Franz Liszt's songs remain the least-often-heard segment of his output, even as serious historians of 19th century music, including Alfred Brendel, have praised them. They are a bit uneven, and they are, for a composer who made his living with the grand gesture, uncharacteristically quiet. Various singers have taken them up, however, and this major release by Jonas Kaufmann, with the invaluable Helmut Deutsch on the piano, marks a kind of milestone. The songs are striking for how little they resemble Schumann or anything ...
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Franz Liszt's songs remain the least-often-heard segment of his output, even as serious historians of 19th century music, including Alfred Brendel, have praised them. They are a bit uneven, and they are, for a composer who made his living with the grand gesture, uncharacteristically quiet. Various singers have taken them up, however, and this major release by Jonas Kaufmann, with the invaluable Helmut Deutsch on the piano, marks a kind of milestone. The songs are striking for how little they resemble Schumann or anything else written anywhere near the same time (until perhaps Hugo Wolf), and Kaufmann absolutely gets their originality. He opens right in the midst of daring harmonic complexities with Liszt's setting of Heinrich Heine's Vergiftet sind meine Lieder ("Poisoned Are My Songs"), where Liszt takes the words with startling literacy. Among the few songs included that do receive frequent hearings are the Tre Sonetti del Petrarca, and here and in other more operatic pieces, Kaufmann turns on the...
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