SKU: HL.49045496

ISBN 9790001162463. UPC: 888680784256. 9.0x12.0x0.455 inches. German - Czech.

All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Funf Gesange from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism.

SKU: HL.49044628

ISBN 9790001198493. UPC: 841886022027. 9.25x12.0x0.212 inches. German.

Aribert Reimann's idea to arrange the lieder of Franz Liszt for baritone and string quartet goes back to his collaboration with Dietrich Fischer-Dieskau, recording some of these lieder for the German broadcasting company formerly known as Sender Freies Berlin (SFB). Since then, Reimann has continued to be fascinated by Liszt's thrilling harmony and unconventional treatment of the voice. Here, he has compiled a cycle containing seven lieder from Liszt's middle and late periods, arranged so that each song is the logical continuation of its predecessor. Liszt's fundamental harmony has been retained, but the registers have been altered to such an extent that they appear in a completely new light.

SKU: HL.49007921

ISBN 9790001111911. 9.0x12.0x0.238 inches.

In these lieder, Robert Schumann seems to mirror his life full of crises. The composition coincides with the first signs of his illness. The picture of the drowning Ophelia evoked in the first chant conjures up the image of his suicide attempt three years later. Aribert Reimann's transcription seems to be opposed to Schumann's endeavours to make stronger use of 'the development of the accompanying instrument, the piano'. On the other hand, the complete integration of the vocal part in the musical setting of the string quartet confirms Schumann's assessment that the singing voice alone cannot 'express everything; apart from the expression of the whole, even subtle nuances of the poem shall become apparent'. These transcriptions show Reimann's sense of timbre and his many years of experience as a lied accompanist.