{"title":"Classical music €15–€30","description":null,"products":[{"product_id":"andrea-bocelli-si-deluxe-edition","title":"Si (Deluxe Edition)","description":"","brand":"Andrea Bocelli","offers":[{"title":"OS","offer_id":46371441344755,"sku":"128412000","price":16.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Andrea-Bocelli_Si-Deluxe-Edition_CD_s128412_o195035_a288329_v12067187.da888a3c.jpg?v=1744798181"},{"product_id":"lang-lang-piano-book-jewelcase","title":"Piano Book (Jewelcase)","description":"\u003cp\u003eWith this collection, Lang Lang goes back to his first love - to the pieces that made him want to become a musician in the first place. Rediscovering the most popular and accessible pieces written for learners and lovers of the piano, this album is a journey; of inspiration, of discovery, fantasy and learning. It is a moment for Lang Lang to illuminate these classic pieces as the masterworks they truly are. It is also a reflection on the music that influenced him most during his early childhood, later in life coping with difficult moments, and working with young piano learners around the world. 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Das erfordert eine ungeheure Portion Mut.« In ihrer existenziellen Tiefe und grenzüberschreitenden Kraft hat die Musik des überzeugten Humanisten dabei bis heute eine zwingende Präsenz und Aktualität.\u003c\/p\u003e\u003cp\u003eAnne-Sophie Mutter sagt, Beethoven habe »wirklich erkannt, worum es im Leben geht: um das friedvolle Miteinander von uns Menschen, darum, dass wir füreinander da sind. Diese Idee, dass wir im Kern wie Brüder oder Schwestern miteinander leben sollen, ist für mich letztlich die Essenz seines Wirkens, die ihn zu einem Botschafter von der Vergangenheit in eine bessere Zukunft hinein werden lässt.«\u003c\/p\u003e\u003cp\u003eYo-Yo Ma erklärt: »Die überbordende Erfindungskraft ist so überraschend, und das Werk ist so lebensbejahend, so positiv. Der zweite Satz ist nobel und offen, aber die Ecksätze sind einfach voller Freude!« Die deutlich hervorgehobenen Parts der Solisten werden oft kammermusikalisch geführt und ziehen in der ausdrucksstarken Interpretation von Mutter, Barenboim und Ma unmittelbar in den Bann\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDas Album ist als CD, BLU-RAY DISC \u0026amp; 2 LP VINYL erhältlich.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBrilliantes Zusammenspiel\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e„Es ist faszinierend, zu erleben, wie brillant, konzentriert und gleichzeitig entspannt diese drei Weltstars miteinander musizieren und aufeinander hören. Anne-Sophie Mutter - wie immer in atemberaubend schöner, diesmal schwarzer schulterfreier Robe - lässt noch im leisesten Pianissimo die Töne strahlen. Yo-Yo Mas Celloton klingt unendlich warm und voll. Das Orchester mit dem Konzertmeister Michael Barenboim, dem Sohn des Dirigenten, ist in Höchstform. (…) Standing Ovations.“ (Konzertkritik, RBB24, 23.10.2019)\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"Anne-Sophie Mutter, Yo-Yo Ma, Daniel Barenboim","offers":[{"title":"OS","offer_id":46371465494771,"sku":"132226000","price":17.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/1182\/3859\/files\/Anne-Sophie-Mutter-Yo-Yo-Ma-Daniel-Barenboim_Beethoven-Triple-Concerto-Symphony-No-7_CD_s132226_o198830_a294335_v12062270.8b34fbb8.jpg?v=1744693659"},{"product_id":"matthias-goerne-beethoven-songs","title":"Beethoven Songs","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e 1 Beethoven: 6 Lieder op. 48 - 1. Bitten\u003c\/p\u003e\n\u003cp\u003e2 Beethoven: 6 Lieder op. 48 - 2. Die Liebe des Nächsten\u003c\/p\u003e\n\u003cp\u003e3 Beethoven: 6 Lieder op. 48 - 3. Vom Tode\u003c\/p\u003e\n\u003cp\u003e4 Beethoven: 6 Lieder op. 48 - 4. 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Wo die Berge so blau\u003c\/p\u003e\n\u003cp\u003e20 Beethoven: An die ferne Geliebte op. 98 - 3. Leichte Segler in den Höhen\u003c\/p\u003e\n\u003cp\u003e21 Beethoven: An die ferne Geliebte op. 98 - 4. Diese Wolken in den Höhen\u003c\/p\u003e\n\u003cp\u003e22 Beethoven: An die ferne Geliebte op. 98 - 5. Es kehret der Maien, es blühet die Au\u003c\/p\u003e\n\u003cp\u003e23 Beethoven: An die ferne Geliebte op. 98 - 6. 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Alberto Ginastera: Chacarera\u003c\/p\u003e\n\u003cp\u003e17. Alberto Ginastera: Canción al árbol del Olvido\u003c\/p\u003e\n\u003cp\u003e18. Zequinha de Abreu: Tico Tico no Fubá – (harp solo)\u003c\/p\u003e\n\u003cp\u003e19. Ariel Ramírez: Alfonsina y el mar\u003c\/p\u003e\n\u003cp\u003e20. La llorona (Mexikan Folksong)\u003c\/p\u003e\n\u003cp\u003e21. 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Together Villazón and de Maistre present a programme embracing everything from Venezuelan and Peruvian dance-songs to art songs by composers such as \u003cstrong\u003eAlberto Ginastera\u003c\/strong\u003e and \u003cstrong\u003eCarlos Guastavino\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThanks to its long and turbulent history, Latin America boasts a wealth of musical influences – indigenous, African and European. Its song repertoire is therefore one of the most diverse in the world, rich in melodic, rhythmic and narrative forms unique to the continent. \u003cem\u003eSerenata latina \u003c\/em\u003epays tribute to a repertoire that reflects a two-way exchange between the rural spaces where folk music reigned and the salons and concert halls of urban areas.\u003c\/p\u003e\n\u003cp\u003e\u003cbr \/\u003e“This album is a collection of beautiful traditional folk and art songs from my big homeland – when you come from Latin America, all other Latin countries feel like siblings,” explains Villazón. “Its themes vary from nature to love, from grief for the spirits of the dead to the joy of being alive. Throughout, we can admire the art and sensibility of the Latin American composers who drank from the European tradition to create their music but remained rooted in the soil of our rich, colourful, sometimes melancholic yet always resilient culture.”\u003c\/p\u003e\n\u003cp\u003e\u003cbr \/\u003eListeners will already be able to sample the \u003cem\u003eSerenata latina\u003c\/em\u003e experience this summer through the release of three e-singles. \u003cstrong\u003e\u003cem\u003eEn estos días\u003c\/em\u003e\u003c\/strong\u003e by the legendary Cuban singer-songwriter \u003cstrong\u003eSilvio Rodríguez\u003c\/strong\u003e and \u003cstrong\u003e\u003cem\u003eAl banco solitario\u003c\/em\u003e\u003c\/strong\u003e, a tender love song by the Argentine singer and composer \u003cstrong\u003eYvette Souviron\u003c\/strong\u003e, are already available on all the digital platforms for streaming or as downloads. \u003cstrong\u003e\u003cem\u003eDeseo\u003c\/em\u003e\u003c\/strong\u003e, an emotionally charged concert piece by Cuban composer \u003cstrong\u003eEduardo Sánchez de Fuentes\u003c\/strong\u003e, is due for release on \u003cstrong\u003e7 August\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe idea for \u003cem\u003eSerenata latina\u003c\/em\u003e was conceived almost eighteen years ago at Vienna’s Musikverein, where Xavier de Maistre was performing Ginastera’s Harp Concerto. The composer’s widow, Aurora Nátola, visited him backstage after the concert and suggested that he should transcribe her late husband’s \u003cem\u003eCinco canciones populares argentinas\u003c\/em\u003e for harp. From this starting point, the harpist eventually went on to transcribe the piano parts of almost two dozen Latin American songs, as well as four solo pieces originally written for other instruments.\u003c\/p\u003e\n\u003cp\u003e“I really wanted to record Latin songs with a tenor,” says de Maistre. “The first person I thought of was Rolando. He’s familiar with this music and is very innovative, always looking for fresh projects. When I phoned him about it, he immediately said that it was a great idea. We met and after half an hour he said: ‘Let’s do it!’ When he realised what was possible on the harp, he really encouraged me to try new pieces.”\u003c\/p\u003e\n\u003cp\u003eRolando Villazón praises de Maistre as “one of the finest musicians of our time”. 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Nicht ohne Grund: »Rachmaninow und Skrjabin repräsentierten die junge Generation russischer Komponisten an der Wende zum 20. Jahrhundert«, erklärt Trifonov, »aber wenn man Rachmaninow als Komponisten sieht, der voller Sehnsucht zum Horizont blickte, dann war Skrjabin derjenige, der sich die Welt dahinter vorstellte.«\u003c\/p\u003e\n\u003cp\u003eDiaghilew war es auch, der bald darauf einen außerhalb von St. Petersburg praktisch unbekannten jungen Künstler beauftragte: Er ließ Igor Strawinsky ein Werk für die Ballets Russes schreiben. \u003cem\u003eL’Oiseau de feu\u003c\/em\u003e wurde zur Sensation der Saison 1910. Zusammen mit \u003cem\u003ePétrouchka\u003c\/em\u003e  (1911) und \u003cem\u003eLe Sacre du printemps\u003c\/em\u003e (1913) sicherte das Stück Strawinsky einen Platz unter den einflussreichsten Komponisten des beginnenden Säkulums. Ganz im Sinne des Silbernen Zeitalters sollte er zeit seines langen Lebens neue Stilrichtungen erforschen und entwickeln.\u003c\/p\u003e\n\u003cp\u003e»Strawinsky war gewissermaßen ein Anti-Romantiker – der zweite Satz, Romanza, der seiner Frau gewidmeten \u003cem\u003eSérénade\u003c\/em\u003e könnte unsentimentaler nicht sein«, erklärt Trifonov. »Strawinsky war wandlungsfähig wie ein Chamäleon. Von seinem russischen Stil bis zum Neoklassizismus und seinen späteren Experimenten mit serieller Musik, Jazz und vielem anderen ist es Musik, die in spielerischer Abstraktion geschrieben wurde. Die persönlichen Gefühle des Komponisten bleiben verborgen, aber seine künstlerische Handschrift ist immer unverkennbar.«\u003c\/p\u003e\n\u003cp\u003eDas Programm des Pianisten fängt die auf Zukunft ausgerichtete, Regeln missachtende Energie wegweisender Werke von drei ungewöhnlich fähigen Komponisten ein. Es zeigt auch, wie typische Elemente des Silbernen Zeitalters, etwa Ironie und Interesse für Volkskultur oder Vorstellungen aus der Vergangenheit, in späteren Kompositionen von Prokofjew zutage treten, zum Beispiel in seiner Musik zu \u003cem\u003eCinderella\u003c\/em\u003e und der Klaviersonate Nr. 8, Werken der Reifezeit, in denen er erneut den musikalischen Idealen nachgeht, die einst seinen Ruf als bilderstürmender junger Komponist und Pianist begründeten.\u003c\/p\u003e\n\u003cp\u003eVor allem erfasst Trifonovs Auswahl die kreative Vielfalt dieses kurzen, aber explosiven kulturellen Augenblicks. »\u003cstrong\u003eSkrjabin\u003c\/strong\u003e«, so Trifonov, »wollte alle ästhetische Erfahrung in einer einzigen, mystischen, musikalischen Vision zusammenfassen; \u003cstrong\u003eStrawinsky\u003c\/strong\u003e vereinte die Künste durch eine radikale Neubestimmung des Balletts; und \u003cstrong\u003eProkofjew\u003c\/strong\u003e wandte sich dem Film als vollständiger, modernster Verbindung der Sinne zu.« Das russische Silberne Zeitalter bereitete den Weg für künftige künstlerische Entwicklungen, sein Geist wird zu Recht in dieser neuen Aufnahme gefeiert.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIgor Stravinsky (1882–1971)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSerenade in A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1 1. 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Minore\u003c\/p\u003e\n\u003cp\u003e10 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 5. Maggiore\u003c\/p\u003e\n\u003cp\u003e11 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 6. Tempo di minuetto\u003c\/p\u003e\n\u003cp\u003e12 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 7\u003c\/p\u003e\n\u003cp\u003e13 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 8. Schwäbisch (non allegro)\u003c\/p\u003e\n\u003cp\u003e14 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 9. Minore (tranquillo)\u003c\/p\u003e\n\u003cp\u003e15 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 10. Maggiore (Tempo I)\u003c\/p\u003e\n\u003cp\u003e16 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 11\u003c\/p\u003e\n\u003cp\u003e17 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 12. Alla Siciliano\u003c\/p\u003e\n\u003cp\u003e18 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 13\u003c\/p\u003e\n\u003cp\u003e19 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 14\u003c\/p\u003e\n\u003cp\u003e20 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 15 (più andante)\u003c\/p\u003e\n\u003cp\u003e21 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 16. (Tempo I)\u003c\/p\u003e\n\u003cp\u003e22 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 17. Minore\u003c\/p\u003e\n\u003cp\u003e23 Johann Christoph Friedrich Bach: Allegretto con variazioni (“Ah, vous dirai-je, maman”) Wf 12\/2 - Var. 18. Maggiore (allegro)\u003c\/p\u003e\n\u003cp\u003e24 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Musette in D-Dur BWV Anh. 126 (App. C)\u003c\/p\u003e\n\u003cp\u003e25 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Gedenke doch, mein Geist, zurücke BWV 509\u003c\/p\u003e\n\u003cp\u003e26 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Minuet in a-Moll BWV Anh. 120 (App. C)\u003c\/p\u003e\n\u003cp\u003e27 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Minuet in F-Dur BWV Anh. 113 (App. C)\u003c\/p\u003e\n\u003cp\u003e28 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Polonaise in F-Dur BWV Anh. 117b (App. C)\u003c\/p\u003e\n\u003cp\u003e29 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - (Polonaise) in d-Moll BWV Anh. 128 (App. C)\u003c\/p\u003e\n\u003cp\u003e30 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Gib dich zufrieden und sei stille BWV 511\u003c\/p\u003e\n\u003cp\u003e31 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Minuet in G-Dur BWV Anh. 114 (App. D) (composed by Christian Petzold (1677–1733))\u003c\/p\u003e\n\u003cp\u003e32 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Minuet in G-Dur BWV Anh. 116 (App. C)\u003c\/p\u003e\n\u003cp\u003e33 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Polonaise in g-Moll BWV Anh. 125 (App. C) (composed by Carl Philipp Emanuel Bach (1714–1788))\u003c\/p\u003e\n\u003cp\u003e34 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Minuet in c-Moll BWV Anh. 121 (App. C)\u003c\/p\u003e\n\u003cp\u003e35 Johann Sebastian Bach: Notenbüchlein für Anna Magdalena Bach (1725) (Auswahl) - Bist du bei mir BWV 508 (composed by Gottfried Heinrich Stölzel (1690–1749))\u003c\/p\u003e\n\u003cp\u003e36 Johann Sebastian Bach \/ Johannes Brahms: Chaconne in d-Moll für die linke Hand (Studien für Klavier Nr. 5) Anh. 1a\/1\u003c\/p\u003e\n\u003cp\u003e37 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 1\u003c\/p\u003e\n\u003cp\u003e38 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 2\u003c\/p\u003e\n\u003cp\u003e39 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 3\u003c\/p\u003e\n\u003cp\u003e40 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 4\u003c\/p\u003e\n\u003cp\u003e41 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 5\u003c\/p\u003e\n\u003cp\u003eCD 2\u003c\/p\u003e\n\u003cp\u003e1 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 6 a 4 [per Diminutionem] in Stylo Francese\u003c\/p\u003e\n\u003cp\u003e2 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 7 a 4 per Augmentationem et Diminutionem\u003c\/p\u003e\n\u003cp\u003e3 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 8 a 3\u003c\/p\u003e\n\u003cp\u003e4 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - Contrapunctus 9 a 4 alla Duodecima\u003c\/p\u003e\n\u003cp\u003e5 Johann Sebastian Bach: Die Kunst der Fuge BWV 1080 - 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Celebrating her 50th Birthday on 18th September, the prima donna assoluta at the height of her formidable powers presents a dazzling array of iconic soprano arias by Verdi, Wagner, Strauss, Puccini, Cilea and Purcell, also including Dido’s Lament, Anna’s first ever Baroque track in the English language. This special Album was recorded with Maestro Riccardo Chailly and the Orchestra del Teatro alla Scala.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRICHARD STRAUSS Es gibt ein Reich, wo alles rein ist\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eAriadne auf Naxos (Ariadne)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGIUSEPPE VERDI Ritorna vincitor! … Numi, pietà\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eAida, Act I: Scena e romanza (Aida)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGIUSEPPE VERDI Tu che le vanità conoscesti del mondo\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eDon Carlo, Act V: Scena (Elisabetta)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRICHARD WAGNER Dich, teure Halle, grüß ich wieder!\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eTannhäuser, Act II (Elisabeth)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFRANCESCO CILEA Poveri fiori, gemme de’ prati\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eAdriana Lecouvreur, Act IV (Adriana)\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePYOTR I. 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Celebrating her 50th Birthday on 18th September, the prima donna assoluta at the height of her formidable powers presents a dazzling array of iconic soprano arias by Verdi, Wagner, Strauss, Puccini, Cilea and Purcell, also including Dido’s Lament, Anna’s first ever Baroque track in the English language. This special Album was recorded with Maestro Riccardo Chailly and the Orchestra del Teatro alla Scala.\u003c\/p\u003e\n\u003cp\u003eAnna Netrebko will also release a visual album which is a music film based on four arias from Anna’s latest recordings. Filmed mainly at Teatro alla Scala in Milan during at right after the album recording, it explores Anna\u0026#039;s performative practices to embody different heroines and their stories. Framed by a genuine interview where Anna shares rare insights about herself, as well as the music, the film follows the four arias as they are translated to screen, each with a unique visual language and style. 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Their voyage into the metaphysics of being also features Wolf’s Michelangelo-Lieder (1897), three profound reflections on the nature of time, mortality and love written just months before Wolf’s final descent into madness and three songs from Shostakovich’s Suite on Verses of Michelangelo Buonarroti (1974), completed just over a year before the Soviet composer’s death. The album concludes with Brahms’s Vier ernste Gesänge (1896), the last of his works published in his lifetime, in which death takes its inevitable place in the natural order of things. The song-cycle’s prophetic words, matched to music of solace, are drawn from biblical texts, including the Book of Ecclesiastes.\u003c\/p\u003e\n\u003cp\u003eThis album finds two artists at the height of their powers in works that expose the heart of the human condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1 Berg: Vier Gesänge op. 2 - 1. 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Ich grolle nicht\u003c\/p\u003e\n\u003cp\u003e12 Schumann: Dichterliebe op. 48 - 8. Und wüssten’s die Blumen, die kleinen\u003c\/p\u003e\n\u003cp\u003e13 Schumann: Dichterliebe op. 48 - 9. Das ist ein Flöten und Geigen\u003c\/p\u003e\n\u003cp\u003e14 Schumann: Dichterliebe op. 48 - 10. Hör ich das Liedchen klingen\u003c\/p\u003e\n\u003cp\u003e15 Schumann: Dichterliebe op. 48 - 11. Ein Jüngling liebt ein Mädchen\u003c\/p\u003e\n\u003cp\u003e16 Schumann: Dichterliebe op. 48 - 12. Am leuchtenden Sommermorgen\u003c\/p\u003e\n\u003cp\u003e17 Schumann: Dichterliebe op. 48 - 13. Ich hab im Traum geweinet\u003c\/p\u003e\n\u003cp\u003e18 Schumann: Dichterliebe op. 48 - 14. Allnächtlich im Traume seh ich dich\u003c\/p\u003e\n\u003cp\u003e19 Schumann: Dichterliebe op. 48 - 15. Aus alten Märchen winkt es\u003c\/p\u003e\n\u003cp\u003e20 Schumann: Dichterliebe op. 48 - 16. Die alten, bösen Lieder\u003c\/p\u003e\n\u003cp\u003e21 Wolf: Michelangelo-Lieder - 1. 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