- Audio CD (April 1 1997)
- SPARS Code: DDD
- Number of Discs: 1
- Label: Decca
- ASIN: B0000042GS
- Average Customer Review: 4.2 out of 5 stars See all reviews (5 customer reviews)
- Amazon Bestsellers Rank: #40,729 in Music (See Top 100 in Music)
|1. Heidenroslein, D257|
|2. Die Forelle, D550|
|3. An die Nachtigall, D 497|
|4. Im Fruhling, D882|
|5. Die junge Nonne, D 828|
|6. Nacht und Traume, D827|
|7. Auf dem Wasser zu singen, D774|
|8. Ave Maria, D839|
|9. Fruhlingsglaube, D686|
|10. Gretchen am Spinnrade, D118|
|11. Du bist die Ruh', D776|
|12. Der Tod und das Madchen, D531|
|13. Viola, D786|
|14. Die Manner sind mechant!, D866|
Since the avant-garde collabaration of Furtwangler ( one of the greatest of conductors of all times and definitely a musician of the top calibre) and Schwarzkopf, not all pianists would follow the footstep of Gerald Moore. Pearson for example is bolder, Zimerman too.
Soloists and their accompanying pianists now resemble the left hand and the right hand in piano playing more: we have more balance instead of just the melody floating along almost like a monologue. We hear more fanfares, more dialogues, and the suggestiveness of the background is now more vivid, and the music as a result is more organic: everything is more at the dictation of music, be it a harmomic or polyphonic line. The part of the piano isn't just some muted properties setting the scene however symbolic that may be, nor is it content just to shadow the soloist. It amounts almost to the whole of the backdrop. It's MUSIC that they are making after all.
I rather enjoy Eschenbach here, no overdoing whatsoever. The reason why we are more attracted to the piano is: the piano is more musical here, if not more beautiful than the voice.