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Seraphim Guide To German Lieder Vinyl 3-LP Record Album Box Set VG+
Record Grade per Goldmine Standard: VG+
Comes with box and booklets as shown
THE SERAPHIM GUIDE TO GERMAN LIEDER The finest German Lieder, the songs of the great composers — mainly of the 19th Century—are the caviar of music, but they need not be indigestible or expensive.The “Seraphim Guide” is a systematic survey in music by ten leading composers, performed by ten eminent singers of international renown as practitioners of this rich art form. A leaflet of historical and analytic notes is enclosed, with full German texts and Eng- lish translations of each song. This printed guide,used with the three enjoyable stereo recordings — almost three hours of fascinating listening in every mood —will make clear why Lieder fans are so devoted. Within the small dimensions of the song can be contained some of the loftiest thoughts, the most touching expressions of love, the most revealing insights into nature that have yet occurred to the hearts and minds of poets and musicians. The songs in this treasury were chosen primarily for their melodic appeal, which has made them among the most popular creations of their composers, and endeared them to music lovers all over the world. SIDE ONE HAYDN: 1.Gebet zu Gott (Coll. ed. No. 17) (Anon.) (2:45) 2.Zufriedenheit (Coll. ed. No. 20) (Gleim) (1:30) Dietrich Fischer-Dieskau & Gerald Moore 3.O siisserTon (Coll. ed. No. 37) (Hunter) (4:40) Anneliese Rothenberger & Gunther Weissenborn MOZART: 4.Abendempfindung, K.523 (Campe) (4:35) Anneliese Rothenberger & Hubert Giesen 5.Das Veilchen, K.476 (Goethe) (2:35) 6.Meine Wiinsche, K.539 (Gleim) (3:12) Elisabeth Schwarzkopf & Geoffrey Parsons BEETHOVEN: 7.Die Ehre Gottes aus der Natur, Op. 48 No. 4 (Gellert) (2:33) Hermann Prey & Gerald Moore 8.Zartliche Liebe (Ich liebe dich), G.235 (Herrosee) (2:03) 9.Der Floh, Op. 75 No. 3 (Goethe) (2:22) Nicolai Gedda & Jan Eyron SIDE TWO SCHUBERT: 1.Gretchen am Spinnrade, D.118 (Goethe) (3:43) 2.Der Jungling an der Quelle, D.300 (Salis) (1:54) Grace Bumbry & Leonard Hokanson 3.Die Forelle, D.550 (Schubart) (2:10) Anneliese Rothenberger & Gerald Moore 4.An die Musik, D.547 (Schober) (2:43) 5.Standchen, No. 1 of “Schwanengesang,” D.957 (Rellstab) (3:55) 6.Geheimes, D.719 (Goethe) (1:45) Hans Hotter & Gerald Moore 7.Wohin?, No. 2 of “Die scheme Mullerin,” D.795 (Muller) (2:05) 8.Der Tod und das Madchen, D.531 (Claudius] (2:48) Victoria de los Angeles & Gerald Moore 9.Erlkonig, D.328 (Goethe) (3:57) 10.Der Musensohn, D.764 (Goethe) (2:20) Christa Ludwig & Geoffrey Parsons SIDE THREE LOEWE: 1.Erlkonig, Op. 1 No. 3 (Goethe) (3:13) 2.Edward, Op. 1 No. 1 (Scottish Ballad, transl. Herder) (5:50) Dietrich Fischer-Dieskau & Gerald Moore SCHUMANN: 3.Widmung, No. 1 of "Myrthen,” Op. 25 (Riickert) (2:39) Grace Bumbry & Leonard Hokanson 4.Erstes Grim, Op. 35 No. 4 (Kerner) (2:14) 5.Die beiden Grenadiere, Op. 49 No. 1 (Heine) (4:04) Hans Hotter & Gerald Moore 6.Mondnacht, Op. 39 No. 5 (Eichendorff) (3:30) Hermann Prey & Karl Engel 7.Der Nussbaum, No. 3 of “Myrthen,” Op. 25 (Mosen) (2:53) Anneliese Rothenberger & Gunther Weissenborn 8.Meine Rose, Op. 90 No. 2 (Lenau) (3:37) Anneliese Rothenberger & Hubert Giesen SIDE FOUR BRAHMS: 1.Wie bist du, meine Kbnigin, Op. 32 No. 9 (Daumer) (4:15) Dietrich Fischer-Dieskau & Gerald Moore 2.Feldeinsamkeit, Op. 86 No. 2 (Allmers) (3:23) Grace Bumbry & Leonard Hokanson 3.Sapphische Ode, Op. 94 No. 4 (Schmidt) (2:24) 4.Standchen, Op. 106 No. 1 (Kugler) (1:46) 5.O wiisst ich doch den Weg zuriick, Op. 63 No. 8 (Groth) (3:42) Christa Ludwig & Geoffrey Parsons 6.Die Mainacht, Op. 43 No. 2 (Holty) (3:27) Anneliese Rothenberger & Gerald Moore 7.Da unten im Tale, No. 6 of “Deutsche Volkslieder,” 1894 (1:50) 8.Mein Madel hat einen Rosenmund, No. 25 of “Deutsche Volkslieder,” 1894 (1:43) Hermann Prey & Martin Malzer 9.Dein blaues Auge, Op. 59 No. 8 (Groth) (2:08) 10.Vergebliches Standchen, Op. 84 No. 4 (Rhenish Folk Song) (1:37) Victoria de los Angeles & Gerald Moore SIDE FIVE WOLF: 1.Nun wandre, Maria (Spanish Song Book) (Heyse & Geibel) (2:53) 2.Herr, was tragt der Boden hier? (Spanish Song Book) (Heyse & Geibel) (3:27) Janet Baker & Gerald Moore 3.Anakreons Grab (Goethe) (3:07) Dietrich Fischer-Dieskau & Gerald Moore 4.Auch kleine Dinge (Italian Song Book) (Heyse) (2:35) Elisabeth Schwarzkopf & Gerald Moore 5.Gesang Weylas (Morike) (1:41) Christa Ludwig & Gerald Moore MAHLER: 6.Um Mitternacht (Riickert) (5:52) Christa Ludwig & Gerald Moore 7.Des Antonius von Padua Fischpredigt (from Des Knaben Wunderhorn) (4:40) 8.Ich atmet’ einen linden Duft (Riickert) (2:48) Elisabeth Schwarzkopf & Geoffrey Parsons SIDE SIX RICHARD STRAUSS: 1.Die Nacht, Op. 10 No. 3 (Gilm) (2:30) 2.Heimliche Aufforderung, Op. 27 No. 3 (Mackay) (3:22) 3.Standchen, Op. 17 No. 2 (Schack) (2:18) Nicolai Gedda & Gerald Moore 4.Morgen!, Op. 27 No. 4 (Mackay) (4:10) 5.Wiegenlied, Op. 41 No. 1 (Dehmel) (5:28) 6.All mein Gedanken, Op. 21 No. 1 (Dahn) (1:14) Janet Baker & Gerald Moore 7.Allerseelen, Op. 10 No. 8 (Gilm) (3:08) 8.Zueignung, Op. 10 No. 1 (Gilm) (2:00) Dietrich Fischer-Dieskau & Gerald Moore 9.Schlagende Herzen, Op. 29 No. 2 (Bierbaum) (2:32) Anneliese Rothenberger & Gerald Moore The English mezzo-soprano JANET BAKER was born in Yorkshire. A Kathleen Ferrier Prize enabled her to study at the Salzburg Mo- zarteum, and during the 1960’s her international career blossomed —first in concert and oratorio, more recently in opera—under such conductors as Klemperer, Barbirolli and Benjamin Britten. She made her American debut in 1966 with the San Francisco Sym- phony under Josef Krips. American mezzo-soprano GRACE BUMBRY from St. Louis finished her musical training with Lotte Lehmann at the Music Academy of the West in Santa Barbara, and made her opera debut as Amneris at the Paris Opera in 1960. Her broad operatic reper- toire, including the roles of Carmen, Venus and Azucena, has brought immense success on the great international and festival stages, as well as in her native country. DIETRICH FISCHER-DIESKAU, the incomparable baritone from Berlin, burst like a new star on the world’s musical scene after World War II, first as a Lieder singer, but ever more fre- quently in opera as well. With his commanding presence and encyclopedic repertoire (he is said to have recorded more than any person who has ever lived) he is a true artistic phenomenon. Tenor NICOLAI GEDDA was born in Sweden of a Swedish mother and Russian father, grew up in Germany, and had his first great successes in Milan and Paris. This polyglot background car- ried with it an amazing stylistic versatility, and Gedda is known, for instance, as the finest tenor for the French repertoire today, and a mainstay of New York’s Metropolitan Opera and other American companies. THE ARTISTS Although the bass-baritone HANS HOTTER has curtailed his stage appearances, he still sings on important occasions, and has attained new fame as a stage director, particularly for Wagner operas. Munich-trained, he has been especially associated with the Salzburg and Bayreuth Festivals, but his career has been truly an international one, and his Lieder records are highly esteemed. CHRISTA LUDWIG is the daughter of two Austrian singers, and made her early career in a broad repertoire of mezzo-soprano parts in German houses and the Vienna State Opera. Now she has branched out not only in her international activity but in vocal range as well, even singing Brunnhilde and the Marschallin, and often returning to the exacting discipline of Lieder. Baritone HERMANN PREY studied at the Hochschiile fur Musik in his native Berlin. His opera career, beginning in Hamburg, has been paralleled by one in Lieder, and he was the youngest person ever to receive the coveted title of Kammersanger from the Aus- trian government. His Papageno in “The Magic Flute" considerably livened the first seasons at the new Metropolitan Opera House. The "Hochsoprann" (high soprano) ANNELIESE ROTHEN- BERGER, born in Mannheim, Germany, is firmly established in a broad opera and operetta repertoire, from Mozart to both Strausses and Alban Berg, and came with the Hamburg State Opera when that company visited the Montreal World’s Fair and Lincoln Center Festival in 1967. With her radiant good looks and agile voice to match, this charming singer has now branched out into the even more exacting art form of Lieder, and has contributed—especially on BBC Television—to its increased popularity. Soprano ELISABETH SCHWARZKOPF was born in a small town in Silesia and was also trained at the Berlin Hochschiile fur Musik. Before her American debut, a Town Hall recital in 1953, only a few record connoisseurs knew her name, but since then she has been idolized, especially for her Strauss and Mozart roles in opera and for her Lieder singing—with Wolf as a particular spe- cialty-all over the world. The Spanish soprano VICTORIA DE LOS ANGELES has managed a double career as both a specialist in the rich musical literature of her native country—so foreign in idiom to non-Span- ish-speaking singers—and a thoroughly schooled artist in the inter- national song and operatic repertoire. As Senora Magrina she currently devotes more time to her family in Barcelona, so that her appearances in the outside world grow more and more into major events. GERALD MOORE, who is heard as pianist on a majority of these recordings, was born in Watford, north-west of London, and has been the most-demanded collaborator with the world’s great Lieder-singers and instrumentalists for over half a century. Al- though he has officially retired from the recital stage (an occasion marked by a recording made at London's Royal Festival Hall with Schwarzkopf, Fischer-Dieskau and Victoria de los Angeles and called “Homage to Gerald Moore," Angel SB-3697), he happily re- mains active in the recording studios.

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