Schubert, Lacroix, Morlock, Yoshimatsu: Night Light / Chiu, Deutsch
Leaf Music
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Feb 18, 2022
Society, musical conventions, and tastes inevitably change and develop over time, but the shared human experiences that artists draw upon do not. The two overarching ideas that Lara Deutsch and Phil Chiu used as inspiration for this album are dreams and journeys. Dreamy music is often associated with relaxation and easy-listening -- but don’t be fooled; this music has wickedly fast and thrilling sounds that capture the chaotic nature of dreams as well! Described in La Presse as “a pianist-painter who transforms each musical idea into a beautiful array of colors,” Philip Chiu is acclaimed for his brilliant pianism, sensitive listening, and a presence that eschews the hermit-pianist image in favor of openness, authenticity, and connection. Named one of 2020’s Rising Stars by BBC Music Magazine, flutist Lara Deutsch is a versatile soloist, chamber musician, and orchestral player known for her engaging warmth and ability to connect with audiences. Recipient of the $125,000 Prix Goyer for collaborative artists in 2019-2020, she is happiest when performing chamber music with her favorite musical partners.
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Schubert, Lacroix, Morlock, Yoshimatsu: Night Light / Chiu, Deutsch
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Leaf Music
Feb 18, 2022
LM249
Schubert: Works for Flute
Haenssler Classic
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Apr 26, 2024
From the song cycle Die schone Mullerin, Op. 25, D. 795 ("The Fair Maid of the Mill"), the eighteenth lied titled Trockne Blumen ("Withered Flowers") served as inspiration for Schubert to compose Introduction and Variations, D. 802 for flute and piano. This piece was written in 1824 for Ferdinand Bogner, a flute professor at the Vienna Conservatory and one of Schubert's friends. Eventually, Bogner became head of the Gesellschaft der osterreichischen Musikfreunde (Austrian Philharmonic Society) and helped organize the premiere of several of Schubert's works. Deeply expressive and lyrical, the version for flute and string quintet in this recording was arranged by Rainer Schottstadt and is a technical tour de force for every flutist.
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Schubert: Works for Flute
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Haenssler Classic
Apr 26, 2024
HC23080
Elly Ney Plays Brahms & Schubert / M. Fiedler, Melichar, Berlin Philharmonic
APR
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Feb 16, 2024
German pianist ELLY NEY’s posthumous reputation has, perhaps justifiably, been tarnished by her links to the Nazi regime, but 80 years on it’s easier to focus on her pianism and acknowledge she was one of the finest pianists of her generation. A previous APR release (APR7311) presented her interpreting a wide range of composers, but she came to be regarded as one of the great interpreters of the Austro-German repertoire and here she tackles two of the masterworks, including a monumental performance of the Brahms Second Piano Concerto with the Berlin Philharmonic Orchestra, the first version recorded by a woman. Brahms specialist, Max Fiedler, ostensibly conducts, though our booklet note reveals Alois Melichar as the uncredited conductor who completed the project after Fiedler’s sudden death. The suite of Schubert dances which completes the release appears never to have been reissued before.
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Elly Ney Plays Brahms & Schubert / M. Fiedler, Melichar, Berlin Philharmonic
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APR
Feb 16, 2024
APR5639
Schubert: Die schone Mullerin / Hammer, Johannsen, Alinde Quartet
Haenssler Classic
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Nov 03, 2023
With his song cycle, Die schöne Müllerin op. 25, published in Vienna in August 1824, Franz Schubert created one of the first song cycles in music history. It is a real cycle, not just a loose collection, because all the poems united in it hang firmly on a narrative thread: a narrated story, presented in 20 individual songs. It is clear that the most appropriate instrument for Die Schöne Müllerin is not the modern concert grand piano, but rather the fortepiano of Schubert's time, with its delicate, transparent sound and enormous richness of color. This makes for a completely different listening experience. But the arrangement that Tom Randle wrote for the ALINDE Quartet in 2022 can also open one's ears in a completely new way.
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Schubert: Die schone Mullerin / Hammer, Johannsen, Alinde Quartet
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Haenssler Classic
Nov 03, 2023
HC23068
Schubert & Kurtag: Lines of Life
Alpha
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Mar 14, 2025
Benjamin Appl met Hungarian composer Gyorgy Kurtag in 2019 and has worked with him ever since. 'He has shaped me both as a musician and as a human being, perhaps more than anyone else,' says Appl. This album alternates Romantic German lieder by Schubert and Brahms with vocal pieces by Kurtag, five of which are world premiere recordings. Kurtag himself is at the piano for two of the songs by Schubert and Brahms; while the German baritone's old and trusted friends Pierre-Laurent Aimard and James Baillieu join him for the other works in this programme, all under the artistic direction of Kurtag, ending with a fascinating recorded interview with Gyuri bacsi ('Uncle George') by Benjamin Appl, who tells us: 'My aim in this album is to give listeners a glimpse into the infinite universe of Gyorgy Kurtag, a shy procrastinator, stern self-critic, hesitant researcher, introverted questioner, unpretentious intellectual, brilliant composer and an extraordinary human being.'
•Pianist Jura Margulis recorded the present Schubert CD on a modern grand piano equipped with the built-on “sordino pedal” extension. Around the mid-19th century, this possibility of altering and extending the sound had largely disappeared from the canon of various pedal functions, but it was retained in Vienna until the early 20th century. Composers call this function “sordino” because the sound modification is related to the mutes of the string instruments.
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Schubert: Piano Works
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CD
Oehms Classics
May 27, 2014
OC435
The Landscape of Clara Schumann
Coviello
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Sep 04, 2026
The Landscape of Clara Schumann unfolds like a finely drawn musical panorama: a recording that combines historical resonances, personal perspectives, and contemporary sound to create a multi-layered overall picture. Pianist Heike-Angela Moser - a descendant of Clara Schumann- dedicates herself here in a special way to the legacy of her ancestor; not in the form of a nostalgic retrospective, but as a lively, artistic exploration of origins and the future. A central element of this recording is the 1859 Schiedmayer fortepiano, whose historical character and fine timbre allow the repertoire to shine with a rarely heard authenticity. The Landscape of Clara Schumann is a poetic journey of sound: a dialogue between generations, between memory and renewal, between the historical breath of an instrument and the living voice of it's contemporary interpreter.
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The Landscape of Clara Schumann
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CD
Coviello
Sep 04, 2026
COV92608
The Final Sonata
Haenssler Classic
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Mar 13, 2026
Both as a soloist and as a Lied pianist, Ammiel Bushakevitz has a close relationship with the music of Franz Schubert. Together with Hanssler Classics and the Athenaeum Foundation, the pianist is developing a long-term project to record Schubert's complete solo piano works. Vol. 3 includes last works of the composer.
Schubert: Symphonies Nos. 1-8 / Harnoncourt, Berlin Philharmonic
Berlin Philharmoniker
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Sep 22, 2017
In these recordings, Nikolaus Harnoncourt and the Berliner Philharmoniker present a brilliant and multifaceted interpretation of Franz Schubert’s eight symphonies. This Schubert is colorful and dramatic – and represents a unique synthesis in which the famous sound of the Berliner Philharmoniker is as evident as Nikolaus Harnoncourt’s familiarity with the transparency and sound speech of historical performance practice. The CD hardcover edition enables playback with either the best CD sound or – when used as an SACD – in high-resolution audio quality and in surround sound. Founded in 1882, the Berliner Philharmoniker has consistently been ranked as one of the best orchestras in the world. In 2006, ten European media outlets voted the ensemble number three on a list of “Top Ten European Orchestras,” and in 2008 it was voted the world’s number two orchestra in a survey by Gramophone.
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Schubert: Symphonies Nos. 1-8 / Harnoncourt, Berlin Philharmonic
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SACD
Berlin Philharmoniker
Sep 22, 2017
BPHR150063
In deinen sussen Handen - Musik fur verlorene Seelen
Fuga Libera
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CD
$20.99
Jul 03, 2026
Schone Welt, wo bist du? These words by Friedrich Schiller are the first of this new project, an exploration of existence, wandering and mourning. Coline Dutilleul has conceived a programme in which keyboard works by Johann Sebastian Bach and Lieder by Franz Schubert echo themes of melancholy and death: inner states that music makes perceptible through tempo, texture and harmony. These works trace a journey marked by absence and resilience in which agitation, renunciation and appeasement follow one another like the stages of mourning.
In deinen sussen Handen - Musik fur verlorene Seelen
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CD
Fuga Libera
Jul 03, 2026
FUG864
Schubert: Schwanengesang, Songs After Seidl / Christoph Pregardien, Andreas Staier
Challenge Classics
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Oct 03, 2008
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
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A superb, satisfying Schwanengesang that’s up there with the greatest
There are singers who seek to imbue Schubert Lieder with more gravitas, often accompanied by a sense of the world about to end. Christoph Prégardien is not of that ilk. For him, it seems, Schubert was a life-affirming optimist. In this world you can endure the slings and arrows and still be certain that the future will be better. So this marvellous Schwanengesang is essentially a honey-toned, sunny experience.
-- Gramophone [4/2009]
Schubert: Schwanengesang, Songs After Seidl / Christoph Pregardien, Andreas Staier
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Challenge Classics
Oct 03, 2008
CC72302
Schubert: Landler, Minuets & Ecossaises / Daniel Lebhardt
Naxos
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Feb 26, 2021
Social and musical life in Biedermeier Vienna during the first decade of the 19th century created a great demand for dances which took place in the residences of wealthy citizens. With their echoes of the Austrian countryside Schubert’s folk-type Ländler are dances in 3/4 time, precursors of the waltz. Composed towards the end of his life when Schubert wrote his greatest music, the sets of 16and17Ländlerare notable for their melodic inventiveness. The 16arededicated to the ladies of Vienna and known as the Wiener Damen-Ländler; while the Écossaises were intended for facing lines of dancers rather than couples. Daniel Lebhardt relishes the joy and ‘irresistible and sometimes quite delirious’ ingenuity of thesejewel-like dances.
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Schubert: Landler, Minuets & Ecossaises / Daniel Lebhardt
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Naxos
Feb 26, 2021
8574277
Schubert: Schwanengesang / Rutherford, Asti
BIS
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May 13, 2016
Schubert’s Schwanengesang here contains an extra song, Herbst D945. That song was not published as part of the posthumous compilation that Haslinger brought out and called “Swan Song”, but is another Rellstab setting from Schubert’s last year, as are the first seven songs of the original publication. Herbst was lost at that stage, as the only copy was written into a friend’s autograph album, and not rediscovered until the end of the 19th century. It might even have been a try-out for Aufenthalt which sits fifth in the published sequence, and which it resembles. Herbst follows that song on this disc, since as the baritone claims in the booklet “it is sometimes included in performance.” I don’t think it matters very much, but I have a slight preference for the cycle as it was first published. As Martin Chusid observes in his fine book on the cycle, “Whereas Herbst is a very good song, Aufenthalt is superb.”
That is not the only point of textual interest in this Schwanengesang. In preparing the work baritone James Rutherford and pianist Eugene Asti had to decide what keys to put these (originally high voice) songs in, and decided to put every song down a minor third, preserving the key relations at least. They even claim this might be the first time on disc this has been done (but one would need to listen to an awful lot of recordings to be quite sure). Of course this deepens and darkens the songs, which suits some more than others, the heavier songs like Der Atlas and Die Stadt tending to sound very imposing in these keys. And although BIS describe Rutherford as a baritone, he sounds more of a bass-baritone here. But then he has sung Hans Sachs at Bayreuth and Vienna, and the cast list in my score of Die Meistersinger says simply “Hans Sachs – Bass”.
The opening song Liebesbotschaft lacks a certain tripping lightness, but the next one Kreigers Ahnung suits Rutherford’s very fine voice perfectly, and one notices his impeccable German diction from the start. The third song, Frühlingssehnsucht shows that his large voice can deploy a lighter manner, and he really relishes the text. Ständchen, is the best known of all these songs and benefits here from a restrained but still ardent treatment. Following Aufenthalt with Herbst feels slightly like viewing a sketch after the finished painting, but both songs are so well done it seems churlish to complain. With the long (six minutes), slow and anguished In der Ferne the low voice makes its mark, as does the pianist in Abschied, with just the right tempo - a canter, not a gallop, that allows the singer to articulate the text. The performance of the Heine songs in the second part are if anything even more successful than the Rellstab ones, reaching a powerful climax with the rising hysteria of Der Dopplegänger. A properly charming account of the last song Schubert ever wrote, Die Taubenpost, closes a very satisfying version of Schwanengesang.
The four extra songs filling the disc are all favourites, and all are well sung and played. The SACD sound is excellent, and the useful booklet notes are by the distinguished American Schubert scholar Susan Youens, no less. But of course Schwanengesang is the main thing, and there are many fine accounts to choose from. If you want Herbst embedded in the cycle, and in a really fine performance, then it is included by Goerne in both of his splendid versions (Decca and Harmonia Mundi), and by Schreier (Decca), but Fischer-Dieskau (DG), Bostridge (Warner), and Gerhaher (Arte Nova) omit it. Of the few women to record the cycle, Fassbaender (DG) has it in but Stutzman (Erato) does not. The best solution might be that of Holzmair (Decca) and Pregardien (Challenge) who add it to the CD as an extra, but not within the cycle, which also happens on the last volume (No.37) of the Hyperion/Graham Johnson version. That has the two parts of the cycle shared between two tenors, John Mark Ainsley and Anthony Rolfe Johnson. There are now so many good recordings of this cycle – all of those mentioned above are worth hearing, and several are worth owning. Goerne on Decca (live, with Brendel) is still my choice of the lower voice options, and Bostridge among the tenors. Fassbaender’s disc is a quite exceptional performance. But the long list of those worth really hearing now includes this fine version too.
After its recording of Dvorák’s complete chamber music with piano, the Busch Trio now tackles three works by Franz Schubert, including his famous Piano Trio no.2. While the dying composer dedicated this masterpiece ‘to nobody, save those who find pleasure in it,’ as if urging them to enjoy the life that was gradually ebbing away from him, his “Notturno” for piano trio D 897 expresses an anguish and a sense of tragedy that makes it one of the most eloquent examples of Romantic lyricism. Schubert’s early period is represented by his very first piece for piano and strings, the single-movement Sonatensatz D28, which he composed at the age of fifteen. Written following the youthful Schubert’s expulsion from the Imperial Choir School in Vienna after his voice broke (he lost his mother the same year), this piece, still heavily influenced by Classicism, offers a troubling counterpoint to the works of his Romantic maturity, which reflect both the joy of creation and the suffering wrought by illness.
The great Italian legend of the piano Maurizio Pollini sadly passed away on 23rd March 2024. This album recorded together with his son Daniele, is dedicated to three different aspects of Schubert's piano oeuvre covering: the sonatas, the collections of short pieces, and music for four hands. The first time that both musicians performed a piano work for four hands: Schubert's great F minor Fantasy. The release is accompanied by a 16-page booklet with an essay by Maurizio Pollini's long-time companion Paolo Petazzi. “Schubert was certainly one of my father’s most beloved composers. As a boy, listening to his beautiful performances of the Sonatas D 960 and D 894 made me understand the greatness of Schubert’s music.” - Daniele Pollini
Schubert / Maurizio and Daniele Pollini
$14.99
CD
DEUTSCHE GRAMMOPHON
Dec 06, 2024
DEGR165588.2
Arpeggione.200
Gramola Records
Available as
CD
$24.99
Mar 06, 2026
Playing Franz Schubert's music on the unusual instrument known as the "arpeggione" in an ensemble with the combination of Schrammel harmonica and contraguitar known as the "Wiener Packl" (Viennese posse) in traditional Viennese music - as far-fetched as this combination may seem at first glance, on closer inspection it is not so outlandish, given that the inventor of the arpeggione, Johann Georg Stauffer, also made the first attempts to develop the contraguitar. And the Schrammel harmonica was also invented around the same time, also in Vienna! On this album by the title "Arpeggione.200," Peter Hudler, Andreas Teufel and Daniel Fuchsberger perform Schubert's popular Sonata for Arpeggione and Piano in addition to different Ländler and their own arrangements of songs like "Trockne Blumen," "Du bist die Ruh" or "Sei mir gegrüßt," opening a gateway to a very special, distinctly poetic, lyrical sound world which also highlights the close relation of Schubert's works to traditional Alpine folk music.
As this second volume of overtures shows, there really is quite a bit of little-known Schubert orchestral music. Perhaps the biggest discovery for many listeners will be the turbulent Overture in E minor, but there are more than a few substantial pieces here. The two Overtures in the Italian Style are delightful, and so true to their models, and all of the music here is very well played and recorded. Benda and the Prague Sinfonia deliver a particularly vivacious account of the Rosamunde Overture, just the opposite of the thick and heavy "German" approach that we so often hear, while Fierabras also has plenty of energy. The sonics capture the players very naturally, with nicely present woodwinds and excellent balances between brass and strings. No qualms here: Go for it.
The debut album of violinist Hannah Cho, born in South Korea and member of the Vienna Philharmonic, is shaped by the idea of paying tribute to her adopted home of Vienna through sonatas by Mozart, Schubert, and Brahms-composers who are closely associated with this city. Although their lifespans (born in 1756 in Salzburg, in 1797 in Vienna-Himmelpfortgrund, and in 1833 in Hamburg, respectively) by a thin margin don't overlap, they can be described as bearers of a relay baton, their connection found in the tradition of Viennese Classicism. Together with pianist Srebra Gelleva, Hannah Cho presents Sonata No. 21 in E minor, K. 304/300c by W. A. Mozart, Sonata in A major, Op. Posth. 162, D 574 by Franz Schubert, and Sonata No. 3 in D minor, Op. 108 by Johannes Brahms. This selection offers a cross-section of the historical development of the violin sonata genre, which experiences an early flourishing with Mozart, was almost naturally incorporated into Schubert's oeuvre, and finds a peak of maturity in the Romantic era with Brahms.
Florian Boesch possesses a sensuously attractive baritone voice, first-rate diction and remarkable acting ability. Following on his acclaimed album of Loewe songs, Boesch is joined again by Roger Vignoles for an album of Schubert Lieder. Der Wanderer focuses on the composer's darker songs. They encapsulate a recurrent theme of German Romantic art: that of the rootless outsider. It is the world of Goethe's mysterious Harper and Mignon, and of the solitary, silhouetted figures in the darker landscapes of Caspar David Friedrich. In music it found it's supreme expression, not only in Schubert's Winterreise but in these many individual 'wandering' songs: some grimly resigned, some serenely contemplative, others imbued with a sense of physical and spiritual isolation and longing for an ultimately unattainable 'otherness.'
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