Sara Couden – Artur Schnabel: Complete Vocal Works (2022) [FLAC 24bit/96kHz]

Sara Couden - Artur Schnabel: Complete Vocal Works (2022) [FLAC 24bit/96kHz] Download

Sara Couden – Artur Schnabel: Complete Vocal Works (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:25 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Steinway and Sons

Artur Schnabel (1882-1951) was not only a gifted pianist, but also an accomplished composer who left behind three symphonies and five string quartets, among other works. The songs were largely written after 1905 for the recitals he shared with his wife, the contralto Therese Behr-Schnabel. American pianist Jenny Lin and contralto Sara Couden present this song oeuvre on STEINWAY & SONS.This Steinway & Sons release is the debut album of contralto Sara Couden. The album wasn’t her idea, and indeed she was, like most people, unfamiliar with the fact that the great pianist Artur Schnabel was a song composer (and also wrote three symphonies). However, her rich, slightly smoky voice was an ideal choice for this material. Schnabel wrote these songs for his wife, Irene Behr. Charmingly, the two met when Schnabel, at a mountain resort, commented to a friend on the size of some boots in the corridor, only to be accosted by Behr the next morning, saying, “I heard you talking about my big feet.” The songs are thus highly idiomatic for the alto voice, but they are more than that. Most of them date from between 1900 and 1910, from early in Schnabel’s career, and they show a composer alert to the ideas in contemporary German poetry and seeking fresh ways to express them. The best is saved for last, with Notturno for voice and piano, Op. 16, set to a long poem by Richard Dehmel. Dehmel was the muse of Schoenberg (in Verklärte Nacht) and other members of the Second Viennese School, and Schnabel was obviously aware of this; although he is not in Schoenberg territory, he pushes the tonality quite a bit. Strauss also set this rather dark text. Couden’s reading is direct and affecting, with good control over the lengthy song. Any of these pieces could be programmed with Schoenberg or Berg, and it is a shame that they aren’t better known. This beautifully recorded album, made at the Samurai Hotel Recording Studio in Queens, may change that situation. – James Manheim


1-1. Sara Couden – No. 1, Sphärengesang (02:37)
1-2. Sara Couden – No. 2, Frühlingsgruss (01:16)
1-3. Sara Couden – No. 3, Morgengruss (02:03)
1-4. Sara Couden – No. 4, Das Mädchen mit den hellen Augen (04:29)
1-5. Sara Couden – No. 5, Abfindung (04:16)
1-6. Sara Couden – No. 1, Wunder (02:31)
1-7. Sara Couden – No. 2, Dann (02:15)
1-8. Sara Couden – No. 3, Ein ferner Frauengesang (02:30)
1-9. Sara Couden – No. 4, Marienlied (01:44)
1-10. Sara Couden – No. 5, Dieses ist ein rechter Morgen (01:38)
1-11. Sara Couden – No. 6, Manche Nacht (02:43)
1-12. Sara Couden – No. 7, Sieh mein Kind ich gehe (01:25)
1-13. Sara Couden – No. 8, Waldnacht (02:13)
1-14. Sara Couden – No. 9, Das Veilchen an den spanischen Flieder (02:01)
1-15. Sara Couden – No. 10, Tanzlied (01:16)
1-16. Sara Couden – No. 1, Frühling (03:49)
1-17. Sara Couden – No. 2, Octoberlied (03:21)
1-18. Sara Couden – No. 3, Abendständchen (03:30)
1-19. Sara Couden – No. 4, Abendlandschaft (01:54)
1-20. Sara Couden – No. 5, Hyazinthen (03:55)
1-21. Sara Couden – No. 6, Heisst es viel dich bitten? (01:44)
1-22. Sara Couden – No. 7, Die Sperlinge (01:23)
1-23. Sara Couden – Notturno for Voice & Piano, Op. 16 (22:42)


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