Schubert: Schwanengesang Andrè Schuen & Daniel Heide

Cover Schubert: Schwanengesang

Album info



Label: Deutsche Grammophon (DG)

Genre: Classical

Subgenre: Vocal

Artist: Andrè Schuen & Daniel Heide

Composer: Franz Schubert (1797-1828)

Album including Album cover Booklet (PDF)

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  • Franz Schubert (1797 - 1828): Schwanengesang, D. 957
  • 1Schubert: Schwanengesang, D. 957: No. 1, Liebesbotschaft02:57
  • 2Schubert: Schwanengesang, D. 957: No. 2, Kriegers Ahnung05:28
  • 3Schubert: Schwanengesang, D. 957: No. 3, Frühlingssehnsucht03:23
  • 4Schubert: Schwanengesang, D. 957: No. 4, Ständchen04:15
  • 5Schubert: Schwanengesang, D. 957: No. 5, Aufenthalt03:01
  • 6Schubert: Schwanengesang, D. 957: No. 6, In der Ferne06:58
  • 7Schubert: Schwanengesang, D. 957: No. 7, Abschied04:38
  • 8Schubert: Schwanengesang, D. 957: No. 8, Der Atlas02:39
  • 9Schubert: Schwanengesang, D. 957: No. 9, Ihr Bild03:04
  • 10Schubert: Schwanengesang, D. 957: No. 10, Das Fischermädchen02:30
  • 11Schubert: Schwanengesang, D. 957: No. 11, Die Stadt03:04
  • 12Schubert: Schwanengesang, D. 957: No. 12, Am Meer04:50
  • 13Schubert: Schwanengesang, D. 957: No. 13, Der Doppelgänger05:39
  • 14Schubert: Schwanengesang, D. 957: No. 14, Die Taubenpost, D. 965a04:04
  • Total Runtime56:30

Info for Schubert: Schwanengesang

Songs of Love and Loss: Andrè Schuen and Daniel Heide perform Schubert’s ‘Schwanengesang’.

Andrè Schuen’s debut album for Deutsche Grammophon, a moving interpretation of Schubert’s Die schöne Müllerin, received widespread critical acclaim, with Gramophone praising the baritone’s “superb, free-ranging voice, used with taste and invariable sensitivity to the text”. Now Schuen continues his personal journey into the composer’s late, great song cycles with a new recording of Schwanengesang (Swan Song), on which he is joined once more by his longstanding duo partner Daniel Heide, hailed in turn by Gramophone for his “model” accompaniment and “limpid playing”. Heide’s subtle pianism again complements Schuen’s insightful interpretations as together they project the beauty and pathos, drama and despair of the fourteen Schwanengesang Lieder.

Schubert completed the last of what would prove to be his final songs just over a month before his death in November 1828. Seven of the poems he chose to set at this time are by Ludwig Rellstab, six by Heinrich Heine and one, (“Die Taubenpost”), by the Austrian polymath Johann Gabriel Seidl. It seems likely that he expected the Rellstab and Heine songs to be published separately; however, the Vienna-based composer and publisher, Tobias Haslinger, aware of their posthumous significance as Schubert’s last musical testament, issued them in 1829 under the title Schwanengesang.

Andrè Schuen discovered the collection long before he became a professional singer, and was swept away by its contents. “I remember a recording with Dietrich Fischer-Dieskau that I played over and over again,” he says, adding that Schwanengesang is still his “greatest love among the Schubert Lieder. Especially the Heine settings.”

This is perhaps because, although Schwanengesang is more compilation than narrative cycle, with the Rellstab songs dealing with different aspects of romantic longing and loss, the outline of a story does emerge in Schubert’s choice of Heine poems. “There are indeed parallels with Die Winterreise and Die schöne Müllerin,” notes the singer. “Here, too, we find an abandoned figure who has left home and forged his way into emotional and psychological borderlands. Sometimes, as in ‘Ihr Bild’, reality and fiction begin to blur.” The Heine songs are also notable for their economy of means, reflecting the sparse style of the poet. “There’s not one note too many!” says Schuen, who has a particular fondness for the melancholy seascape depicted in “Am Meer”. “It’s a perfect symbiosis of words and music, of Heine and Schubert,” he explains. “It’s perhaps my favourite Schubert song altogether.”

Schuen and Heide developed and refined their interpretation of Schwanengesang in acclaimed recital performances before coming to the Markus-Sittikus-Saal in Hohenems to record the work in March 2021. The baritone is unstinting in his praise for his duo partner: “Not only is he a fantastic pianist, he’s also a seasoned connoisseur of the human voice. To me this makes all the difference, his enthusiasm for colour, for the aesthetic of a voice, always in search of the magical moment and never avoiding risks.”

Andrè Schuen, baritone
Daniel Heide, piano

Andrè Schuen
hails from La Val in Ladin (South Tyrol, Italy), where he grew up speaking three languages - Ladin, Italian and German, a versatility that is reflected in his current vocal repertoire. After many years of playing the cello as his main instrument, he decided to study singing at the University Mozarteum Salzburg with Prof. Horiana Branisteanu, as well as Lied and Oratorio with Prof. Wolfgang Holzmair. After his studies, Andrè Schuen was an ensemble member of the Graz Opera. Today he is at home on the major opera, concert and song stages worldwide.

In the field of opera, Andrè Schuen is highly sought after by internationally important opera houses such as the Bavarian State Opera, the Vienna State Opera, Royal Opera House Covent Garden and the Teatro Real Madrid. In the current season he will assume the role of Conte in the new production of Mozart's Nozze di Figaro at the Vienna State Opera (conducctor: Philippe Jordan/director: Barrie Kosky). For the first time, he will embody two Wagner roles: Heerrufer in the new production of Lohengrin at the Bavarian State Opera (François-Xavier Roth/Kornél Mundruczo) and his debut as Wolfram in Tannhäuser at the Staatsoper Unter den Linden (Sebastian Weigle/Sasha Waltz) in May. He is also a regular guest in opera productions at major festivals such as Salzburg or Aix-en-Provence, most recently in the title role of Nozze di Figaro (Lotte de Beer/Thomas Hengelbrock) at the Festival d'Aix-en-Provence and as Guglielmo in Così fan tutte (Christof Loy/ Joana Mallwitz) at the Salzburg Festival.

In concert Andrè Schuen made his debut at the Lucerne Festival with Mahler's Lieder eines fahrenden Gesellen with the Lucerne Festival Orchestra under Jakub Hruša in August 2022. The season 2022-2023 will also see his debut with the Finnish Radio Orchestra in Helsinki and a tour of Spain with Mahler's Wunderhorn Lieder with the Ensemble de l'Orquesta de la Comunidad de Valencia. He will spend the turn of the year at Leipzig's Gewandhaus performing Beethoven's 9th under Andris Nelsons. In May 2023 he will sing in Mahler's 8th Symphony at La Scala in Milan with the Orchestra del Teatro alla Scala under Riccardo Chailly. Past highlights on the concert stage include appearances with the Berlin Philharmonic under Simon Rattle, WDR Symphony Orchestra under Jukka-Pekka Saraste and Swedish Radio Symphony Orchestra under Daniel Harding.

Lied singing is particularly important to Andrè Schuen, performing together with his piano partner Daniel Heide. This season, recitals will take him back to the Schubertiade in Schwarzenberg, the Konzerthaus Wien, Teatro de la Zarzuela Madrid and Konzerthaus Dortmund. He is also a regular guest at other major song centres such as London's Wigmore Hall, Schubertiada Vilabertran, Heidelberger Frühling or Rheingau Musik Festival. In the USA, he gave his debut in recitals at Tanglewood Festival and Aspen Music Festival, together with Andreas Haefliger.

Andrè Schuen is internationally acclaimed for his recordings. Since 2021, the Ladin baritone has been an Exclusive Recording Artist for Deutsche Grammophon. After Schubert's Schöne Müllerin, Schwanengesang will be released in November 2022 as part of his exclusive recording of all three Schubert song cycles for the "Yellow Label".

Booklet for Schubert: Schwanengesang

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