auswahl der schönsten Duette von Robert Schumann in einer wahrhaft luxuriösen Besetzung mit der Mezzosopranistin Magdalena Kožená und meinem regelmäßigen Klavierbegleiter Gerold Huber aufzunehmen.


Artist(s)

Raoul Steffani (baritone)

Dutch baritone Raoul Steffani has quickly established himself as one of the leading singers of his generation. He was awarded several prizes: the Dutch Classical Talent Audience Award (2018), the Grachtenfestival Prize (2016), the Elisabeth Evertsprijs (2016) and Prinses Christina Concours (2013), after which he was invited to make recital debuts at major concerts halls such as the Royal Concertgebouw Amsterdam, Megaron Concert Hall in Athens, Los Angeles, San Francisco, Paris, Munich and Vienna. He studied at the University of Music and Performing Arts in Vienna and at the conservatories of Amsterdam and Tilburg, from which he graduated summa cum laude. He continues working with his longtime vocal coach Margreet Honig and is frequently taking masterclasses with Thomas Hampson, Christa Ludwig,...
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Dutch baritone Raoul Steffani has quickly established himself as one of the leading singers of his generation. He was awarded several prizes: the Dutch Classical Talent Audience Award (2018), the Grachtenfestival Prize (2016), the Elisabeth Evertsprijs (2016) and Prinses Christina Concours (2013), after which he was invited to make recital debuts at major concerts halls such as the Royal Concertgebouw Amsterdam, Megaron Concert Hall in Athens, Los Angeles, San Francisco, Paris, Munich and Vienna.
He studied at the University of Music and Performing Arts in Vienna and at the conservatories of Amsterdam and Tilburg, from which he graduated summa cum laude. He continues working with his longtime vocal coach Margreet Honig and is frequently taking masterclasses with Thomas Hampson, Christa Ludwig, Elly Ameling and Nelly Miriciou a.o. From 2016 till 2018 he was a member of the Dutch National Opera Academy, where he debuted the role of Gulgielmo (Così fan tutte).
Raoul Steffani is passionately fond of the song repertoire. As an active recitalist, he works regularly with the German song specialist Gerold Huber as well as with Lucas and Arthur Jussen. He performs regularly at concert halls in the Netherlands including the Royal Concertgebouw Amsterdam, Muziekgebouw aan het IJ, Muziekgebouw Eindhoven, International Chamber Music Festival led by Janine Jansen in Utrecht. He is a returning guest and ambassador of the International Lied Festival Zeist. He often appears on Dutch national radio and television, as a guest soloist in programmes such as Podium Witteman, De Tiende van Tijl and Podium on Tour.
On the operatic stage, his performed roles include Eisenstein as well as Falke (Die Fledermaus), Papageno (Die Zauberföte), Guglielmo (Così fan tutte) and Aeneas (Dido and Aeneas). As an oratorio soloist, he sang a.o. the St Matthew Passion and St John Passion by J.S. Bach, W.A. Mozart’s Requiem, Brahms’ Ein deutsches Requiem, Oratorio de Noël by Saint-Säens, Messiah by Händel and Carmina Burana by Orff. He sang under the baton of a.o. Vladimir Jurowsky, David Zinman, Sir Mark Elder, Sigiswald Kuijken, Ed Spanjaard, Anthony Hermus and Enrico Delamboye. Among the orchestras he performed with, are the Royal Concertgebouw Chamber Orchestra, Radio Philharmonic Orchestra, philharmonie zuidnederland and the Netherlands Symphony Orchestra.
Photo: Carlos Villarroel
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Gerold Huber (piano)

Gerold Huber, pianist of international standing and winner of two coveted 'Echo' prizes, was born in 1969 in Straubing, Bavaria. He won a grant to the Munich Hochschule für Musik, studying piano with Friedemann Berger and Lied interpreation with Helmut Deutsch, and was a participant in Dietrich Fischer-Dieskau's masterclass in Berlin. In 1998 he won the Prix International Pro Musicis in Paris. In 2001 he was one of the prizewinners at the highly specialized Johann Sebastian Bach International Piano Competition in Saarbrücken. An experienced and dedicated classical lied accompanist, Gerold Huber has made countless guest appearances not only at most of the worldwide famous concert halls but also at various significant festivals, notably the Schubertiades in Schwarzenberg (Austria) and Vilabertran (Spain),...
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Gerold Huber, pianist of international standing and winner of two coveted "Echo" prizes, was born in 1969 in Straubing, Bavaria. He won a grant to the Munich Hochschule für Musik, studying piano with Friedemann Berger and Lied interpreation with Helmut Deutsch, and was a participant in Dietrich Fischer-Dieskau's masterclass in Berlin. In 1998 he won the Prix International Pro Musicis in Paris. In 2001 he was one of the prizewinners at the highly specialized Johann Sebastian Bach International Piano Competition in Saarbrücken.
An experienced and dedicated classical lied accompanist, Gerold Huber has made countless guest appearances not only at most of the worldwide famous concert halls but also at various significant festivals, notably the Schubertiades in Schwarzenberg (Austria) and Vilabertran (Spain), the Rheingau Musikfestival and the Schleswig- Holstein Festival, as well as featuring in festivals in Cheltenham (England) and Saintes (France). His extensive list of performance venues also includes major international concert halls such as the Cologne Philharmonic Hall, Frankfurt's Alte Oper, the Leipzig Gewandhaus, the Vienna Konzerthaus, the Konzertgebouw Amsterdam, the Wigmore Hall in London and the Frick Collection in New York. Gerold Huber's solo performances to date have largely showcased the works of Bach, Beethoven, Schubert and Brahms. His recordings of Schubert's Winterreise (2002) and Die schöne Müllerin (2004) were both awarded the hotly-contested Echo-Klassik prize. Amongst the soloists regularly accompanied by Gerold Huber are Christian Gerhaher, Ruth Ziesak, Franz-Josef Selig, Cornelia Kallisch, Diana Damrau, the Liedertafel ensemble and Susanne Brantl.

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Magdalena Kožená (mezzo soprano)

Czech star mezzo-soprano Magdalena Kožená has worked with many of the world’s leading conductors, Claudio Abbado, Pierre Boulez, Gustavo Dudamel, Sir John Eliot Gardiner, Bernard Haitink, Nikolaus Harnoncourt, Mariss Jansons, James Levine, Sir Charles Mackerras and Sir Roger Norrington. Her list of distinguished recital partners includes the pianists Daniel Barenboim, Yefim Bronfman, Malcolm Martineau, András Schiff and Mitsuko Uchida, with whom she has performed at such prestigious venues as Carnegie Hall, Wigmore Hall, Alice Tully Hall and the Amsterdam Concertgebouw, and at the Aldeburgh, Edinburgh and Salzburg festivals. Kožená’s understanding of historical performance practices have been cultivated in collaboration with outstanding period-instrument ensembles, including the English Baroque Soloists, the Gabrieli Consort and Players, Il Giardino Armonico, Les Musiciens du Louvre, the Orchestra...
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Czech star mezzo-soprano Magdalena Kožená has worked with many of the world’s leading conductors, Claudio Abbado, Pierre Boulez, Gustavo Dudamel, Sir John Eliot Gardiner, Bernard Haitink, Nikolaus Harnoncourt, Mariss Jansons, James Levine, Sir Charles Mackerras and Sir Roger Norrington. Her list of distinguished recital partners includes the pianists Daniel Barenboim, Yefim Bronfman, Malcolm Martineau, András Schiff and Mitsuko Uchida, with whom she has performed at such prestigious venues as Carnegie Hall, Wigmore Hall, Alice Tully Hall and the Amsterdam Concertgebouw, and at the Aldeburgh, Edinburgh and Salzburg festivals. Kožená’s understanding of historical performance practices have been cultivated in collaboration with outstanding period-instrument ensembles, including the English Baroque Soloists, the Gabrieli Consort and Players, Il Giardino Armonico, Les Musiciens du Louvre, the Orchestra of the Age of Enlightenment, Venice Baroque Orchestra and Le Concert d’Astrée. She is also in demand as soloist with the Berlin, Vienna and Czech Philharmonics and the Cleveland, Philadelphia and Royal Concertgebouw Orchestras.
Kožená first performed at the Salzburg Festival in 2002 as Zerlina in Don Giovanni and returned in 2013 as Idamante, a role she has also sung for the Glyndebourne Festival and in Berlin and Lucerne. Kožená made her first appearance at New York’s Metropolitan Opera in 2003 as Cherubino in Mozart’s Le nozze di Figaro and has since been a regular guest. She sang Zerlina for the company’s tour to Japan in 2006 and returned to New York to take the title-role in Jonathan Miller’s production of Debussy’s Pelléas et Mélisande in 2010/11. Her opera credits also include Angelina in Rossini’s La Cenerentola (Royal Opera House, 2007), Oktavian in Richard Strauss’s Der Rosenkavalier (Berlin Staatsoper, 2009 and Baden Baden Easter Festival, 2015), the title-role in Bizet’s Carmen (Salzburg Easter and Summer Festivals, 2012), Charpentier’s Médée (Basel Opera 2015) Martinů’s Juliette (Berlin Staatsoper, 2016), Magueritte in Berlioz´s La Damnation de Faust (Berlin Staatsoper, 2017) or Phaidre in Rameau´s Hippolyte et Aricie (Berlin Staatsoper, 2018).

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Composer(s)

Robert Schumann

Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in...
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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favour of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.
Schumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness.

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Clara Schumann

Clara Wieck was a pupil of her father Friedrich in Frankfurt and performed for the first time in public when she was ten years old, with success. After a lot of squabbles, she married Robert Schumann in 1840, and she was a close friend of Brahms, especially after Schumann's death in 1856. She worked as a piano teacher, first in Berlin and later in Frankfurt, from 1878-1892. As a pianist of European stature she made since 1832 concert tours to Russia, the Netherlands and England. She mainly excelled in the work of Beethoven, Schumann and Chopin, and later on Brahms. As a composer, she wrote a piano concerto, chamber music, a piano sonata, short piano pieces, songs and cadences for piano concertos...
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Clara Wieck was a pupil of her father Friedrich in Frankfurt and performed for the first time in public when she was ten years old, with success. After a lot of squabbles, she married Robert Schumann in 1840, and she was a close friend of Brahms, especially after Schumann's death in 1856. She worked as a piano teacher, first in Berlin and later in Frankfurt, from 1878-1892.
As a pianist of European stature she made since 1832 concert tours to Russia, the Netherlands and England. She mainly excelled in the work of Beethoven, Schumann and Chopin, and later on Brahms.
As a composer, she wrote a piano concerto, chamber music, a piano sonata, short piano pieces, songs and cadences for piano concertos by Mozart and Beethoven.
(Source: Musicalifeiten.nl)
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Press

Both singers excel at the upper register of their range. Steffani's baritone has the sonority of a lithe lower tenor, while Kožená avoids the smoky tones of a near-contralto, opting for a sound closer to a lyric soprano. These ranges and vocal qualities suit the Schumanns' songs very well and prevent them from being tedious or grating...
Fanfare, 01-4-2022

The Dutch baritone Raoul Steffani demonstrates a style and a diction always impeccable. He vocally masters  all these lieder which often seek the top of the register and bring a lot of colors, always subtly revived by Gerold Huber...
Classica, 01-4-2022

The recording quality is excellent and there is sufficient time between sets of songs.
American Record Guide, 01-3-2022

In four duets Raoul gets a nice response from Magdalena... Pianist Gerold Huber is an excellent accompanist.
Luister, 01-2-2022

All very beautiful
Music Emotion, 01-2-2022

German pianist Huber provides detailed lighting for the scores, while Kozená elegantly arranges the beautifully formed phrases and Steffani emphasizes the color of the tone, of spectacular beauty.
Sonograma, 29-12-2021

No doubt about it: both sing beautifully, with in the duets that so enchanting mixture of the two so completely different timbres.
Opus Klassiek, 17-12-2021

Steffani's asset remains his youthful sound. You can hear that he gets to the bottom of the lyrics of poets like Rückert and Chamisso.
De Volkskrant, 10-12-2021

Play album Play album
01.
Liebesfrühling, Op. 37 (Rückert) (1841): Der Himmel hat eine Träne geweint
02:00
(Robert Schumann, Clara Schumann) Gerold Huber, Raoul Steffani
02.
Liebesfrühling, Op. 37 (Rückert) (1841): Er ist gekommen
02:42
(Clara Schumann, Robert Schumann) Magdalena Kožená, Gerold Huber
03.
Liebesfrühling, Op. 37 (Rückert) (1841): O Ihr Herren
01:01
(Clara Schumann, Robert Schumann) Magdalena Kožená, Gerold Huber
04.
Liebesfrühling, Op. 37 (Rückert) (1841): Liebst du um Schönheit
02:11
(Clara Schumann, Robert Schumann) Magdalena Kožená, Gerold Huber
05.
Liebesfrühling, Op. 37 (Rückert) (1841): Ich hab’ in mich gesogen
01:57
(Clara Schumann, Robert Schumann) Gerold Huber, Raoul Steffani
06.
Liebesfrühling, Op. 37 (Rückert) (1841): Liebste, was kann denn uns scheiden?
02:39
(Clara Schumann, Robert Schumann) Magdalena Kožená, Gerold Huber, Raoul Steffani
07.
Liebesfrühling, Op. 37 (Rückert) (1841): Schön ist das Fest des Lenzes
01:05
(Clara Schumann, Robert Schumann) Magdalena Kožená, Gerold Huber, Raoul Steffani
08.
Liebesfrühling, Op. 37 (Rückert) (1841): Flügel! Flügel! um zu fliegen
03:15
(Clara Schumann, Robert Schumann) Gerold Huber, Raoul Steffani
09.
Liebesfrühling, Op. 37 (Rückert) (1841): Rose, Meer und Sonne
04:21
(Clara Schumann, Robert Schumann) Raoul Steffani, Gerold Huber
10.
Liebesfrühling, Op. 37 (Rückert) (1841): O Sonn’, o Meer, o Rose
03:16
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
11.
Liebesfrühling, Op. 37 (Rückert) (1841): Warum willst du andere fragen
02:36
(Robert Schumann, Clara Schumann) Gerold Huber, Magdalena Kožená
12.
Liebesfrühling, Op. 37 (Rückert) (1841): So wahr die Sonne scheinet
02:04
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber, Magdalena Kožená
13.
Fünf Lieder, Op. 40 (1840): Märzveilchen (Andersen)
01:30
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
14.
Fünf Lieder, Op. 40 (1840): Muttertraum (Andersen)
02:46
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
15.
Fünf Lieder, Op. 40 (1840): Der Soldat (Andersen)
02:39
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
16.
Fünf Lieder, Op. 40 (1840): Der Spielmann (Andersen)
03:08
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
17.
Fünf Lieder, Op. 40 (1840): Verratene Liebe (Chamisso)
00:52
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
18.
Sechs Lieder, Op. 13 (1844): Ich stand in dunklen Träumen (Heine)
02:06
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
19.
Sechs Lieder, Op. 13 (1844): Sie liebten sich beide (Heine)
01:54
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
20.
Sechs Lieder, Op. 13 (1844): Die Liebe saß als Nachtigall (Geibel)
02:16
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
21.
Sechs Lieder, Op. 13 (1844): Der Mond kommt still gegangen (Geibel)
01:52
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
22.
Sechs Lieder, Op. 13 (1844): Ich hab’ in deinem Auge (Rückert)
01:52
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
23.
Sechs Lieder, Op. 13 (1844): Die stille Lotosblume (Geibel)
02:21
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber
24.
Tanzlied (Rückert) Op. 78 No. 1
02:46
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber, Magdalena Kožená
25.
Er und Sie (Kerner) Op. 78 No. 2 (1849)
03:07
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber, Magdalena Kožená
26.
In der Nacht (Geibel) Op. 74 No. 4
04:13
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber, Magdalena Kožená
27.
Unterm Fenster (Burns) Op. 34 No. 3
01:31
(Robert Schumann, Clara Schumann) Raoul Steffani, Gerold Huber, Magdalena Kožená
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