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Johann Wolfgang von Goethe

born: 28 August 1749
died: 22 March 1832
country: Germany

'I was born at Frankfurt on the 28th August 1749, at midday, on the stroke of twelve. The position of the stars was favourable; the sun was in the sign of Virgo … Jupiter and Venus were friendly, Mercury not in opposition.” Thus begins Goethe's autobiography Dichtung und Wahrheit ('Poetry and Truth'), although it would be dangerous for our limited purposes to allow him to continue his own tale, so embroidered and revised is truth with inevitable poetry. The grandfather was a tailor who had done well enough to enable his son, Goethe's father, to buy a civic title and a comfortable house. From his father the poet inherited a tendency to formulate and theorise, and a passion for collecting – a love of order. From his mother's side he had practical good sense and humour, and above all her sense of fantasy. Her fairy stories were part of a haphazard education which was luckily attuned to his unique gifts. Painting and drawing, experiments with a puppet theatre and the study of various languages were all to bear fruit, but cello and piano lessons were never to give him a real understanding of music. Nevertheless Goethe was proud to have seen the child prodigy Mozart perform in Frankfurt in 1763; Mozart was seven, Goethe fourteen.

At the age of sixteen Goethe was sent to Leipzig University to study law. His first poems were published anonymously in the same issue of a Leipzig newspaper which announced Telemann's death and his replacement in Hamburg by C P E Bach. It was also in Leipzig that Goethe's words were first set to music by his friend Bernhard Breitkopf. An innkeeper's daughter called Annette Schönkopf was the first of the many love affairs which were to divide his life into chapters. As Richard Capell writes, 'Goethe's career is rather like Henry VIII's, in that it is chronicled according to the brief reign of a succession of queens'. Nicholas Boyle has pointed out that for Goethe in his early life 'the fixity of a commitment was incompatible with the only poetry he could write, a poetry of continuing desire'.

In 1768 Goethe returned seriously ill to Frankfurt. During his recuperation, drawings of nudes by Boucher were removed from his room on doctor's orders. He took up alchemy and theology instead. Father Goethe was losing patience with these dilettante attitudes – little could he know that it was all these various interests which were turning his son into a visionary polymath. From this period dates the poem Am Flusse.

In 1770, the year of Beethoven's birth, Goethe was packed off to the University of Strasbourg. It was there that he met Johann Gottfried Herder who introduced him to the works of Homer, Shakespeare and Ossian – and above all to folk poetry. Herder, who was the first writer of comparable intelligence that Goethe had befriended, taunted the young poet into thinking more deeply. The famed relationship with the country pastor's daughter Friederike Brion who lived in Sesenheim some thirty miles from Frankfurt dates from this time. This gave rise to the poems Mailied and Mit einem gemalten Band set by Beethoven, as well as Heidenröslein and Wilkommen und Abschied.

The Strasbourg idyll lasted only ten months and, with what would be something of a pattern in his emotional life, the poet took flight before he became too deeply involved, leaving Friederike heart-broken. In 1772, after a short period studying at Wetzlar where he met Charlotte Buff (who was to inspire Die Leiden des jungen Werthers), Goethe returned to Frankfurt where he established his reputation as a young firebrand in the Sturm und Drang manner. From this time dates his play Götz von Berlichingen. Plays and novels about medieval knights and ladies became all the rage, but the young poet aspired to even bigger canvases; Mohammed, Socrates, Caesar, Christ were all grist to his imaginative mill. Mahomets Gesang is surprisingly contemporary with the much shyer poem Das Veilchen set by Mozart. Ganymed, Prometheus, An Schwager Kronos, Bundeslied and Wonne der Wehmuth were all written in these four Frankfurt years. Geistes-Gruss was written during a holiday journey down the Rhine in 1774 during which Goethe met the poet Jacobi, seven of whose poems were to be set by Schubert. It was also during this Frankfurt period that Goethe began to get to grips with turning the Faust legend into verse-drama. In their Ur-Faust versions the poems for Gretchen am Spinnrade, Gretchens Bitte, Der König in Thule and Szene aus Faust all date from this time – slightly less than forty years before Schubert was to set them. The love affair of this period was with Lili Schönemann to whom Goethe even became engaged. She was of high birth and her parents thought the match unsuitable; in any case he had his habitual fear of commitment. A visit to Switzerland was a temporary escape (Auf dem See was written there in 1775) but the poet knew that he had to be on the move once more. He was at the height of his creative powers, but pirated editions of his works cheated him of money and he felt the need for financial security. Princes from all over Germany were on the look-out for advisers and gifted, interesting men who would be a credit to their employers. A way out of his problems, both personal and financial, was an invitation to the court of Karl August, Duke of Weimar. Goethe arrived in Weimar in November 1775. One of the first poems he wrote there, remembering Lili Schönemann, was Jägers Abendlied.

Weimar was to be the poet's home for the rest of his life. It was not a rich state, nor a big one, but thanks to the Duke's mother, Duchess Anna Amalia (who was, among other things, a composer), foundations had been laid for a remarkably cultural court of which Goethe himself was to be the star attraction. Within six months of coming to Weimar Goethe was a privy councillor. Although he wrote poetry continually, he published nothing for the next ten years; his energies were given over to a list of administrative tasks which no ivory-tower artist could ever have contemplated and which led to his well-deserved reputation as both artist and scientist. Goethe's work on behalf of the state's mining industry, for example, was to lead to his passionate interest in geological and mineralogical studies. Charlotte von Stein, wife of the Duke's Master of Horse, was among the few at the court who almost immediately perceived Goethe's greatness. She was half Scottish by birth and was already a mature, married woman by the time she met the young poet. She was a serious woman of great decorum who deplored the rowdy side of his nature. 'Make something worthy of me', he wrote to her, and she educated, groomed and governed him. She taught him how to dance, and equipped him with the social graces needed for a life of mixing with princes. In return he put her on a pedestal; he courted her as a knight might have wooed a paragon of medieval virtue. Goethe wrote over 1700 letters to Charlotte which were as likely to be accompanied by the latest produce from his garden as by an immortal lyric written for her alone. Protected and guided by her love the fiery young poet grew up and found, for a number of years at least, a core of inner tranquillity. He became much occupied with the court theatre (a number of lyrics we know as songs are actually taken from small plays) and began work on his novel Wilhelm Meisters Lehrjahre which was also to be a rich mine of song lyrics for Schubert and others.

After more than a decade in Weimar Goethe experienced what would now be termed a mid-life crisis. He had been ennobled in 1782 and was famous and respected, but he felt that his life in Germany was stultifying. Once again he needed to escape. The idealism and refinement of Charlotte von Stein had to be replaced by something more vital and earthy. Like his character Mignon he looked to the south, and there he sought rejuvenation and artistic rebirth. On 3 September 1786 he slipped away from Karlsbad where he had visited Charlotte; without telling her he left with only a knapsack and an assumed name.

Whilst in Italy (1786-1788) Goethe 'discovered himself'; some scholars even believe that he lost his virginity there and that his former exploits with women had been cerebral at the expense of physical release (judging from the Römische Elegien it would be more accurate to say that his poetry lost its virginity). This turning point in Goethe's creative and emotional life was rich in poetry inspired by classical metre, and largely unsuitable for musical setting. He was particularly busy as a playwright during this period. Egmont – from which the text 'Freudvoll und leidvoll' (Die Liebe) is taken – was completed in Italy, also the final version of his 'Schauspiel mit Gesang', Claudine von Villa Bella which Schubert and a number of other composers were to turn into opera.

The return to Weimar in 1788 (very much on the poet's terms with a much lightened work load at court) marked the end of Goethe's relationship with Charlotte who was not unnaturally mortified that the Italian adventure was planned without her knowledge. This intellectual relationship was replaced by something utterly different: the poet set up house with a 23-year-old girl (he was nearly sixteen years older) named Christiane Vulpius. She was scarcely literate, but her simple joyful earthiness provided Goethe with the background he needed to work calmly and productively. The after-effects of the French Revolution meant that the poet was forced to visit the battlefield in the Duke's entourage from time to time (Der Rattenfänger and Die Spinnerin were written during this period) but this did not really interrupt Goethe's re-awakened interest in scientific research. Indeed most of this phase of his life (1788-1793) was given over to it. He took particular issue with Newton's laws and had his own very different (and misguided) theories about the nature of light. At more or less the same time he met the poet Schiller who had moved to Jena some time before. What might have been a relationship of deadly rivalry turned into the most fruitful collaborative friendship in Goethe's life; it was just what he needed to return his energies to poetry. Schiller galvanised Goethe into finishing such works as Wilhelm Meister, and it was also thanks to Schiller that work on Faust was resumed. In return Goethe encouraged Schiller in his writing of Wallenstein and Wilhelm Tell. They soon saw each other as ideal colleagues, fighting for the same lofty ideals of classicism in art. After the tell-it-all style of the Venetian Epigrams a new mood of Arcadian euphemism can be found in Goethe's writing. The two poets collaborated together on various collections (notably the Musenalmanach – Almanac of the Muses – of 1797 and 1798) where new poems, ballads and epigrams regularly appeared, some of them ideally suited for musical setting. Dramatic or barnstorming poems now appear less often than lyrics of antique poise and pastoral delight. The following is a chronological list of poems which were written in the 'Schiller years' between 1794 and 1805: Meeresstille, Heiss mich nicht reden, An die Türen will ich schleichen, Nähe des Geliebten, Wer kauft Liebesgötter?, So lasst mich scheinen, Der Schatzgräber, An Mignon, Der Gott und die Bajadere, Der Musensohn, Tischlied, Schäfers Klagelied, Nachtgesang, Sehnsucht, Trost in Thränen.

The sudden death of Schiller in 1895 robbed Goethe of his greatest colleague, the only man whom the poet regarded as an equal. In 1806 the Napoleonic wars made themselves felt in Weimar. After the defeat of Prussian troops at Jena, marauding French troops broke into Goethe's house and threatened him. Christiane bravely repelled them, and in gratitude Goethe married her after sixteen years of life together. By this time the poet was a celebrity and visitors came from all over the world to pay him court: he met Napoleon twice, as befitted a man of his renown. He was pursued by the pushy Bettina von Arnim who wished to have his child. Christiane was determined to be the only mother of the poet's children, but Bettina, summarily put in her place by Frau Goethe, managed to engineer a famous, if not entirely successful, meeting between Goethe and Beethoven in Teplitz. Song texts from this period are: Die Liebende schreibt, Der Goldschmiedsgesell, Johanna Sebus and Schweizerlied.

Goethe was now to turn his gaze towards the east. Soldiers from Weimar had been stationed in Spain and brought back exquisite examples of Arabic calligraphy. A Russian regiment of Bashkirs was stationed in Weimar and the hall of the Protestant grammar school resounded with the Koran. The newly translated works of Hafiz inspired the poet to enter into the spirit of oriental love poetry. He invented a new persona for himself – the sage and potentate, Hatem. In this game of oriental symbolism Goethe cast Marianne von Willemer, a young woman who lived outside Frankfurt with an older husband, as his Suleika. Marianne was probably the most gifted of the poet's lovers (it is very possible that their relationship was purely literary) and she wrote poetry in reply to his which was so skilful, so much like Goethe's own, that he absorbed it unacknowledged into his own writings. Schubert was never to know of the part that Marianne had played in the poetry of the West-östlicher Divan as it was only revealed after the composer's death. The poems written in 1814 and 1815 in the eastern manner were the last of Goethe's poems, in terms of the chronology of the poet's life, that Schubert was to set. They were: Versunken, Im Gegenwärtigen Vergangenes, Geheimes and the two Suleika songs.

The poet spent his last birthday, his eighty-second, in August 1831, with his grandchildren in Ilmenau. In the fir-woods of that mountainous region there was a lonely wooden hut. On the wall of the hut fifty-one years before (in September 1780) he had written the following poem:

Über allen Gipfeln ist Ruh, (Over all the peaks there is peace;)
In allen Wipfeln spürest du (in all the tree-tops you feel)
Kaum einen Hauch; (Scarcely a breath of air;)
Die Vögelein schweigen im Walde. (The little birds in the forest are silent.)
Warte nur, balde ruhest du auch. (Wait! Soon you too will be at rest.)

We are told that Goethe read these few lines and tears ran down his cheeks. He slowly drew his snow-white handkerchief from the pocket of his coat, dried his eyes and said in a sad and gentle voice: 'Yes: wait, you too shall rest before long.'

from notes by Graham Johnson © 1995

Albums

Beethoven: Early Cantatas
CDH55479Helios (Hyperion's budget label)
Beethoven: Songs
GAW21055Last few CD copies remainingDownload currently discounted
Beethoven: Songs
CDA67055
Brahms & Schumann: Voices of the Night
CDA66053Archive Service
Brahms: Alto Rhapsody; Mahler: Das Lied von der Erde
APR5579Download only
Brahms: Songs
CDA66444Archive Service
Brahms: The Complete Songs, Vol. 1 – Angelika Kirchschlager
CDJ33121
Brahms: The Complete Songs, Vol. 2 – Christine Schäfer
CDJ33122
Brahms: The Complete Songs, Vol. 3 – Simon Bode
CDJ33123
Brahms: Zigeunerlieder
CDA67775
Britten, Finzi & Tippett: Songs
CDA67459
Britten: Songs & Proverbs of William Blake
CDA67778
Britten: The Red Cockatoo & other songs
CDA66823
Cornelius: The Three Kings & other choral works
CDA67206Download currently discounted
Duparc: Songs
CDA66323
Finzi, Tippett & Britten: Songs
CDA67459
Gounod: Songs
CDA66801/22CDs
Grieg: Songs
CDA67670
Ives: Romanzo di Central Park & other songs
CDA67644
Liszt: The Complete Songs, Vol. 2 – Angelika Kirchschlager
Studio Master: CDA67934Studio Master FLAC & ALAC downloads available
Loewe: Songs & Ballads
CDA67866Download currently discounted
Mahler: Das Lied von der Erde; Brahms: Alto Rhapsody
APR5579Download only
Mahler: Symphony No 8
Studio Master: LSO0669Download onlyStudio Master FLAC & ALAC downloads available
Mendelssohn: Lieder
CDH55360Helios (Hyperion's budget label)
Mendelssohn: On wings of song
CDH55150Helios (Hyperion's budget label)
Mendelssohn: Songs and Duets, Vol. 2
CDA67137
Mendelssohn: Songs and Duets, Vol. 3
CDA67388
Mendelssohn: Songs and Duets, Vol. 5
CDA677532CDs for the price of 1
Mozart: Songs
CDH55371Helios (Hyperion's budget label)
Musorgsky: Song Cycles
CDA66775
My Garden
CDA66937Archive Service
Of ladies and love
CDA67315Last few CD copies remainingDownload currently discounted
Russian Images, Vol. 1
CDA67105
Schubert: Der Wanderer & other songs
Studio Master: CDA68010Studio Master FLAC & ALAC downloads available
Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Schubert: The Hyperion Schubert Edition, Vol. 1 – Janet Baker
CDJ33001Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 10 – Martyn Hill
CDJ33010
Schubert: The Hyperion Schubert Edition, Vol. 11 – Brigitte Fassbaender
CDJ33011Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 12 – Adrian Thompson
CDJ33012
Schubert: The Hyperion Schubert Edition, Vol. 13 – Marie McLaughlin
CDJ33013
Schubert: The Hyperion Schubert Edition, Vol. 18 – Peter Schreier
CDJ33018Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 19 – Felicity Lott
CDJ33019
Schubert: The Hyperion Schubert Edition, Vol. 2 – Stephen Varcoe
CDJ33002
Schubert: The Hyperion Schubert Edition, Vol. 20
CDJ33020Archive Service; also available on CDS44201/40Download currently discounted
Schubert: The Hyperion Schubert Edition, Vol. 21 – Edith Mathis
CDJ33021Download currently discounted
Schubert: The Hyperion Schubert Edition, Vol. 23 – Christoph Prégardien
CDJ33023Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 24
CDJ33024Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 26 – Christine Schäfer, John Mark Ainsley & Richard Jackson
CDJ33026Archive Service; also available on CDS44201/40Download currently discounted
Schubert: The Hyperion Schubert Edition, Vol. 28 – Maarten Koningsberger & John Mark Ainsley
CDJ33028Archive Service; also available on CDS44201/40Download currently discounted
Schubert: The Hyperion Schubert Edition, Vol. 29 – Marjana Lipovšek
CDJ33029Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 34
CDJ33034Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 5 – Elizabeth Connell
CDJ33005Archive Service; also available on CDS44201/40Download currently discounted
Schubert: The Hyperion Schubert Edition, Vol. 6 – Anthony Rolfe Johnson
CDJ33006Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 7 – Elly Ameling
CDJ33007Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 8 – Sarah Walker
CDJ33008Archive Service; also available on CDS44201/40
Schubert: The Hyperion Schubert Edition, Vol. 9 – Arleen Auger
CDJ33009Archive Service; also available on CDS44201/40
Schubert: The Songmakers' Almanac Schubertiade
CDD220102CDs Dyad (2 for the price of 1) — Archive ServiceDownload currently discounted
Schumann & Brahms: Voices of the Night
CDA66053Archive Service
Schumann: Songs
CDH55275Helios (Hyperion's budget label) — Archive Service
Schumann: The Complete Songs
CDS44441/5010CDs Boxed set (at a special price)
Schumann: The Complete Songs, Vol. 1 – Christine Schäfer
CDJ33101Archive ServiceDownload currently discounted
Schumann: The Complete Songs, Vol. 2 – Simon Keenlyside
CDJ33102
Schumann: The Complete Songs, Vol. 4 – Oliver Widmer & Stella Doufexis
CDJ33104Archive Service
Schumann: The Complete Songs, Vol. 7 – Dorothea Röschmann & Ian Bostridge
CDJ33107Archive Service
Schumann: The Complete Songs, Vol. 8 – Christopher Maltman, Jonathan Lemalu & Mark Padmore
CDJ33108Download currently discounted
Schumann: The Complete Songs, Vol. 9 – Ann Murray & Felicity Lott
CDJ33109
Songs by Schubert's contemporaries
CDJ33051/33CDs
Strauss: Songs
CDH55202Helios (Hyperion's budget label)
Strauss: The Complete Songs, Vol. 4 – Christopher Maltman & Alastair Miles
CDA67667
The Ballad Singer
CDA67830
Tippett, Britten & Finzi: Songs
CDA67459
Wolf: Goethe & Mörike Songs
CDA66590Download currently discounted
Wolf: Goethe Lieder
CDA67130Archive ServiceDownload currently discounted
Women's lives and loves
CDA67563
Le Bestiaire
A66149Archive Service (LP transfer)This album is not available for download
Schubert: An introduction to The Hyperion Schubert Edition
HYP200Super-budget price sampler — Deleted
The Essential Hyperion, Vol. 2
This album is not yet available for downloadHYP202CDs Super-budget price sampler — Deleted

Complete works available for download

LUDWIG VAN BEETHOVEN (1770-1827))
Aus Goethes Faust, Op 75 No 3Gerald Finley (baritone), Julius Drake (piano)
Aus Goethes Faust, Op 75 No 3Stephan Genz (baritone), Roger Vignoles (piano)
Maigesang, Op 52 No 4Stephan Genz (baritone), Roger Vignoles (piano)
Meeresstille und Glückliche Fahrt, Op 112Corydon Singers, Corydon Orchestra, Matthew Best (conductor)
Neue Liebe, neues Leben, Op 75 No 2Stephan Genz (baritone), Roger Vignoles (piano)
Sehnsucht, Op 83 No 2Stephan Genz (baritone), Roger Vignoles (piano)
Wonne der Wehmut, Op 83 No 1Michael Schade (tenor), Malcolm Martineau (piano)
Wonne der Wehmut, Op 83 No 1Stephan Genz (baritone), Roger Vignoles (piano)
JOHANNES BRAHMS (1833-1897))
Rhapsody, Op 53Kathleen Ferrier (mezzo-soprano), Oslo Philharmonic Chorus, Oslo Philharmonic Orchestra, Erik Tuxen (conductor)
BENJAMIN BRITTEN (1913-1976))
Um MitternachtMark Padmore (tenor), Roger Vignoles (piano)
Um MitternachtGerald Finley (baritone), Julius Drake (piano)
Um MitternachtIan Bostridge (tenor), Graham Johnson (piano)
PETER CORNELIUS (1824-1874))
Trost in Tränen, Op 14Colin Campbell (bass), Polyphony, Stephen Layton (conductor)
MORITZ VON DIETRICHSTEIN (1775-1864))
Wonne der WehmutStella Doufexis (soprano), Graham Johnson (piano)
HENRI DUPARC (1848-1933))
Romance de MignonSarah Walker (mezzo-soprano), Roger Vignoles (piano)
MAXIMILIAN EBERWEIN (1775-1831))
Rastlose LiebeGerald Finley (baritone), Graham Johnson (piano)
CHARLES GOUNOD (1818-1893))
MignonDame Felicity Lott (soprano), Graham Johnson (piano)
FERDINAND HILLER (1811-1885))
Wandrers Nachtlied, Op 129 No 11Susan Gritton (soprano), Graham Johnson (piano)
JOHANN NEPOMUK HUMMEL (1778-1837))
Zur LogenfeierMark Padmore (tenor), Graham Johnson (piano)
CHARLES IVES (1874-1954))
IlmenauGerald Finley (baritone)
NIKOLAUS VON KRUFFT (1779-1818))
Lied aus Wilhelm Meisters Lehrjahre 'Kennst du das Land?'Stella Doufexis (soprano), Graham Johnson (piano)
FRANZ LISZT (1811-1886))
Der du von dem Himmel bist, S279 First versionAngelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Der du von dem Himmel bist, S279 Third versionAngelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Es war ein König in Thule, S278 Second versionAngelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Freudvoll und leidvoll, S280 First setting, second versionAngelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
Über allen Gipfeln ist Ruh', S306 Third versionAngelika Kirchschlager (mezzo-soprano), Julius Drake (piano)
CARL LOEWE (1796-1869))
Der du von dem Himmel bist 'Wandrers Nachtlied', Op 9 Book I No 3bFlorian Boesch (baritone), Roger Vignoles (piano)
Die wandelnde Glocke, Op 20 No 3Gerald Finley (baritone), Julius Drake (piano)
Die wandelnde Glocke, Op 20 No 3Florian Boesch (baritone), Roger Vignoles (piano)
Erlkönig, Op 1 No 3Gerald Finley (baritone), Graham Johnson (piano)
Erlkönig, Op 1 No 3Florian Boesch (baritone), Roger Vignoles (piano)
Gesang der Geister, Op 88Susan Gritton (soprano), Ann Murray (mezzo-soprano), Mark Padmore (tenor), Gerald Finley (baritone), Graham Johnson (piano)
Im Vorübergehen, Op 81 No 1Florian Boesch (baritone), Roger Vignoles (piano)
Lynceus, der Thürmer, auf Fausts Sternwarte singend, Op 9 Book VIII No 3Florian Boesch (baritone), Roger Vignoles (piano)
Über allen Gipfeln ist Ruh' 'Wandrers Nachtlied', Op 9 Book I No 3aFlorian Boesch (baritone), Roger Vignoles (piano)
GUSTAV MAHLER (1860-1911))
Symphony No 8 in E flat majorLondon Symphony Orchestra, Valery Gergiev (conductor)
FANNY MENDELSSOHN (1805-1847))
Dämmrung senkte sich von obenSusan Gritton (soprano), Eugene Asti (piano)
WOLFGANG AMADEUS MOZART (1756-1791))
Das Veilchen, K476Joan Rodgers (soprano), Roger Vignoles (piano)
MODEST MUSORGSKY (1839-1881))
Pesnya Mefistofelya o blokhe 'Mephistopheles' song of the flea'Anatoli Safiulin (bass), Nikolai Demidenko (piano)
Pesnya Mefistofelya o blokhe 'Mephistopheles' song of the flea'Vassily Savenko (bass), Alexander Blok (piano)
SIGISMUND NEUKOMM (1778-1858))
Trost in TränenStella Doufexis (soprano), Graham Johnson (piano)
BENEDICT RANDHARTINGER (1802-1893))
SuleikaSusan Gritton (soprano), Graham Johnson (piano)
JOHANN FRIEDRICH REICHARDT (1752-1814))
ErlkönigGerald Finley (baritone), Graham Johnson (piano)
Monolog der IphegeniaSusan Gritton (soprano), Graham Johnson (piano)
Rastlose LiebeMark Padmore (tenor), Graham Johnson (piano)
SehnsuchtSusan Gritton (soprano), Gerald Finley (baritone), Graham Johnson (piano)
FRANZ SCHUBERT (1797-1828))
Am Flusse, D160Martyn Hill (tenor), Graham Johnson (piano)
Am Flusse, D766Stephen Varcoe (baritone), Graham Johnson (piano)
Am Flusse, D766Maarten Koningsberger (baritone), Graham Johnson (piano)
An den Mond, D259Sarah Walker (mezzo-soprano), Graham Johnson (piano)
An den Mond, D296Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
An die Entfernte, D765Peter Schreier (tenor), Graham Johnson (piano)
An die Entfernte, D765Maarten Koningsberger (baritone), Graham Johnson (piano)
An Mignon, D161 First versionChristine Schäfer (soprano), Graham Johnson (piano)
An Mignon, D161 Second versionMartyn Hill (tenor), Graham Johnson (piano)
An Schwager Kronos, D369Simon Keenlyside (baritone), Graham Johnson (piano)
Auf dem See, D543Dame Felicity Lott (soprano), Graham Johnson (piano)
Bundeslied, D258John Mark Ainsley (tenor), Simon Keenlyside (baritone), Michael George (bass), Graham Johnson (piano)
Der Fischer, D225Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Der Goldschmiedsgesell, D560Simon Keenlyside (baritone), Graham Johnson (piano)
Der Gott und die Bajadere, D254Christine Schäfer (soprano), John Mark Ainsley (tenor), Michael George (bass), Graham Johnson (piano)
Der König in Thule, D367Brigitte Fassbaender (soprano), Graham Johnson (piano)
Der Musensohn, D764Christine Schäfer (soprano), Graham Johnson (piano)
Der Rattenfänger, D255Simon Keenlyside (baritone), Graham Johnson (piano)
Der Sänger, D149Martyn Hill (tenor), Graham Johnson (piano)
Der Schatzgräber, D256Michael George (bass), Graham Johnson (piano)
Die Liebe 'Clärchens Lied', D210Elly Ameling (soprano), Graham Johnson (piano)
Die Liebende schreibt, D673Marjana Lipovšek (mezzo-soprano), Graham Johnson (piano)
Die Post/Die WahlverwandtschaftenAngelika Kirchschlager (reader), Graham Johnson (piano)
Die Spinnerin, D247Elly Ameling (soprano), Graham Johnson (piano)
Erlkönig, D328Gerald Finley (baritone), Julius Drake (piano)
Erlkönig, D328Sarah Walker (mezzo-soprano), Graham Johnson (piano)
Erlkönig, D328Christine Schäfer (soprano), John Mark Ainsley (tenor), Michael George (bass), Graham Johnson (piano)
Erster Verlust, D226Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Ganymed, D544Elizabeth Connell (soprano), Graham Johnson (piano)
Ganymed, D544Christine Schäfer (soprano), Graham Johnson (piano)
Geheimes, D719John Mark Ainsley (tenor), Graham Johnson (piano)
Geistes-Gruss, D142 Sixth versionMichael George (bass), Graham Johnson (piano)
Geistes-Gruss, D142 Third versionMichael George (bass), Graham Johnson (piano)
Gesang der Geister über den Wassern, D484Michael George (bass), Graham Johnson (piano)
Gesang der Geister über den Wassern, D705The London Schubert Chorale, Stephen Layton (conductor), Graham Johnson (piano)
Gesänge aus 'Wilhelm Meister', D877Christine Schäfer (soprano)
Gesänge des Harfners, D478Christoph Prégardien (tenor), Graham Johnson (piano)
Grenzen der Menschheit, D716Neal Davies (bass), Graham Johnson (piano)
Gretchen am Spinnrade, D118Marie McLaughlin (soprano), Graham Johnson (piano)
Gretchens Bitte 'Gretchen im Zwinger', D564Marie McLaughlin (soprano), Graham Johnson (piano)
Harfenspieler 'Wer sich der Einsamkeit ergibt', D325Martyn Hill (tenor), Graham Johnson (piano)
Heidenröslein, D257Patricia Rozario (soprano), Graham Johnson (piano)
Heiss mich nicht reden 'Mignon I', D726Christine Schäfer (soprano), Graham Johnson (piano)
Hin und wieder fliegen die Pfeile, D239 No 3Arleen Auger (soprano), Graham Johnson (piano)
Hoffnung, D295Michael George (bass), Graham Johnson (piano)
Im gegenwärtigen Vergangenes, D710John Mark Ainsley (tenor), The London Schubert Chorale, Stephen Layton (conductor), Graham Johnson (piano)
Jägers Abendlied, D215Simon Keenlyside (baritone), Graham Johnson (piano)
Jägers Abendlied, D368Simon Keenlyside (baritone), Graham Johnson (piano)
Johanna Sebus, D728John Mark Ainsley (tenor), Graham Johnson (piano)
Liebe schwärmt auf allen Wegen, D239 No 6Arleen Auger (soprano), Graham Johnson (piano)
Liebhaber in allen Gestalten, D558Edith Mathis (soprano), Graham Johnson (piano)
Mahomets Gesang, D549John Mark Ainsley (tenor), Graham Johnson (piano)
Mahomets Gesang, D721Michael George (bass), Graham Johnson (piano)
Meeres Stille, D215aElly Ameling (soprano), Graham Johnson (piano)
Meeres Stille, D216Florian Boesch (baritone), Roger Vignoles (piano)
Meeres Stille, D216Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Mignons Gesang 'Kennst du das Land?', D321Elly Ameling (soprano), Graham Johnson (piano)
Nachtgesang, D119Adrian Thompson (tenor), Graham Johnson (piano)
Nähe des Geliebten, D162The Songmakers' Almanac, Anthony Rolfe Johnson (tenor), Graham Johnson (piano)
Nähe des Geliebten, D162Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Nur wer die Sehnsucht kennt 'Sehnsucht' 'Lied der Mignon', D481Christine Schäfer (soprano), Graham Johnson (piano)
Nur wer die Sehnsucht kennt 'Sehnsucht', D310Elly Ameling (soprano), Graham Johnson (piano)
Nur wer die Sehnsucht kennt 'Sehnsucht', D310aElly Ameling (soprano), Graham Johnson (piano)
Nur wer die Sehnsucht kennt 'Sehnsucht', D359Christine Schäfer (soprano), Graham Johnson (piano)
Nur wer die Sehnsucht kennt 'Sehnsucht', D656The London Schubert Chorale, Stephen Layton (conductor)
Prometheus, D674Simon Keenlyside (baritone), Graham Johnson (piano)
Rastlose Liebe, D138John Mark Ainsley (tenor), Graham Johnson (piano)
Schäfers Klagelied, D121 First versionDame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Schäfers Klagelied, D121 Second versionJohn Mark Ainsley (tenor), Graham Johnson (piano)
Schweizerlied, D559Edith Mathis (soprano), Graham Johnson (piano)
Sehnsucht, D123Adrian Thompson (tenor), Graham Johnson (piano)
So lasst mich scheinen 'Mignon II', D727Brigitte Fassbaender (soprano), Graham Johnson (piano)
So lasst mich scheinen 'Mignon, 1. Weise', D469 IChristine Schäfer (soprano), Graham Johnson (piano)
So lasst mich scheinen, D469 IIChristine Schäfer (soprano), Graham Johnson (piano)
Suleika I, D720Dame Felicity Lott (soprano), Graham Johnson (piano)
Suleika II, D717Dame Felicity Lott (soprano), Graham Johnson (piano)
Szene aus Faust, D126Marie McLaughlin (soprano), Thomas Hampson (baritone), The New Company, Graham Johnson (piano)
Tischlied, D234Simon Keenlyside (baritone), Graham Johnson (piano)
Trost in Tränen, D120Adrian Thompson (tenor), Graham Johnson (piano)
Versunken, D715John Mark Ainsley (tenor), Graham Johnson (piano)
Wandrers Nachtlied I, D224Florian Boesch (baritone), Roger Vignoles (piano)
Wandrers Nachtlied I, D224The Songmakers' Almanac, Ann Murray (mezzo-soprano), Graham Johnson (piano)
Wandrers Nachtlied I, D224Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
Wandrers Nachtlied II, D768Florian Boesch (baritone), Roger Vignoles (piano)
Wandrers Nachtlied II, D768Christopher Maltman (baritone), Graham Johnson (piano)
Wer kauft Liebesgötter?, D261Elly Ameling (soprano), Graham Johnson (piano)
Wer nie sein Brot mit Tränen ass 'Gesang des Harfners', D478 No 2bJohn Mark Ainsley (tenor), Graham Johnson (piano)
Wer nie sein Brot mit Tränen ass 'Harfenspieler III', D478 No 2John Mark Ainsley (tenor), Graham Johnson (piano)
Willkommen und Abschied, D767 First versionThe Songmakers' Almanac, Anthony Rolfe Johnson (tenor), Graham Johnson (piano)
Willkommen und Abschied, D767 First versionAnthony Rolfe Johnson (tenor), Graham Johnson (piano)
Willkommen und Abschied, D767 Second versionJohn Mark Ainsley (tenor), Graham Johnson (piano)
Wonne der Wehmut, D260Dame Janet Baker (mezzo-soprano), Graham Johnson (piano)
CLARA SCHUMANN (1819-1896))
Das VeilchenStephan Loges (baritone), Eugene Asti (piano)
ROBERT SCHUMANN (1810-1856))
Der Fischer, WoO19Mark Padmore (tenor), Christopher Maltman (baritone), Graham Johnson (piano)
Vier Duette, Op 78Dorothea Röschmann (soprano), Ian Bostridge (tenor), Graham Johnson (piano)
LOUIS SPOHR (1784-1859))
Erlkönig, Op 154 No 4Gerald Finley (baritone), Marianne Thorsen (violin), Graham Johnson (piano)
Mignons Lied 'Kennst du das Land?', Op 37 No 1Susan Gritton (soprano), Graham Johnson (piano)
RICHARD STRAUSS (1864-1949))
Erschaffen und Beleben, Op 87 No 2Alastair Miles (bass), Roger Vignoles (piano)
VÁCLAV JAN KRTITEL TOMÁŠEK (1774-1850))
Heidenröslein, Op 53 No 1Susan Gritton (soprano), Graham Johnson (piano)
Meeres Stille, Op 60 No 3Susan Gritton (soprano), Ann Murray (mezzo-soprano), Gerald Finley (baritone), Graham Johnson (piano)
JOHANN VESQUE VON PÜTTLINGEN (1803-1883))
Der FischerStella Doufexis (soprano), Graham Johnson (piano)
HUGO WOLF (1860-1903))
Gretchen vor dem Andachtsbild der Mater dolorosaGeraldine McGreevy (soprano), Graham Johnson (piano)
CARL FRIEDRICH ZELTER (1758-1832))
ErlkönigGerald Finley (baritone), Graham Johnson (piano)
Erster VerlustSusan Gritton (soprano), Graham Johnson (piano)
Klage Harfenspieler IIIGerald Finley (baritone), Graham Johnson (piano)
Rastlose LiebeMark Padmore (tenor), Graham Johnson (piano)
Um MitternachtAnn Murray (mezzo-soprano), Graham Johnson (piano)

Alphabetical listing of all musical works

… eine kleine Stille  
Ach neige, du Schmerzenreiche  
Ach! wer bringt die schönen Tage  
Ach, neige  
Ach, um deine feuchten Schwingen  
Ach, um deine feuchten Schwingen  
Ach, wer bringt die schönen Tage  
Ach, wer bringt die schönen Tage  
Als ich auf dem Euphrat schiffte  
Als ich still und ruhig spann  
Am Flusse, D160 (Schubert)
Am Flusse, D766 (Schubert)
An dem reinsten Frühlingsmorgen  
An den Mond, D259 (Schubert)
An den Mond, D296 (Schubert)
An des lust'gen Brunnens Rand  
An die Entfernte, D765 (Schubert)
An die Türen will ich schleichen  
An die Türen will ich schleichen  
An Mignon, D161 First version (Schubert)
An Mignon, D161 Second version (Schubert)
An Schwager Kronos, D369 (Schubert)
Anakreons Grab  
Arm am Beutel, krank am Herzen  
Auf dem See, D543 (Schubert)
Aus Goethes Faust, Op 75 No 3 (Beethoven)
Ballade des Harfners  
Bedecke deinen Himmel, Zeus  
Beherzigung  
Bei dem Glanz der Abendröte  
Blumengruss  
Bundeslied, D258 (Schubert)
Connais-tu le pays où dans l'immense plaine  
Da droben auf jenem Berge  
Da droben auf jenem Berge  
Dämmrung senkte sich von oben  
Dämmrung senkte sich von oben (Mendelssohn)
Dank des Paria  
Das Beet, schon lockert  
Das Veilchen (Schumann)
Das Veilchen, K476 (Mozart)
Das Wasser rauscht', das Wasser schwoll  
Das Wasser rauscht’, das Wasser schwoll  
Das Wasser rauscht’, das Wasser schwoll  
Dem Schnee, dem Regen  
Dem Schnee, dem Regen  
Dem Schnee, dem Regen  
Dem Schnee, dem Regen  
Der Damm zerreisst, das Feld erbraust  
Der du von dem Himmel bist  
Der du von dem Himmel bist  
Der du von dem Himmel bist 'Wandrers Nachtlied', Op 9 Book I No 3b (Loewe)
Der du von dem Himmel bist, S279 First version (Liszt)
Der du von dem Himmel bist, S279 Third version (Liszt)
Der Fischer (Vesque von Püttlingen)
Der Fischer, D225 (Schubert)
Der Fischer, WoO19 (Schumann)
Der Goldschmiedsgesell, D560 (Schubert)
Der Gott und die Bajadere, D254 (Schubert)
Der König in Thule, D367 (Schubert)
Der Musensohn, D764 (Schubert)
Der Rattenfänger (Wolf)
Der Rattenfänger, D255 (Schubert)
Der Sänger, D149 (Schubert)
Der Schäfer  
Der Schatzgräber, D256 (Schubert)
Der Strauss, den ich gepflückt  
Des Menschen Seele  
Des Menschen Seele  
Des menschen Seele  
Die Bekehrte  
Die heiligen drei König mit ihrem Stern  
Die Liebe 'Clärchens Lied', D210 (Schubert)
Die Liebende schreibt  
Die Liebende schreibt  
Die Liebende schreibt, D673 (Schubert)
Die Post/Die Wahlverwandtschaften (Schubert)
Die Spinnerin, D247 (Schubert)
Die Spröde  
Die wandelnde Glocke  
Die wandelnde Glocke, Op 20 No 3 (Loewe)
Dir zu eröffnen mein Herz verlangt mich  
Durch Feld und Wald zu schweifen  
Ein Blick von deinen Augen in die meinen  
Ein Blick von deinen Augen in die meinen  
Ein Blick von deinen Augen in die meinen  
Ein Blumenglöckchen  
Ein Veilchen auf der Wiese stand  
Ein Veilchen auf der Wiese stand  
Epiphanias  
Erlkönig (Reichardt)
Erlkönig (Zelter)
Erlkönig, D328 (Schubert)
Erlkönig, Op 1 No 3 (Loewe)
Erlkönig, Op 154 No 4 (Spohr)
Erschaffen und Beleben, Op 87 No 2 (Strauss)
Erster Verlust  
Erster Verlust (Zelter)
Erster Verlust, D226 (Schubert)
Erwin  
Es ist doch meine Nachbarin  
Es schlug mein Herz, geschwind zu Pferde!  
Es schlug mein Herz, geschwind zu Pferde!  
Es war ein fauler Schäfer  
Es war ein Kind  
Es war ein Kind, das wollte nie  
Es war ein König in Thule  
Es war ein König in Thule, S278 Second version (Liszt)
Es war einmal ein König  
Feiger Gedanken  
Freisinn  
Freudvoll  
Freudvoll und leidvoll, S280 First setting, second version (Liszt)
Frühling übers Jahr  
Füllest wieder Busch und Tal  
Füllest wieder Busch und Tal  
Fünf Lieder, Op 47 (Brahms)
Ganymed  
Ganymed, D544 (Schubert)
Gefunden  
Geheimes, D719 (Schubert)
Geistes-Gruss, D142 Sixth version (Schubert)
Geistes-Gruss, D142 Third version (Schubert)
Gesang der Geister über den Wassern, D484 (Schubert)
Gesang der Geister über den Wassern, D705 (Schubert/Asti)
Gesang der Geister, Op 88 (Loewe)
Gesänge aus 'Wilhelm Meister', D877 (Schubert)
Gesänge des Harfners, D478 (Schubert)
Gleich und Gleich  
Gottes ist der Orient!  
Grenzen der Menschheit, D716 (Schubert)
Gretchen am Spinnrade, D118 (Schubert)
Gretchen vor dem Andachtsbild der Mater dolorosa (Wolf)
Gretchens Bitte 'Gretchen im Zwinger', D564 (Schubert/Britten)
Grosser Brahma! Nun erkenn ich  
Gutmann und Gutweib  
Hans Adam war ein Erdenkloß  
Harfenspieler 'Wer sich der Einsamkeit ergibt', D325 (Schubert)
Heidenröslein, D257 (Schubert)
Heidenröslein, Op 53 No 1 (Tomásek)
Heiss mich nicht reden  
Heiss' mich nicht reden  
Heiss mich nicht reden 'Lied der Mignon'  
Heiss mich nicht reden 'Mignon I', D726 (Schubert)
Heraus in eure Schatten, rege Wipfel  
Hin und wieder fliegen die Pfeile, D239 No 3 (Schubert)
Hoch auf dem alten Turme steht  
Hoch auf dem alten Turme steht  
Hoch beglückt in deiner Liebe  
Hoffnung, D295 (Schubert)
Ich bin der wohlbekannte Sänger  
Ich bin der wohlbekannte Sänger  
Ich denke dein  
Ich denke dein, wenn mir der Sonne Schimmer  
Ich denke dein, wenn mir der Sonne Schimmer  
Ich ging im Felde  
Ich ging im Walde  
Ich wollt’ ich wär’ ein Fisch  
Ihr verblühet, süße Rosen  
Ihr verblühet, süsse Rosen  
Ilmenau (Ives)
Im Felde schleich’ ich, still und wild  
Im Felde schleich’ ich, still und wild  
Im gegenwärtigen Vergangenes, D710 (Schubert)
Im Vorübergehen, Op 81 No 1 (Loewe/Schneider)
In allen guten Stunden  
Indem du diesen Brief liesest  
Jägers Abendlied, D215 (Schubert)
Jägers Abendlied, D368 (Schubert)
Johanna Sebus, D728 (Schubert/Hoorickx)
Kennst du das Land  
Kennst du das Land?  
Klage Harfenspieler III (Zelter)
Lasst fahren hin das Allzuflüchtige  
Lasst mich nur auf meinem Sattel gelten!  
Le connais-tu ce radieux pays  
Lichtlein schwimmen auf dem Strome  
Liebe schwärmt auf allen Wegen, D239 No 6 (Schubert)
Liebeslied  
Liebhaber in allen Gestalten, D558 (Schubert)
Liebliches Kind  
Lied aus Wilhelm Meisters Lehrjahre 'Kennst du das Land?' (Krufft)
Lied der Suleika  
Lied Lynceus des Türmers  
Lieder aus dem Schenkenbuch im Divan I  
Lieder aus dem Schenkenbuch im Divan II  
Lieder nach Gedichten von J W von Goethe (Wolf)
Lieder und Gesänge aus Wilhelm Meister, Op 98a (Schumann)
Lieder und Gesänge II, Op 51 (Schumann)
Lieder und Gesänge IV, Op 96 (Schumann)
Lieder und Gesänge, Op 59 (Brahms)
Lieder-Album für die Jugend, Op 79 (Schumann)
Lynceus, der Thürmer, auf Fausts Sternwarte singend, Op 9 Book VIII No 3 (Loewe)
Mahadöh, der Herr der Erde  
Mahomets Gesang, D549 (Schubert/Hoorickx)
Mahomets Gesang, D721 (Schubert/Hoorickx)
Maigesang, Op 52 No 4 (Beethoven)
Meeres Stille, D215a (Schubert)
Meeres Stille, D216 (Schubert)
Meeres Stille, Op 60 No 3 (Tomásek)
Meeresstille und Glückliche Fahrt, Op 112 (Beethoven)
Meine Ruh’ ist hin  
Mich ergreift, ich weiss nicht wie  
Mignon  
Mignon (Gounod)
Mignon I  
Mignon II  
Mignon III  
Mignon 'Kennst du das Land?'  
Mignon 'Kennst du das Land?'  
Mignons Gesang 'Kennst du das Land?', D321 (Schubert)
Mignons Lied 'Kennst du das Land?', Op 37 No 1 (Spohr)
Monolog der Iphegenia (Reichardt)
Myrthen, Op 25 (Schumann)
Nachtgesang, D119 (Schubert)
Nachtlied  
Nähe des Geliebten, D162 (Schubert)
Neue Liebe, neues Leben, Op 75 No 2 (Beethoven)
Nimmer will ich dich verlieren  
Nur wer die Sehnsucht kennt  
Nur wer die Sehnsucht kennt  
Nur wer die Sehnsucht kennt  
Nur wer die Sehnsucht kennt 'Lied der Mignon'  
Nur wer die Sehnsucht kennt 'Mignon und der Harfner'  
Nur wer die Sehnsucht kennt 'Sehnsucht' 'Lied der Mignon', D481 (Schubert)
Nur wer die Sehnsucht kennt 'Sehnsucht', D310 (Schubert)
Nur wer die Sehnsucht kennt 'Sehnsucht', D310a (Schubert)
Nur wer die Sehnsucht kennt 'Sehnsucht', D359 (Schubert)
Nur wer die Sehnsucht kennt 'Sehnsucht', D656 (Schubert)
O gib, vom weichen Pfühle  
Pesnya Mefistofelya o blokhe 'Mephistopheles' song of the flea' (Musorgsky)
Phänomen  
Philine  
Prometheus, D674 (Schubert)
Rastlose Liebe (Eberwein)
Rastlose Liebe (Reichardt)
Rastlose Liebe (Zelter)
Rastlose Liebe, D138 (Schubert)
Rhapsody, Op 53 (Brahms)
Romance de Mignon (Duparc)
Ros’ und Lilie morgenthaulich  
Sah ein Knab’ ein Röslein stehn  
Sah ein Knab’ ein Röslein stehn  
Schäfers Klagelied, D121 First version (Schubert)
Schäfers Klagelied, D121 Second version (Schubert)
Schaff’, das Tagwerk meiner Hände  
Schweizerlied, D559 (Schubert)
Sechs Gedichte von Scheffel, Mörike, Goethe und Justinus Kerner (Wolf)
Sechs Lieder und Romanzen, Op 93a (Brahms)
Sechs Lieder, Op 48 (Grieg)
Sechs Lieder, Op 56 (Strauss)
Sehnsucht (Reichardt)
Sehnsucht, D123 (Schubert)
Sehnsucht, Op 83 No 2 (Beethoven)
Seht den Felsenquell  
Seht den Felsenquell  
Serenade  
Setze mir nicht, du Grobian  
Sieben Lieder, Op 48 (Brahms)
Singet nicht in Trauertönen  
Singet nicht in Trauertönen  
Sitz ich allein  
Six Songs, Op 1 (Mendelssohn)
Six Songs, Op 7 (Mendelssohn)
Six Songs, Op 86 (Mendelssohn)
Six Songs, Op 99 (Mendelssohn)
So hab’ ich wirklich dich verloren?  
So lang man nüchtern ist  
So lasst mich scheinen  
So lasst mich scheinen  
So lasst mich scheinen 'Lied der Mignon'  
So lasst mich scheinen 'Mignon II', D727 (Schubert)
So lasst mich scheinen 'Mignon, 1. Weise', D469 I (Schubert)
So lasst mich scheinen, D469 II (Schubert)
Spute dich, Kronos!  
St Nepomuks Vorabend  
Suleika (Randhartinger)
Suleika I, D720 (Schubert)
Suleika II, D717 (Schubert)
Suleika und Hatem  
Symphony No 8 in E flat major (Mahler)
Szene aus Faust, D126 (Schubert)
Talismane  
Tiefe Stille herrscht im Wasser  
Tiefe Stille herrscht im Wasser  
Tiefe Stille herrscht im Wasser  
Tischlied, D234 (Schubert)
Trocknet nicht, trocknet nicht  
Trocknet nicht, trocknet nicht  
Trost in Tränen  
Trost in Tränen (Neukomm)
Trost in Tränen, D120 (Schubert)
Trost in Tränen, Op 14 (Cornelius)
Twelve Songs, Op 8 (Mendelssohn)
Über allen Gipfeln  
Über allen Gipfeln  
Über allen Gipfeln  
Über allen Gipfeln  
Über allen Gipfeln ist Ruh' 'Wandrers Nachtlied', Op 9 Book I No 3a (Loewe)
Über allen Gipfeln ist Ruh', S306 Third version (Liszt)
Über meines Liebchens Äugeln  
Über Tal und Fluss getragen  
Über Tal und Fluss getragen  
Uf’m Bergli  
Um Mitternacht (Britten)
Um Mitternacht (Zelter)
Und frische Nahrung, neues Blut  
Und morgen fällt Sankt Martins Fest  
Verfliesset, vielgeliebte Lieder  
Verfliesset, vielgeliebte Lieder  
Versunken, D715 (Schubert)
Vier Duette, Op 78 (Schumann)
Vier Gesänge, Op 70 (Brahms)
Voll Locken kraus ein Haupt so rund!  
Von allen schönen Waren  
Von den Bergen zu den Hügeln  
Wanderers Nachtlied  
Wanderlied  
Wandrers Nachtlied I, D224 (Schubert)
Wandrers Nachtlied II, D768 (Schubert)
Wandrers Nachtlied, Op 129 No 11 (Hiller)
Was bedeutet die Bewegung?  
Was hör' ich draussen vor dem Tor?  
Was hör’ ich draussen vor dem Tor  
Was zieht mir das Herz so?  
Wenn der uralte  
Wenn zu der Regenwand  
Wer kauft Liebesgötter?, D261 (Schubert)
Wer nie sein Brot mit Tränen ass  
Wer nie sein Brot mit Tränen ass  
Wer nie sein Brot mit Tränen ass  
Wer nie sein Brot mit Tränen ass 'Gesang des Harfners', D478 No 2b (Schubert)
Wer nie sein Brot mit Tränen ass 'Harfenspieler III', D478 No 2 (Schubert)
Wer reitet so spät durch Nacht und Wind?  
Wer reitet so spät durch Nacht und Wind?  
Wer reitet so spät durch Nacht und Wind?  
Wer reitet so spät durch Nacht und Wind?  
Wer reitet so spät durch Nacht und Wind?  
Wer sich der Einsamkeit ergibt  
Wer sich der Einsamkeit ergibt  
Wie anders, Gretchen, war dir’s  
Wie im Morgenglanze  
Wie im Morgenglanze  
Wie kommt’s, dass du so traurig bist  
Wie kommt’s, dass du so traurig bist  
Wie kommt's, dass du so traurig bist  
Wie mit innigstem Behagen  
Willkommen und Abschied, D767 First version (Schubert)
Willkommen und Abschied, D767 Second version (Schubert)
Wo die Rose hier blüht  
Wonne der Wehmut (Dietrichstein)
Wonne der Wehmut, D260 (Schubert)
Wonne der Wehmut, Op 83 No 1 (Beethoven)
Zhil byl korol' kogda-to 'Once upon a time a king'  
Zum Sehen geboren  
Zum Sehen geboren  
Zur Logenfeier (Hummel)
Zur Rosenzeit  
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