℗ 2022 haenssler CLASSIC
Released | September 2, 2022 |
Duration | 1h 00m 54s |
Record Label | haenssler CLASSIC |
Catalogue No. | HC20026 |
Genre | Classical (Art Song) |
O, wie Beseligend
Bettina Pahn, Christine Schornsheim
Available in 44.1 kHz / 24-bit AIFF, FLAC audio formats
1.1
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Ave Maria, H-U 20
Fanny Mendelssohn; Walter Scott; Bettina Pahn; Christine Schornsheim |
1:52 | |||
6 Lieder, Op. 13 (Excerpts)
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1.2
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No. 3, Die Liebe sass als Nachtigall
Clara Schumann; Emanuel Geibel; Bettina Pahn; Christine Schornsheim |
2:31 | |||
1.3
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Was will die einsame Träne, H-U 207
Fanny Mendelssohn; Heinrich Heine; Bettina Pahn; Christine Schornsheim |
3:37 | |||
1.4
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Zauberkreis, H-U 399
Fanny Mendelssohn; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
2:38 | |||
1.5
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No. 6, Die stille Lotosblume
Clara Schumann; Emanuel Geibel; Bettina Pahn; Christine Schornsheim |
2:40 | |||
1.6
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Zwischen Capua und Gaeta
Fanny Mendelssohn; Franz Grillparzer; Bettina Pahn; Christine Schornsheim |
1:37 | |||
1.7
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Lorelei, KochS WoO 19
Clara Schumann; Heinrich Heine; Bettina Pahn; Christine Schornsheim |
2:29 | |||
4 Songs for Piano, Op. 2 (Excerpts)
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1.8
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No. 3 in E Major, Allegretto grazioso
Fanny Mendelssohn; Christine Schornsheim |
2:54 | |||
1.9
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O weh des Scheidens, das er tat, KochS WoO 20
Clara Schumann; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
2:42 | |||
6 Lieder, Op. 1
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1.10
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No. 1, Schwanenlied
Fanny Mendelssohn; Heinrich Heine; Bettina Pahn; Christine Schornsheim |
2:26 | |||
1.11
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Wanderlied
Fanny Mendelssohn; Friedericke Robert; Bettina Pahn; Christine Schornsheim |
2:10 | |||
1.12
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Lebewohl, H-U 48
Fanny Mendelssohn; Wilhelm Hensel; Bettina Pahn; Christine Schornsheim |
1:54 | |||
1.13
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Am Strande, KochS WoO 15
Clara Schumann; Robert Burn; Bettina Pahn; Christine Schornsheim |
2:17 | |||
4 Songs for Piano, Op. 2 (Excerpts)
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1.14
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No. 1 in G Major, Andante
Fanny Mendelssohn; Christine Schornsheim |
3:46 | |||
1.15
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Frühlingslied, H-U 255
Fanny Mendelssohn; Wilhelm Hensel; Bettina Pahn; Christine Schornsheim |
1:18 | |||
Lieder, Op. 12 (Excerpts)
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1.16
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No. 2, Liebst Du um Schönheit
Clara Schumann; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
1:54 | |||
1.17
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Die furchtsame Träne, H-U 66
Fanny Mendelssohn; Herrmann Reinhard Schick; Bettina Pahn; Christine Schornsheim |
2:12 | |||
1.18
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O, wie beseligend
Fanny Mendelssohn; Bettina Pahn; Christine Schornsheim |
0:39 | |||
1.19
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Nacht
Fanny Mendelssohn; Friederike Robert; Bettina Pahn; Christine Schornsheim |
1:50 | |||
Soirées musicales, Op. 6
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1.20
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No. 2 in F Major, Notturno
Clara Schumann; Christine Schornsheim |
5:04 | |||
Lieder, Op. 12 (Excerpts)
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1.21
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No. 1, Er ist gekommen
Clara Schumann; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
2:28 | |||
6 Lieder, Op. 13 (Excerpts)
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1.22
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No. 5, Ich hab in Deinem Auge
Clara Schumann; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
1:49 | |||
1.23
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Am leuchtenden Sommermorgen, H-U 212
Fanny Mendelssohn; Heinrich Heine; Bettina Pahn; Christine Schornsheim |
1:06 | |||
1.24
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Lied der Fee, H-U 73
Fanny Casper; Fanny Mendelssohn; Bettina Pahn; Christine Schornsheim |
1:36 | |||
1.25
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Gebet in der Christnacht, H-U 63
Fanny Mendelssohn; Wilhelm Müller; Bettina Pahn; Christine Schornsheim |
3:08 | |||
1.26
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Die gute Nacht, KochS WoO 17
Clara Schumann; Friedrich Rückert; Bettina Pahn; Christine Schornsheim |
2:17 | |||
Digital Booklet
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"Oh, do it Clara darling!" said Robert Schumann to his bride Clara, strongly encouraging her to pursue composing. Although the pianist had always composed, when she married in 1840 - without being asked to - she was immediately willing to dispense with this part of her musical output: "A woman does not have to desire to compose - so far not one has been able to do so; should that be what I am destined to do?" Clara is caught up in a crisis and feels resigned: "But I cannot compose ... I lack all talent for it." Only after the wedding did Clara return to composing. As long as her father or husband encouraged her to do so, in her consummate adaptability she did so with joy. But after Robert's death in 1856, Clara stopped composing entirely. It does not appear that the Mendelssohns were able to enjoy Heine's kinder side. Although Heine was sometimes a visitor at their home in Berlin, somehow friendly relations did not develop. However, the poet Heine held Fanny in high regard. She had already set his poems "Was will die einsame Trane" (Why this solitary tear) and "Am I euchtenden Sommermorgen" (On a radiant summer morning) to music in 1827/28. Her song setting of Heine's "Schwanenlied" (Song of the swan) - was her first published work, but this only happened in 1846. At first Fanny chose to set poems by her bridegroom WiIhelm to music, of which she had already composed "Lebewohl" (FarewelI) the same year they met and before the wedded couple were separated for a long period. Upon getting married she, too, began a busy and fruitful artistic colIaboration that involved the daily morning ritual of Wilhelm leaving poems on the piano for her to set to music.
44.1 kHz / 24-bit PCM – haenssler CLASSIC Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -2.96 -6.58 to -0.27 | -25.66 -30.99 to -21.77 | -22.12 -26.60 to -18.70 | 13 12 to 16 | |
1 | Ave Maria, H-U 20 | -4.57 | -26.98 | -23.6 | 13 |
2 | No. 3, Die Liebe sass als Nachtigall | -0.40 | -24.41 | -20.7 | 12 |
3 | Was will die einsame Träne, H-U 207 | -5.51 | -30.99 | -26.6 | 16 |
4 | Zauberkreis, H-U 399 | -2.57 | -25.24 | -21.9 | 14 |
5 | No. 6, Die stille Lotosblume | -5.35 | -28.20 | -24.7 | 14 |
6 | Zwischen Capua und Gaeta | -1.21 | -23.57 | -20.3 | 13 |
7 | Lorelei, KochS WoO 19 | -0.27 | -21.77 | -18.7 | 14 |
8 | No. 3 in E Major, Allegretto grazioso | -3.96 | -24.52 | -21.5 | 13 |
9 | O weh des Scheidens, das er tat, KochS WoO 20 | -2.63 | -28.59 | -23.8 | 15 |
10 | No. 1, Schwanenlied | -1.63 | -25.20 | -21.6 | 15 |
11 | Wanderlied | -0.96 | -23.94 | -20.5 | 14 |
12 | Lebewohl, H-U 48 | -6.58 | -30.25 | -26.5 | 13 |
13 | Am Strande, KochS WoO 15 | -0.37 | -23.75 | -20.8 | 13 |
14 | No. 1 in G Major, Andante | -4.91 | -24.27 | -21.5 | 12 |
15 | Frühlingslied, H-U 255 | -2.47 | -22.88 | -19.2 | 13 |
16 | No. 2, Liebst Du um Schönheit | -5.42 | -25.72 | -22.4 | 13 |
17 | Die furchtsame Träne, H-U 66 | -0.94 | -23.51 | -19.7 | 13 |
18 | O, wie beseligend | -1.66 | -23.16 | -19.3 | 12 |
19 | Nacht | -2.56 | -24.38 | -21.2 | 14 |
20 | No. 2 in F Major, Notturno | -4.84 | -25.58 | -22.7 | 13 |
21 | No. 1, Er ist gekommen | -0.27 | -22.67 | -19.6 | 13 |
22 | No. 5, Ich hab in Deinem Auge | -4.83 | -26.87 | -23.0 | 14 |
23 | Am leuchtenden Sommermorgen, H-U 212 | -2.56 | -28.77 | -25.0 | 12 |
24 | Lied der Fee, H-U 73 | -1.70 | -25.82 | -22.3 | 14 |
25 | Gebet in der Christnacht, H-U 63 | -4.17 | -27.44 | -23.4 | 14 |
26 | Die gute Nacht, KochS WoO 17 | -4.63 | -28.74 | -24.7 | 13 |