Franz Liszt: Songs for Bass Voice and Piano

Catalogue No: TOCC0441
EAN/UPC: 5060113444417
Release Date: 2017-10-01
Composer: Franz Liszt
Artists: Jared Schwartz, Mary Dibbern

Throughout Liszt’s long career, his songs – perhaps the most neglected part of his enormous output – took a radical approach to form, eschewing convention in search of a sincere musical response to each text. His free-spirited creativity meant that a single song would often call on a range of stylistic devices, among them bel canto vocal lines, unaccompanied recitative, orchestrally conceived piano textures and audacious harmonic procedures. This first recording of Liszt songs by a bass voice brings out both the power and poetry of his remarkable imagination.

Jared Schwartz, bass
Mary Dibbern, piano

Listen To This Recording:

  1. Weimars Volkslied (c. 1853; Cornelius)*
  2. Pace non trovo (1843–44, rev. 1864;
    Petrarch, Sonnet No. 104)
  3. Des Tages laute Stimmen schweigen (1880; von Saar)
  4. J’ai perdu ma force et ma vie (1872; de Musset)
  5. Jeanne d’Arc au bucher (c. 1840–45; Dumas père)
  6. Sei still (1877; von Schorn)
  7. Le Juif errant (1848; de Béranger)
  8. Über allen Gipfeln ist Ruh’ (1849; Goethe)
  9. O lieb, solang du lieben kannst! (c. 1842–50; Freiligrath)
  10. Du bist wie eine Blume (1843–late 1850s; Heine)
  11. Go not, happy day (1879; Tennyson)
  12. Weimars Toten — Dithyrambe (1849; von Schober)


1 review for Franz Liszt: Songs for Bass Voice and Piano

  1. :

    ‘These are detailed, very well thought through but also spontaneous-sounding performances – in which, by the way, Mary Dibbern emerges as every bit as fine a pianist as she is an annotator. […] as for example in ‘Über allen Gipfeln ist Ruh’’, perhaps the single best performance on the disc. […]

    both Schwartz and Dibbern emerge as serious, highly intelligent and sophisticated artists of no little resource and versatility. […] they have done Liszt and lovers of his songs a very considerable service in opening him up to all basses, present and future.’

    —Nigel Harris, MusicWeb International

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