℗ ℗ 2006 Analekta
 

Lieder - Kutan & Baril

Aline Kutan, Louise-Andrée Baril

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1
Rote Rosen Woo.76 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:17
2
Barkarole, Op.17 No.6 (Strauss)
Aline Kutan; Louise-Andrée Baril
3:02
3
Der Stern, Op.69 No.1 (Strauss)
Aline Kutan; Louise-Andrée Baril
1:30
4
Die Nacht, Op.10 No.3 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:36
5
Ständchen, Op. 17 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:29
6
Nichts ,Op.10 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
1:22
7
Schlagende Herzen, Op.29 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:29
8
Wie Sollten Wir Geheim Sie Halten, Op.19 No.4 (Strauss)
Aline Kutan; Louise-Andrée Baril
1:50
9
Fur Fünfzehn Pfennige, Op.36 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:11
10
Hat Gesagt - Bleibt's Nicht Dabei, Op.36 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
1:47
11
Das Rosenband, Op.36 No.1 (Strauss)
Aline Kutan; Louise-Andrée Baril
3:01
12
Ich Schwebe, Op.48 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:05
13
Wiegenlied, Op.41. No.1 (Strauss)
Aline Kutan; Louise-Andrée Baril
4:26
14
Muttertändelei, Op.43 No.2 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:24
15
Herr Lenz, Op.37 No.5 (Strauss)
Aline Kutan; Louise-Andrée Baril
1:17
Mädchenblumen, Op.22 No.1  
16
Kornblumen (Strauss)
Aline Kutan; Louise-Andrée Baril
1:54
Mädchenblumen, Op.22 No.2  
17
Mohnblumen (Strauss)
Aline Kutan; Louise-Andrée Baril
1:21
Mädchenblumen, Op.22 No.3  
18
Epheu (Strauss)
Aline Kutan; Louise-Andrée Baril
2:56
Mädchenblumen, Op.22 No.4  
19
Wasserrose (Strauss)
Aline Kutan; Louise-Andrée Baril
3:30
Drei Lieder Der Ophelia, Op.67 No.1  
20
Wie Erkenn Ich Mein Treulieb (Strauss)
Aline Kutan; Louise-Andrée Baril
2:40
Drei Lieder Der Ophelia, Op.67 No.2  
21
Guten Morgen, 'S Ist Sankt Valentinstag (Strauss)
Aline Kutan; Louise-Andrée Baril
1:10
Drei Lieder Der Ophelia, Op.67 No.3  
22
Sie Trugen Ihn Auf Der Bahre Bloß (Strauss)
Aline Kutan; Louise-Andrée Baril
3:20
23
Mein Herz Ist Stumm, Op.19 No.6 (Strauss)
Aline Kutan; Louise-Andrée Baril
3:03
24
Einerlei, Op.69 No.3 (Strauss)
Aline Kutan; Louise-Andrée Baril
2:31
Brentano Lieder, Op.68 No.2  
25
Ich Wollt Ein Strausslein Binden (Strauss)
Aline Kutan; Louise-Andrée Baril
2:56
Brentano Lieder, Op.68 No.4  
26
Als Mir Dein Lied Erklang (Strauss)
Aline Kutan; Louise-Andrée Baril
3:55
Brentano Lieder, Op.68 No.5  
27
Amor (Strauss)
Aline Kutan; Louise-Andrée Baril
3:05
Total Playing Time    67:07
Richard Strauss was born in 1864, the year before Richard Wagner composed Tristan and Isolde, and was active until his death at the age of 85 in 1949, the year after Pierre Boulez composed Soleil des eaux. Strauss thus lived though a long period of both social and artistic upheaval. He witnessed both world wars and, in music, the radical challenge of the entire tonal tradition by the triumvirate of Schoenberg, Berg and Webern. But Strauss did not succumb to such disillusionment, developing instead in his symphonic poems and monumental operas a lyric sensuousness and lush orchestration that made him the last of the great romantics.

Throughout his life, however, Richard Strauss cultivated the lied in addition to his large-scale works. His very first piece, “Weihnachtslied,” composed at the age of 6, and his very last, “Malvern,” written nearly 80 years later, are both lieder for voice and piano. Between them lie a substantial corpus of songs—some two-hundred in all—that can be split into periods.

By the time he returned to the lied in 1918, his approach to text had been transformed by his experience with opera and his association with men of letters like librettist Hugo von Hoffmansthal, who led him to deeply examine the motivations, either explicit or secret, of the characters whose words and actions he set to music. In the three decades preceding his death, Strauss contributed another 50 gems to the lieder genre, works set to texts of more important poets, including Goethe, but also von Arnim (Op. 69) and Brentano (Op. 68). He even dared to set Shakespeare, composing music for the famous ballads sung by Ophelia when she falls into madness after her harsh treatment by Hamlet and after learning that he killed her father (Op. 67, nos. 1, 2 & 3).

In addition to some 200 lieder for voice and piano, Strauss set sixty or so with rich orchestral accompaniment, some being original works and others arrangements of his songs with piano accompaniment. Thus did the genre popularized by Schubert enjoy a magnificent finale that lasted until the middle of the 20th century.
88.2 kHz / 24-bit PCM – Groupe Analekta Studio Masters

Tracks 1-27 – 44.1 kHz / 24-bit PCM, mastered in 88.2 kHz / 24-bit

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