| | Lotte Lehmann Sings Schumann, Brahms, Schubert CD - Import Lehmann, Lotte CDS
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| Category | Classical, Opera, Vocal, Romantic Period, Baroque Period, Song, Classical Vocal Crossover, Renaissance Period, Cantata, Song Cycle, Art Song, Lied, Chorale, Chorale Prelude, Passion |
Lotte Lehmann Sings Schumann, Brahms, Schubert Music | Label | Haenssler | | Orig Year | 8/1/2004 | | CD Universe Part number | 6861683 | | Discs | 1 | | Release Date | Oct 11, 2005 | | Recording Time | 1 5 | | Additional Info | Import |
Lotte Lehmann Sings Schumann, Brahms, Schubert Review
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Lotte Lehmann Sings Schumann, Brahms, Schubert Songs 1. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Seit ich ihn gesehen (19:32)  Windows Media  Real Audio | | Composer | Robert Schumann (1810 - 1856) | | Conductor | Frieder Weissmann | | Performer | Lotte Lehmann (Voice) | | Genre | Romantic Period / Song Cycle | | Date Written | 1840 | | Period | Romantic | | Country | Austria | | Recording Date | 11/10/1928 | | 2. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Er, der Herrlichste von allen (3:33) Windows Media Real Audio | | Catalog No. | D 547 | | Composer | Franz Schubert (Vienna) (1797 - 1828) | | Conductor | Manfred Gurlitt | | Performer | Lotte Lehmann (Voice) | | Genre | Art Song / Romantic Period | | Date Written | 1817 | | Period | Romantic | | Recording Date | 12/06/1927 | | 3. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Ich kann's nicht fassen, nicht glauben (4:22) Windows Media Real Audio | | Catalog No. | D 776 | | Composer | Franz Schubert (Vienna) (1797 - 1828) | | Conductor | Manfred Gurlitt | | Performer | Lotte Lehmann (Voice) | | Genre | Romantic Period / Song | | Date Written | 1823 | | Period | Romantic | | Recording Date | 12/06/1927 | | Notes | Composition written: 1823.
Composition revised: Germany. | | 4. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Du Ring an meinem Finger (2:58) Windows Media Real Audio | | Catalog No. | D 531 | | Composer | Franz Schubert (Vienna) (1797 - 1828) | | Conductor | Manfred Gurlitt | | Performer | Lotte Lehmann (Voice) | | Genre | Art Song / Romantic Period | | Date Written | 02/1817 | | Period | Romantic | | Country | Austria | | Recording Date | 12/06/1927 | | 5. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Helft mir, Schwestern (2:21) Windows Media Real Audio | | Catalog No. | D 719 | | Composer | Franz Schubert (Vienna) (1797 - 1828) | | Conductor | Manfred Gurlitt | | Performer | Lotte Lehmann (Voice) | | Genre | Romantic Period / Song | | Date Written | 03/1821 | | Period | Romantic | | Recording Date | 12/06/1927 | | Notes | Composition written: 03/1821.
Composition revised: Germany. | | 6. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Süáer Freund (2:36) Windows Media Real Audio | | Composer | Johannes Brahms (1833 - 1897) | | Conductor | Frieder Weissmann | | Performer | Lotte Lehmann (Voice) | | Genre | Romantic Period / Song | | Date Written | 1882 | | Period | Romantic | | Recording Date | 05/29/1931 | | Notes | Composition written: 1882.
Composition revised: Germany. | | 7. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: An meinem Herzen, an meiner Brust (2:55) Windows Media Real Audio | | Catalog No. | WOO 31 | | Composer | Johannes Brahms (1833 - 1897) | | Conductor | Manfred Gurlitt | | Performer | Lotte Lehmann (Voice) | | Genre | Art Song / Romantic Period | | Date Written | 1858 | | Period | Romantic | | Country | Germany | | Recording Date | 04/25/1932 | | 8. Frauenliebe und -leben, song cycle for voice & piano, Op. 42: Nun hast du mir den ersten Schmerz get (3:14) Windows Media Real Audio | | Common Name | Wann Der Silberne Mond Die, Die Mainacht For Voice & Piano | | Composer | Johannes Brahms (1833 - 1897) | | Conductor | Frieder Weissmann | | Performer | Lotte Lehmann (Voice) | | Genre | Art Song / Romantic Period | | Date Written | 1866 | | Period | Romantic | | Country | Germany | | Recording Date | 05/23/1931 | | 9. An die Musik ("Du holde Kunst..."), song for voice & piano, D. 547 (Op. 88/4) (3:58) Windows Media Real Audio | | Composer | Johannes Brahms (1833 - 1897) | | Conductor | Fritz Zweig | | Performer | Lotte Lehmann (Voice) | | Genre | Romantic Period / Song | | Date Written | 1864 | | Period | Romantic | | Recording Date | 02/18/1927 | | Notes | Composition written: 1864.
Composition revised: Germany. | | 10. Du bist die Ruh, song for voice & piano, D. 776 (Op. 59/3) (3:01) Windows Media Real Audio | | Catalog No. | BWV 244 | | Composer | Johann Sebastian Bach (1685 - 1750) | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Baroque Period / Passion | | Date Written | 1736 | | Period | Baroque | | Recording Date | 02/26/1929 | | 11. Der Tod und das Mädchen ("Vorüber, ach vorüber"), song for voice & piano, D. 531 (Op. 7/3) (2:58) Windows Media Real Audio | | Composer | Anonymous | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Renaissance Period | | Period | Renaissance | | Recording Date | 02/26/1929 | | 12. Geheimes ("Über meines Liebchens Äugeln"), song for voice & piano, D. 719 (Op. 14/2) (3:07) Windows Media Real Audio | | Common Name | Aus Tiefer Not Schrei Ich Zu Dir, Cantata, Cantata 38 | | Catalog No. | BWV 38 | | Composer | Johann Sebastian Bach (1685 - 1750) | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Baroque Period / Cantata | | Date Written | 10/29/1724 | | Period | Baroque | | Recording Date | 10/03/1929 | | 13. Vergebliches Ständchen ("Guten Abend, mein Schatz"), song for voice & piano, Op. 84/4 (2:55) Windows Media Real Audio | | Catalog No. | BWV 649 | | Composer | Johann Sebastian Bach (1685 - 1750) | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Baroque Period / Chorale Prelude | | Date Written | 1748-1749 | | Period | Baroque | | Country | Germany | | Recording Date | 10/03/1929 | | 14. Sandmännchen ("Die Blümelein sie schlafen"), folk song for voice & piano, WoO 31/4 (3:01) Windows Media Real Audio | | Common Name | Jesus Meine Zuversicht Chorale Prelude For Organ | | Catalog No. | BWV 72 | | Composer | Johann Sebastian Bach (1685 - 1750) | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Baroque Period / Chorale Prelude | | Date Written | 1722 | | Period | Baroque | | Country | Germany | | Recording Date | 10/03/1929 | | 15. Die Mainacht ("Wann der silberne Mond"), song for voice & piano, Op. 43/2 (3:04) Windows Media Real Audio | | Catalog No. | BWV 437 | | Composer | Johann Sebastian Bach (1685 - 1750) | | Performer | Lotte Lehmann (Voice)
Paul Mania (Organ) | | Genre | Baroque Period / Chorale | | Date Written | by 1751 | | Period | Baroque | | Country | Germany | | Recording Date | 10/03/1929 |
Lotte Lehmann Sings Schumann, Brahms, Schubert Music Composers on Lotte Lehmann Sings Schumann, Brahms, Schubert CD : Anonymous, Johann Sebastian Bach, Johannes Brahms, Franz Schubert [Vienna], Robert Schumann Conductors on Lotte Lehmann Sings Schumann, Brahms, Schubert CD : Frieder Weissmann, Fritz Zweig, Manfred Gurlitt Genres on Lotte Lehmann Sings Schumann, Brahms, Schubert CD : Art Song, Baroque Period, Cantata, Chorale, Chorale Prelude, Passion, Renaissance Period, Romantic Period, Song, Song Cycle Performers on Lotte Lehmann Sings Schumann, Brahms, Schubert CD : Lotte Lehmann, Paul Mania Purchase Lotte Lehmann Sings Schumann, Brahms, Schubert To buy, Click on price to add to cart | You Cannot Start Without Me: Valery Gergiev - Maestro DVD (2009)
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REVERBERATION It seems that everyone who writes about reverb uses different terms to describe what is happening, and some of them are quite confusing, because they are so abstract. For our purposes I have simplified things to a basic model. The first thing we hear is the sound as it comes from the source directly to our ears. Then we have the delay, sometimes called the pre-delay, which is the time it takes for the first reflected sound to reach us. The size of the hall determines the length of this time delay. Next are the reflections (sometimes called the early reflections). These are the sounds reflected from the walls, the floor, the ceiling, the audience, the performers. Then these sounds are re-reflected, rapidly dying away. The time it takes for these sounds to die away entirely, starting from the first reflections is the decay (sometimes called the reverb tail). The density is the number or thickness of the reverberation, starting with the early reflections. This is sometimes called the diffusion. The engineers who design these machines almost always give us a group of pre-sets for us to choose from , which emulate rooms, halls, closets, cathedrals, etc. They rarely can be used as is however, for it seems that every piece of music needs a slightly different treatment. Fortunately they have given us the ability to make changes. These changes range from complete make-overs to, minor but effective small changes. One change I have found effective is to choose a big reverb, like a cathedral for example, and make it fit the music by reducing the amount of reverb, and shortening the reverb tail. This makes it fit the music while retaining some of the bigness of the cathedral sound. In use we want to avoid the deep cave syndrome, the unpleasant echo, the muffled carpet sound, the twangy guitar, and the piercing high notes. The right reverb can modify the sound of a too aggressive stacatto. It can smooth high notes. It can differentate between instruments which are near and those which are farther back; helping to avoid a muddy mix. It can produce really thundrous low notes without overloading the speakers. It can reduce the poundiness of a synth piano by smoothing out the notes, making it sound more like a real piano, which takes more time to develop its sound than a synthesizer does. The right reverb can emulate the sound of the sustain pedal on a piano by lengthening the notes so that they mix with easch other slightly. Caution is advised here though, because if the music is fast the reverb tails will step all over each other, leading to a confused mess. Digital reverbs seem to be adequate for our needs today, but many other devices were used in the past. Recording studios sometimes had dedicated reverb chambers, rooms which were built to reverberate and were set aside for nothing but producing reverbs. They had a speaker in one end of the chhamber, and one or two microphones positioned in the other. They were very expensive to build however and many studios used a hallway or sometimes a tiled bathroom for a reverb chamber. Soon they found that a long tube with a speaker on one end and a microphone on the other (two tubes for stereo)would work and was a lot cheaper and more portable. Next was the plate reverb. This was a sheet metal plate stretched in a frame, with a speaker on one corner and microphones in the other corners. It gave a very bright kind of sound, ...
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