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Robert Schumann - Dichterliebe Op. 48

Robert Schumann - Dichterliebe Op. 48-Guitar
ID: JCL513 (EAN: 5036098008258)  | 1 CD | DDD - 24 b
Publi: 2009
JCL Records
MERTZ, Johann Casper | SCHUMANN, Robert
HERRING, Carl (guitar) | KYLE, Kevin (tenor)
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Dichterliebe Op. 48
Robert Schumann (1810 - 1856)
Arranged by Carl Herring for Guitar and Voice, Observing original keys throughout

An original arrangement by Carl Herring of Schumann’s masterpiece, here recorded on the JCL label for the first time for Guitar and Tenor. Carl Herring and Kevin Kyle met whilst studying at the Royal Academy of Music, London and collaborate regularly as a duo performing classical and modern repertoire. This particular arrangement of Dichterliebe has been a work in progress ever since Carl and Kevin met and JCL Records are delighted to have facilitated this first of many recordings of the duo. The recording is complemented at the end by Carl performing Five Schubert Songs arranged by Johann Kasper Mertz.

Carl Herring
Carl is the leading British guitarist of his generation and has rapidly built up an international career, giving performances throughout the UK and in Cuba, Sri Lanka, Scandinavia and Europe.

Kevin Kyle
Kevin is rapidly developing his career as an international singer and has performed throughout the UK and Europe for the Longborough Festival Opera, Carl Rosa Opera Company, Opera Works, the Early Music Company, Le Concert d’Astree and the Armonico Consor
SCHUMANN, Robert (1810-1856) 
Arranged by Carl Herring for Guitar and Voice, Observing original keys throughout 
Dichterliebe Op. 48 
1. Im wunderschönen Monat Mai1:37 
2. Aus meinen Tränen sprießen0:52 
3. Die Rose, die Lilie, die Taube, die Sonne0:35 
4. Wenn ich in deine Augen seh'1:48 
5. Ich will meine Seele tauchen0:49 
6. Im Rhein, im heiligen Strome2:20 
7. Ich grolle nicht1:35 
8. Und wüßten's die Blumen, die kleinen1:09 
9. Das ist ein Flöten und Geigen1:15 
10. Hör' ich das Liedchen klingen2:21 
11. Ein Jüngling liebt ein Mädchen1:06 
12. Am leuchtenden Sommermorgen2:55 
13. Ich hab' im Traum geweinet2:53 
14. Allnächtlich im Traume seh ich dich1:18 
15. Aus alten Märchen winkt es2:38 
16. Die alten, bösen Lieder5:07 
MERTZ, Johann Casper (1806-1856) 
Sechs Schubert'sche Lieder (Six Schubert Songs) 
Guitar Solo 
17. Die Post2:52 
18. Ständchen4:06 
19. Das Fischermädchen2:26 
20. Aufenthalt3:25 
21. Liebesbothschaft4:08 
22. Lob der Thränen3:47 


Herring’s arrangement of Dichterliebe for voice and guitar gives a whole new life to the work as an intimate, direct communication with the listener rather than a performance. Kyle’s tenor is occasionally taxed audibly by the challenge but he interprets the words with intelligence. Mertz’s settings for guitar alone sound, by contrast, pleasant but pedestrian. 4/5 stars. By Classical Music Magazine
Tenor and guitarist bring a whole new dimension to Schumann’s Heine cycle. Now before you laugh, there is at least one precedent here: Peter Schreier and classical guitarist Konrad Ragossnig’s Die schöne Müllerin. And boy does that work. But Schumann, who thought so pianistically? It’s not only to the credit of guitarist Carl Herring, whose skilful arrangements - played equally skilfully - these are, that so much of this also works; Kevin Kyle, with his light, unaffected tenor, brings a youthful earnestness to Heine’s poems that, in combination with the sound of plucked strings, adds a whole new, almost folk-like, dimension to this most beloved of song-cycles. This is most evident where the songs themselves are most delicate: certainly “In wunderschönen Monat Mai” but also in “Am leuchtenden Sommermorgen”. It’s only in those songs where you really need the meat-and-potatoes of a baritone and piano - “Im Rhein, im heiligen Strome” or “Ich grolle nicht”, to cite two obvious examples - that the shortcomings of the present combination present themselves. More seriously, an overall conception of the unfolding emotional and psychological drama - such as you hear with Gérard Souzay and Dalton Baldwin or Eberhard Wächter and Alfred Brendal - seems to be lacking. As a filler, Herring plays six Schubert arrangements for solo classical guitar by one of Schumann’s contemporaries, Johann Kaspar Mertz (1806-56). As Herring points out in his notes - in which, alas, he occasionally resorts to hyperbole in order to bolster his arguments - they are indeed influenced by Liszt’s own transcriptions of the same songs; and while less overtly virtuoso, they have an irresistible charm all on their own. As does, ultimately, this surprisingly successful recording.
By Gramophone Magazine 2009


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