Tags
Language
Tags
July 2025
Su Mo Tu We Th Fr Sa
29 30 1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31 1 2
    Attention❗ To save your time, in order to download anything on this site, you must be registered 👉 HERE. If you do not have a registration yet, it is better to do it right away. ✌

    ( • )( • ) ( ͡⚆ ͜ʖ ͡⚆ ) (‿ˠ‿)
    SpicyMags.xyz

    Thomas Quasthoff - Schubert. Brahms. (2001)

    Posted By: luckburz
    Thomas Quasthoff - Schubert. Brahms. (2001)

    Franz Schubert: «Schwanengesang» / Johannes Brahms: «Vier ernste Gesänge»
    Thomas Quasthoff (Bariton) • Justus Zeyen (Klavier)
    EAC+LOG+CUE | FLAC (tracks): 235 MB | Artwork | 5% Recovery Info
    Label/Cat#: Deutsche Grammophon # 471 030-2 | Country/Year: Germany 2001
    Genre: Classical | Style: Classical Period, Romantic, Vocal

    MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

    selfrip [] not my rip [X]

    Thomas Quasthoff - Schubert. Brahms. (2001)


    Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

    EAC extraction logfile from 30. November 2010, 23:15

    Various / Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)

    Used drive : ASUS DRW-1814BLT Adapter: 4 ID: 1

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 6
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : Yes
    Used interface : Native Win32 interface for Win NT & 2000
    Gap handling : Appended to previous track

    Used output format : User Defined Encoder
    Selected bitrate : 768 kBit/s
    Quality : High
    Add ID3 tag : No
    Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
    Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.00 | 2:55.00 | 0 | 13124
    2 | 2:55.00 | 4:28.00 | 13125 | 33224
    3 | 7:23.00 | 3:42.00 | 33225 | 49874
    4 | 11:05.00 | 3:45.00 | 49875 | 66749
    5 | 14:50.00 | 3:06.00 | 66750 | 80699
    6 | 17:56.00 | 5:52.00 | 80700 | 107099
    7 | 23:48.00 | 4:30.00 | 107100 | 127349
    8 | 28:18.00 | 2:09.00 | 127350 | 137024
    9 | 30:27.00 | 2:32.00 | 137025 | 148424
    10 | 32:59.00 | 2:02.00 | 148425 | 157574
    11 | 35:01.00 | 2:41.00 | 157575 | 169649
    12 | 37:42.00 | 4:04.00 | 169650 | 187949
    13 | 41:46.00 | 3:51.00 | 187950 | 205274
    14 | 45:37.00 | 3:49.00 | 205275 | 222449
    15 | 49:26.00 | 4:28.00 | 222450 | 242549
    16 | 53:54.00 | 3:48.00 | 242550 | 259649
    17 | 57:42.00 | 3:39.00 | 259650 | 276074
    18 | 61:21.00 | 4:27.00 | 276075 | 296099


    Track 1

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\01 - Liebesbotschaft (Schwanengesang).wav

    Pre-gap length 0:00:02.00

    Peak level 91.6 %
    Track quality 99.9 %
    Test CRC 4C8E0818
    Copy CRC 4C8E0818
    Accurately ripped (confidence 4) [DCF5C81D]
    Copy OK

    Track 2

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\02 - Kriegers Ahnung (Schwanengesang).wav

    Peak level 96.0 %
    Track quality 100.0 %
    Test CRC 70CCDA8D
    Copy CRC 70CCDA8D
    Accurately ripped (confidence 4) [AEDA76C0]
    Copy OK

    Track 3

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\03 - Frühlingssehnsucht (Schwanengesang).wav

    Peak level 86.0 %
    Track quality 100.0 %
    Test CRC A53C2851
    Copy CRC A53C2851
    Accurately ripped (confidence 4) [6F33680C]
    Copy OK

    Track 4

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\04 - Ständchen (Schwanengesang).wav

    Peak level 91.4 %
    Track quality 100.0 %
    Test CRC 3A2DC375
    Copy CRC 3A2DC375
    Accurately ripped (confidence 4) [2A95241D]
    Copy OK

    Track 5

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\05 - Aufenthalt (Schwanengesang).wav

    Peak level 90.1 %
    Track quality 100.0 %
    Test CRC A0477658
    Copy CRC A0477658
    Accurately ripped (confidence 4) [66E4B0DD]
    Copy OK

    Track 6

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\06 - In der Ferne (Schwanengesang).wav

    Peak level 99.3 %
    Track quality 99.9 %
    Test CRC 0BB72C94
    Copy CRC 0BB72C94
    Accurately ripped (confidence 4) [540ADDF6]
    Copy OK

    Track 7

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\07 - Abschied (Schwanengesang).wav

    Peak level 64.0 %
    Track quality 100.0 %
    Test CRC D42ECFAB
    Copy CRC D42ECFAB
    Accurately ripped (confidence 4) [8A58FD63]
    Copy OK

    Track 8

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\08 - Der Atlas (Schwanengesang).wav

    Peak level 96.4 %
    Track quality 100.0 %
    Test CRC 93569D8F
    Copy CRC 93569D8F
    Accurately ripped (confidence 4) [56A135B9]
    Copy OK

    Track 9

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\09 - Ihr Bild (Schwanengesang).wav

    Peak level 77.7 %
    Track quality 100.0 %
    Test CRC 39B3ED20
    Copy CRC 39B3ED20
    Accurately ripped (confidence 4) [64E9F95B]
    Copy OK

    Track 10

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\10 - Das Fischermädchen (Schwanengesang).wav

    Peak level 66.3 %
    Track quality 100.0 %
    Test CRC 56A2BEDF
    Copy CRC 56A2BEDF
    Accurately ripped (confidence 4) [4CCB0F7F]
    Copy OK

    Track 11

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\11 - Die Stadt (Schwanengesang).wav

    Peak level 86.4 %
    Track quality 100.0 %
    Test CRC 4AB336A6
    Copy CRC 4AB336A6
    Accurately ripped (confidence 3) [6D2C01C6]
    Copy OK

    Track 12

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\12 - Am Meer (Schwanengesang).wav

    Peak level 89.4 %
    Track quality 100.0 %
    Test CRC 97C2C470
    Copy CRC 97C2C470
    Accurately ripped (confidence 4) [12C64D84]
    Copy OK

    Track 13

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\13 - Der Doppelgänger (Schwanengesang).wav

    Peak level 90.1 %
    Track quality 100.0 %
    Test CRC 09067BD3
    Copy CRC 09067BD3
    Accurately ripped (confidence 4) [40996FBE]
    Copy OK

    Track 14

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\14 - Die Taubenpost (Schwanengesang).wav

    Peak level 52.9 %
    Track quality 100.0 %
    Test CRC CC23052A
    Copy CRC CC23052A
    Accurately ripped (confidence 4) [0F8EFB90]
    Copy OK

    Track 15

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\15 - Denn es gehet dem Menschen wie dem Vieh (Vier ernste Gesänge, Op. 21).wav

    Pre-gap length 0:00:09.00

    Peak level 95.5 %
    Track quality 100.0 %
    Test CRC 417DFAB7
    Copy CRC 417DFAB7
    Accurately ripped (confidence 4) [0C0177E1]
    Copy OK

    Track 16

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\16 - Ich wandte mich und sahe an alle (Vier ernste Gesänge, Op. 21).wav

    Peak level 80.2 %
    Track quality 100.0 %
    Test CRC AE83A72C
    Copy CRC AE83A72C
    Accurately ripped (confidence 4) [4F107DD2]
    Copy OK

    Track 17

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\17 - O Tod, wie bitter bist du (Vier ernste Gesänge, Op. 21).wav

    Peak level 88.8 %
    Track quality 100.0 %
    Test CRC 5A7F7683
    Copy CRC 5A7F7683
    Accurately ripped (confidence 4) [9EBE3AD6]
    Copy OK

    Track 18

    Filename O:\EAC\FLAC\Various Artists - 2001 - Schubert - Schwanengesang; Brahms - Vier ernste Gesänge (Quasthoff)\18 - Wenn ich mit Menschen- und mit Engelszungen redete (Vier ernste Gesänge, Op. 21).wav

    Peak level 99.6 %
    Track quality 99.9 %
    Test CRC A8582FF8
    Copy CRC A8582FF8
    Accurately ripped (confidence 4) [BDD37523]
    Copy OK


    All tracks accurately ripped

    No errors occurred

    End of status report

    auCDtect: CD records authenticity detector, version 0.8.2
    Copyright © 2004 Oleg Berngardt. All rights reserved.
    Copyright © 2004 Alexander Djourik. All rights reserved.

    Detect mode (0..40 with 0 = most accurate): 8 (default)


    ––––––––––––––––––––––––––––––
    [Thomas Quasthoff - Franz Schubert- «Schwanengesang»; Johannes Brahms- «Vier ernste Gesänge».wav]
    Detected average hi-boundary frequency: 2.025276e+004 Hz
    Detected average lo-boundary frequency: 1.245057e+004 Hz
    Detected average hi-cut frequency: 2.088491e+004 Hz
    Detected average lo-cut frequency: 8.531003e+003 Hz
    Maximum probablis boundary frequency: 2.189100e+004 Hz
    Coefficient of nonlinearity of a phase: 3.265044e-001
    First order smothness: 3.704647e-001
    Second order smothness: 6.931891e-001
    ––––––––––––––––––––––––––––––
    This track looks like CDDA with probability 100%.

    foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
    log date: 2013-09-07 21:52:30

    ––––––––––––––––––––––––––––––––––––––––
    Analyzed: Thomas Quasthoff (Bariton), Justus Zeyen (Klavier) / Franz Schubert: «Schwanengesang»; Johannes Brahms: «Vier ernste Gesänge»
    ––––––––––––––––––––––––––––––––––––––––

    DR Peak RMS Duration Track
    ––––––––––––––––––––––––––––––––––––––––
    DR16 -0.76 dB -22.19 dB 2:55 01-Schubert. «Schwanengesang», D. 957: Nr. 1. «Liebesbotschaft»
    DR15 -0.35 dB -21.13 dB 4:28 02-Schubert. «Schwanengesang», D. 957: Nr. 2. «Kriegers Ahnung»
    DR14 -1.31 dB -20.17 dB 3:42 03-Schubert. «Schwanengesang», D. 957: Nr. 3. «Frühlingssehnsucht»
    DR15 -0.78 dB -23.34 dB 3:45 04-Schubert. «Schwanengesang», D. 957: Nr. 4. «Ständchen»
    DR13 -0.90 dB -18.85 dB 3:06 05-Schubert. «Schwanengesang», D. 957: Nr. 5. «Aufenthalt»
    DR14 -0.06 dB -21.03 dB 5:52 06-Schubert. «Schwanengesang», D. 957: Nr. 6. «In der Ferne»
    DR15 -3.87 dB -23.81 dB 4:30 07-Schubert. «Schwanengesang», D. 957: Nr. 7. «Abschied»
    DR13 -0.31 dB -18.09 dB 2:09 08-Schubert. «Schwanengesang», D. 957: Nr. 8. «Der Atlas»
    DR15 -2.18 dB -24.13 dB 2:32 09-Schubert. «Schwanengesang», D. 957: Nr. 9. «Ihr Bild»
    DR13 -3.56 dB -23.81 dB 2:02 10-Schubert. «Schwanengesang», D. 957: Nr. 10. «Das Fischermädchen»
    DR14 -1.26 dB -23.74 dB 2:41 11-Schubert. «Schwanengesang», D. 957: Nr. 11. «Die Stadt»
    DR15 -0.97 dB -23.19 dB 4:04 12-Schubert. «Schwanengesang», D. 957: Nr. 12. «Am Meer»
    DR14 -0.90 dB -22.87 dB 3:51 13-Schubert. «Schwanengesang», D. 957: Nr. 13. «Der Doppelgänger»
    DR13 -5.53 dB -23.42 dB 3:49 14-Schubert. «Schwanengesang», D. 957: Nr. 14. «Die Taubenpost»
    DR14 -0.40 dB -20.73 dB 4:28 15-Brahms. «Vier ernste Gesänge», Op. 121: Nr. 1. «Denn es gehet dem Menschen wie dem Vieh»
    DR14 -1.92 dB -22.47 dB 3:48 16-Brahms. «Vier ernste Gesänge», Op. 121: Nr. 2. «Ich wandte mich und sahe an alle»
    DR15 -1.03 dB -22.38 dB 3:39 17-Brahms. «Vier ernste Gesänge», Op. 121: Nr. 3. «O Tod, wie bitter bist du»
    DR15 -0.03 dB -20.40 dB 4:27 18-Brahms. «Vier ernste Gesänge», Op. 121: Nr. 4. «Wenn ich mit Menschen- und mit Engelszungen redete»
    ––––––––––––––––––––––––––––––––––––––––

    Number of tracks: 18
    Official DR value: DR14

    Samplerate: 44100 Hz
    Channels: 2
    Bits per sample: 16
    Bitrate: 542 kbps
    Codec: FLAC
    ================================================================================



    CD Info:

    Franz Schubert: «Schwanengesang» / Johannes Brahms: «Vier ernste Gesänge»

    Thomas Quasthoff (Bariton) • Justus Zeyen (Klavier)

    Label: Deutsche Grammophon
    Catalog#: 471 030-2
    Format: CD, Album
    Country: Germany
    Released: 2001
    Genre: Classical
    Style: Classical Period, Romantic, Vocal

    Tracklist:

    Franz Schubert

    «Schwanengesang», D. 957 - 49:26
    1 Nr. 1. «Liebesbotschaft» - 2:55
    2 Nr. 2. «Kriegers Ahnung» - 4:28
    3 Nr. 3. «Frühlingssehnsucht» - 3:42
    4 Nr. 4. «Ständchen» - 3:45
    5 Nr. 5. «Aufenthalt» - 3:06
    6 Nr. 6. «In der Ferne» - 5:52
    7 Nr. 7. «Abschied» - 4:30
    8 Nr. 8. «Der Atlas» - 2:09
    9 Nr. 9. «Ihr Bild» - 2:32
    10 Nr. 10. «Das Fischermädchen» - 2:02
    11 Nr. 11. «Die Stadt» - 2:41
    12 Nr. 12. «Am Meer» - 4:04
    13 Nr. 13. «Der Doppelgänger» - 3:51
    14 Nr. 14. «Die Taubenpost» - 3:49

    Johannes Brahms

    «Vier ernste Gesänge», Op. 121 - 16:22
    15 Nr. 1. «Denn es gehet dem Menschen wie dem Vieh» - 4:28
    16 Nr. 2. «Ich wandte mich und sahe an alle» - 3:48
    17 Nr. 3. «O Tod, wie bitter bist du» - 3:39
    18 Nr. 4. «Wenn ich mit Menschen- und mit Engelszungen redete» - 4:27


    Summary for the Busy Executive: Ne plus ultra.

    Schubert wrote the songs of Schwanengesang ("swan-song") in his last year. Most of the poems come from Heine or from Rellstab. Rellstab had created the texts for Beethoven. At Beethoven's death, Schindler passed them on to Schubert. Schubert himself grouped these songs together, although it was the publisher, rather than the composer, who gave them the title and added a poem by the distinctly minor Seidl. The title goes back to the notion, probably as old as Herodotus, that the swan, before it dies, sings the most beautiful song. Whoever came up with this fancy probably never saw a swan up close. At any rate, it now means the final work of an artist.

    It turns out that this collection – not really a cycle as Beethoven and Schubert had defined the genre – contains some very beautiful songs indeed, almost all of them breaking expressive new ground. If I recognize Winterreise as Schubert's greatest song-cycle, I nevertheless love the looser Schwanengesang more. It probably comes down to a matter of preferring these tunes and harmonies over the others.

    When I read about Schubert's songs, I usually get analyses of poems and, if lucky, how certain emotional points in the poems find interpretive echoes in the music. However, I've found very little on the music itself. As I listened to the CD, the composing details impressed me as they hadn't previously. The accompaniments show a high amount of variety and invention, as well as Schubert's ability to find different emotional contexts for the same device. In "Liebesbotschaft," for example, the arpeggio conveys ardor and a rushing brook. In "Die Stadt," it evokes ill spirits flitting through the air, sort of a soundtrack for The Cabinet of Dr. Caligari. Unlike Die schoene Muellerin, where every song but one is strophic (different stanzas of the poem share the same music), every song here (with maybe two exceptions) is through-composed. Even a song like "Ständchen" ("Leise flehen meine Lieder") gives the final verse a different tag. In this set, Schubert decisively redefines what a song could be. A composer like Zeller, for example, who set many of the same texts as Schubert, never breaks strophic form, because to him a song is indeed strophic. The composer's job becomes, in this case, to find a single musical stanza that suits all the verse stanzas. Schubert habit of through-composing has the obvious ability to follow the poet's turns of thought more closely, but it has a potential disadvantage as well. Since the listener never knows where the line is going, Schubert can lose him. Indeed, early listeners found Schubert's songs difficult for exactly that reason. Now, of course, we delight in the uncertainty. It keeps our interest.

    The Rellstab texts are far more conventional than the Heine. The images never stray from their early German Romantic flock. The streams are always "rushing," that old devil "longing" gives the poet fits in his "Herz" or "Brust," and so on. It amazes me that Schubert comes up with such great things for such stale words, but of course they weren't stale when he worked with them. Still, in attitude, the songs don't differ all that much from the songs to the Wilhelm Müller cycles. The Heine, however, signals greater psychological complexity and unease, and unusual words creep into the poetry. Even the relatively conventional love-song "Fischermädchen" (more accurately, a seduction song) eschews easy vocabulary. One looks in vain for "tears," "breast," and so on. We get the almost-technical "Horizonte" (horizon) rather than the conventional "in der Ferne," the Romantic cliché for the same thing. In the Heine settings, Schubert's musical imagery becomes wilder, even less predictable. You won't hear songs so savage, so volatile, and so free in their rhetorical movement until Mussorgsky and Mahler. Given the quality of texts and the dramatic power of the rest of the collection, people have wondered what on earth prompted the publisher to append Seidl's very silly "Taubenpost" ("Pigeon-Post") to the end, particularly since it follows the harrowing "Doppelgänger." I offer one explanation. There are seven Rellstab songs, grouped together, the six songs that comprise the Heine group, and "Die Taubenpost." The Rellstab group ends with "In der Ferne" and "Abschied." In short, a highly dramatic song, followed by something comparatively light. Furthermore, "Abschied" and "Taubenpost" have fundamentally the same rhythm and character. I suspect the publisher included "Taubenpost" for reasons of structural symmetry – to manufacture design where there really wasn't any. The end of the Rellstab songs show that Schubert had no qualms about the conflicting tone, so why not repeat? Also, despite the silliness of the text, "Die Taubenpost" is one great song, and it closes the collection on an upbeat. Ending on "Der Doppelgänger," you might as well take a gun and shoot yourself.

    As magnificent as they are, the Brahms songs, written seventy years later to texts from the Bible and the Apocrypha, are fundamentally more conservative. Brahms wrote them close to the end of his life, probably as a memorial to close friends who had recently died or were gravely ill, including Clara Schumann, Elisabeth von Herzogenberg, Hans von Bülow, and Theodor Billroth. Brahms chose powerful texts – all to some extent mediations on death – and set them to powerful music. As far as their construction goes, they show the same habits of large-scale structural thinking as the final orchestral and chamber music. If you think about these "serious songs," they are all fairly sectional, like the Schubert "Der Atlas," but where Schubert makes the musical equivalent of jump cuts, Brahms carefully smoothes things over. For some strange reason, with the exception of this set, I rarely encounter Brahms' songs live, and he wrote a ton of great ones. Surely fewer people know, say, the "Sapphic Ode" than "An die Musik."

    Both sets of songs are "bigger" somehow than most Lieder. Schwanengesang in particular takes a great interpreter just to keep up. I heard Hermann Prey do these in recital roughly thirty years ago – a tremendous performance that nevertheless didn't quite reach the mark of the songs. For years, my standard has been Fischer-Dieskau and Moore on stereo EMI, which I don't believe has made it to CD. I would characterize this account as dramatic, wonderfully variegated, and "considered." Quasthoff works at this level. He has the variety of tone-color the songs demand (Prey's major shortcoming), and obviously he's thought about things. Nevertheless, he comes across as spontaneous and yields nothing in drama to his predecessor. The difference between Fischer-Dieskau and Quasthoff is the difference between Olivier and Paul Newman. The fundamental difference gets down to the fundamental character of their voices: Fischer-Dieskau, lighter and brighter, more piercing; Quasthoff, mellower and richer. Fischer-Dieskau's is a somewhat "Expressionist" performance: the grotesque is more grotesque, the stabs of pain sharper, the moments of tenderness filled with tears. Quasthoff, in comparison, comes off as a man with a weight of experience behind him – a little like Wotan in Götterdämmerung. I must also say that the collaboration between Quasthoff and pianist Justus Zeyen surpasses that of Fischer-Dieskau and any of his partners, including Gerald Moore. For one thing, it's a partnership of equals. One never senses that either singer or pianist drives the performance. They seem of one mind. Above all, they appear to make it up on the spot, even though you know that can't be true. They achieve the spontaneity without sacrificing near-microscopic detail.

    I studied the Brahms songs in college and found them a bear to sing, particularly the final one, "Wenn ich mit Menschen- und mit Engelszungen redete" ("though I speak with the tongues of men and angels"), with its call for rich, mellow tone at the upper end of the baritone range. So Quasthoff's apparent ease in the most difficult passages impressed me no end, as did, of course, his ability to convey the beauty and power of the texts.

    In short, at full price, this CD's a bargain. classical.net

    Thanks to alphabool & Л. М. Гога!

    Thomas Quasthoff - Schubert. Brahms. (2001)


    all of my uploads in my blog
    ________________

    Download:

    Music
    Artwork

    ________________