Twenty three years on, this CD suitably marks Schumann's 200th anniversary. Apart from occasional disconcerting instances of final chords being chopped short (in the original or the re-mastering?), this is a highly enjoyable and authoritative 'souvenir'.

Cumbersome titles too, but many readers will know that Schumann envisaged the fascinating Studies and Sketches as being performed upon a piano (grand or otherwise) with pedalboard. Little is lost by performing them, as here, on organ instead! And the Hoffenheim Walcker certainly gives added value! This particular organ (2m/27st) was built in 1846 – only two years after Schumann produced his music – with cone-valve chests and mechanical action, and was restored by Steinmeyer in 1974. Romantic delights abound. The intriguing specification includes a Physharmonika stop (indubitably fizzy), and a Holzharmonika, which has tapering pipes despite being made of, well ... wood; but such a short list can give no hint of such rich sounds.

Is the star of the show the organ or the composer? Or perhaps the inestimably sensitive and persuasive performer, recorded the year after he became organ professor at Saar Hochschule. Certainly Schumann's complete organ works provide a highly entertaining hour – or happily dip in ad lib. Despite the formal discipline involved, there is much poetry here too. The composer himself felt the BACH fugues might outlive all his other works. The sixth is a mighty tour de force. The Sketches are far from 'sketchy', showing Schumann at his obsessive/neurotic but always compulsive best. A veritable celebratory feast.

Audite continues its survey of Karl Böhm's RIAS Berlin recordings from the early 1950s with a Strauss disc which includes Don Juan, the Alpine Symphony and a sequence of waltzes from Rosenkavalier. The sound of the 1954 Don Juan is very good indeed – Audite has used the original broadcast tapes – and the performance has an irresistible sense of forward momentum as well as the lucidity and clarity that characterizes Böhm's Strauss. The RIAS SO plays wonderfully, as it does throughout the disc. The Alpine Symphony sounds very good too, even though it dates from two years earlier. Böhm's conducting has a seemingly effortless long-term control over this grandest of Strauss's orchestral epics; in places here he also seems a slightly more swashbuckling mountaineer than in his Dresden recording from 1957. This fine disc ends with a lovely set of waltzes from Rosenkavalier. Notes are excellent and I, for one, can't wait for more in this series.

This disc includes the op.56 and 58 collections for Pedalflügel alongside the six BACH fugues. The first two collections present any number of challenges with regard to performance practice, not least concerning registration and tempi, plus technical hurdles. However, this CD offers intelligent solutions coupled with invigorating playing on an organ within an acoustic that allows the music to leave the page and delight the listener. The often sumptuous choices of registration deserve special mention. Andreas Rothkopf demonstrates a clear understanding of Schumann's larger musical language, and the listener is the rich beneficiary.

This accomplished team sounds so desperate to make Schumann's passionate nature...

Sie meidet dekorative, pathetische Floskeln. Beste Voraussetzungen also für die...

Über der goldgeprägten Signatur blickt ein dämonisch-jugendliches...

Schumann's Piano Quintet has had literally dozens of performances on record, but in only about half a dozen cases is it coupled with the Quartet . One of these, by the Michelangelo Piano Quartet on Chandos, with Elena Matteucsi as pianist , was the first to make use of period instruments. This was not strictly authentic: the piano used was an 1830 Simon fortepiano, and by 1842 the very particular Clara Schumann, for whom the work was written, would have preferred a more recent Härtel or Graf, examples of which she and Robert possessed. No piano identification is given on the present disc but the instrument sounds like a modern one, strong in tone and strongly played here by Claire-Marie Le Guay. The excellent recording sees to it that there are virtually no difficulties over balance, with clarity even in the closing bars of the Quartet's Andante cantabile when the cello is asked to tune his bottom string down from C to a soft supportive B flat.

Clarity is also crucial in the many passages in these two works when Schumann indulges what he called his Fugenpassion, his love of the Bach fugues over which the newly marrieds pored. The bold opening theme of the Quintet almost certainly derives from a Bach prelude in the Well-Tempered Clavier, and the lucidity with which Le Guay articulates this is admirable. She is strong and sure of finger, in the Quintet filled with nervous energy in the episodes of the curious little March, and she is Molto vivace indeed in the Scherzo so marked. There are echoes here of Mendelssohn, whom they admired and who suggested some revisions (and who was one of many who admired Clara, to Robert's brief irritation). The final Allegro ma non troppo needs a clear head as well as clear fingers to hold it all together, but all is well here with a strongly conclusive finish to the work. The Quartet is in some ways a more original piece than the more finished Quintet, and well deserves to be placed beside it. The movements include a Scherzo in racing octaves reflecting Schumann's love of Weber's piano writing (he must have known the First Piano Concerto), a beautiful singing Andante that sets off here with some lovely cello playing, and, relished by the players, lots of fugal fun in the finale.

Prompted by C. P. E. Bach's assertion (in his 1775 letter to Forkel) that his father 'loved and studied' the music of, among others, Froberger, Frescobaldi, Pachelbel, Bruhns, Buxtehude and Böhm, Martin Neu has programmed some Bach alongside two of his 'north German icons', while promising a future disc of Bach and two of his south German ones. It's a good idea , but if the intention was to trace an influence, the programme chosen is hardly the most obvious. The two 'Gigue' Fugues would show much more dramatically the Buxtehude/Bach connection , while Böhm's C major Praeludium alongside Bach's in the same key (BWV 531 ) could have forged an intriguing aural link between teacher and pupil. That 's not even to mention the golden opportunities afforded by choosing parallel preludes based on the same chorales from all three composers. In fact, Neu seems to have gone deliberately in the other direction, focusing on the differences rather than the similarities.

It's not just the programme which does that; and, to be fair, his own booklet note suggests that the choice of programme is governed more by theological than musical considerations (although quite where Buxtehude's Passacaglia or Böhm' s Capriccio fit into the theological picture escapes me). Neu's own playing emphasizes the differences starkly. While with Buxtehude he adopts the practice, much currently in vogue, of underlining the improvisatory nature of the works by means of generous rhythmic and metrical freedom, with Bach he adopts a rhythmic rigour which, even in that most Buxtehudian of works, BWV 532, rarely runs out of phase with the metronome. He approaches Böhm a little closer to the manner in which he plays his Bach, and there is a wonderful sense of purpose in the two large sets of chorale variations; but, while he does try to forge a link between the Capriccio and the Fugue of BWV 532, apart from the fact that they are both in D major and have a lively mien, I don't readily hear any connection, not least since the Böhm was intended for harpsichord rather than organ.

In isolation, though, I derive huge satisfaction from everyone of Neu's performances. Indeed, I'd say these are some of the most rewarding performances of any of these pieces currently available on disc, the Bach works brilliantly paced while the unashamed virtuosity of Buxtehude's three pieces is conveyed with sparkling flamboyance. It helps, too, that this new Ahrend organ is such a splendid vehicle for this music. It's an object-lesson in how, in organ design (as in so much else in life), less is best, for barely two dozen stops offer just about every sound and effect we could want. The sheer vitality and colour of the instrument is best revealed in the Böhm Freu dich sehr, o meine Seele variations, and all Neu's registrations are mapped out (although not particularly clearly) in the booklet. A somewhat drainpipe quality to the pedal Trompetenbass is the only thing which doesn't quite fit, giving a faintly ridiculous air to the Bach Fugue.

In short, then, Martin Neu comes up with some very good performances indeed, all of which are well worth hearing on their own terms, the organ is one of the sweetest and most attractive I've heard on disc for a while, and the Audite SACD recording is of the highest quality, mixing a nice sense of comfort with a vivid presence. Yet the sum of the parts doesn't add up; as aural evidence of the link between Bach and his 'north German icons', this misses the mark by a mile.

Dietrich Fischer-Dieskau is 85 this year, and to celebrate his birthday Audite has issued four discs of the great German baritone in previously unreleased broadcast performances of Lieder. These constitute a significant addition to the singer's vast discography, with two live concerts – both with outstanding pianists – and two discs of radio recordings that include some unusual repertoire. No Fischer-Dieskau collector will want to be without them. A Brahms recital given at the Berlin Philharmonie in 1972 has Tamás Vásáry at the piano. Fischer-Dieskau has always believed in the value of single-composer recitals; as he once put it: 'If you only do little dusters – three or four songs by one, and another, and then yet another – you lose the opportunity to think your way into the composer's mind.' This kind of focus wasn't only for the benefit of the performers but also 'so that the audience could be gradually drawn into a particular creative genius's way of thinking, and could follow him'. The Brahms programme ranges from relatively early songs like 'Wie bist du, meine Königin' and 'wie rafft' ich mich auf' (both from Op. 32, published in 1865 ), to later songs such as 'Wir wandelten' (from Op. 96) and 'Ständchen' (from Op. 106). The order of the recital is not chronological, but instead plots an emotional trajectory that reveals the expressive breadth of Brahms's Lieder. With unfailingly sensitive and intelligent accompaniment from Vásáry the result is just what Fischer-Dieskau set out to achieve – total immersion in the world of Brahms's Lieder, and not only to the music but also to the poetry: the diction throughout is not only extremely clear but also conveys profound understanding (Audite 95.635, 1 hour 6 minutes).

Another single-composer recital is devoted to Mahler. This was given in the Philharmonie, a year before the Brahms concert, with Daniel Barenboim at the piano. It includes songs from the Lieder und Gesänge aus der Jugendzeit, Lieder eines fahrenden Gesellen, Des Knaben Wunderhorn and two Rückert-Lieder. At his best, Fischer-Dieskau is magnificent here, although there are moments in louder songs when he's inclined to hector. There are many highlights, among them a marvelous performance of 'Ich bin der Welt abhanden gekommen', where Barenboim's playing comes close to matching the restrained passion of Leonard Bernstein on his Mahler recital with Fischer-Dieskau (Sony, deleted, but available as a download). Despite the occasional vocal mannerism, this is a concert marked by the kind of concentrated intensity that compels attention (Audite 95.634, 1 hour 1 minute).

A collection of broadcasts of Schumann, Beethoven and Mahler begins with Schumann duets sung by Fischer-Dieskau and Julia Varady, with Cord Garben at the piano. The Opp. 34 and 78 sets are here, along with four others, and they are affectionately done (with some downward transposition to suit the singers). Beethoven's Sechs Lieder von Gellert were made with Hertha Klust in 1951. The broadcast sound is remarkable for its age, and Fischer-Dieskau's voice is at its freshest, as it is for three songs from Mahler's Des Knaben Wunderhorn recorded two years later with the same pianist (Audite 95.636, 57 minutes).

The last Audite disc has some particularly interesting repertoire. Eight religious songs by Reger with organ accompaniment (played by Ulrich Bremsteller) show the composer at his most approachable, and effortlessly ingenious too in the Passionlied, Op. 19, a kind of chorale prelude for voice and organ, along with songs like the lovely Geistliche Lieder, Op. 105. The most recent recording on these CDs dates from 1989 and it's again for voice and organ music: Heinrich Sutermeister's 1947 setting of words from two Psalms (70 and 86) for low voice and organ. The disc ends with a group of ten songs by Hindemith recorded in 1979 with Aribert Reimann – pretty much an ideal partnership in this music. They perform a mixed group of Brentano, Rückert and Novalis settings, ending with the early Drei Hymnen, settings of Walt Whitman in German translations. This is a most rewarding disc, in fine sound. For all four of these discs, there are notes in English, but the sung texts are printed ony in German, so it's appropriate to mention again the excellent Website www.recmusic.org/lieder where most if not all of them can be found with a little searching (Audite 95.637, 1 hour 4 minutes).

Drei hochdramatische Soprane erinnern auf Platte an ein goldenes Zeitalter des Gesangs. Im Zentrum steht dabei vor allem ein Komponist: Richard Wagner. Eileen Farrell, Ingrid Bjoner und Kirsten Flagstad gelingen dabei exemplarische Aufnahmen.

Der Fall Eileen Farrell gehört zu den Absonderlichkeiten des Klassikbetriebes. Erst im Alter von 40 Jahren debütierte die Sängerin an der Met, stand dort in sechs verschiedenen Rollen gerade einmal 47-mal auf der Bühne – und verließ das Haus nach nur sechs Jahren. Ihre Stimme jedoch gehört zweifelsohne zu den außergewöhnlichsten dramatischen Sopranen des letzten Jahrhunderts. Das erste Mal begegnete ich der Stimme Farrells auf einer DVD (VAI/Codæx) mit Alcestes Arie "Divinités du Styx" – ein luxurierender Sopran mit einem beeindruckenden Klangstrom –, und die bei Testament erschienene Aufnahme bestätigt das akustische Gedächtnis: Die Stimme verfügt über eine grandiose Fülle und einen üppig-reichen Klang. Ein Kritiker brachte es einmal auf den Punkt: "Sie ist unter den Sängern das, was Niagara unter den Wasserfällen ist." Zu Recht gerühmt wird ihre Aufnahme der "Wesendonck-Lieder" unter Bernstein; die nun vorliegende frühere Aufnahme unter Leopold Stokowski steht dieser in nichts nach, die Stimme wirkt sogar noch etwas frischer. Ihre Interpretation öffnet ozeanische Klangräume ("Träume") von schier endloser Fläche, was ihr mehr liegt als die exaltierte Emphase. Das ist auch das Einzige, was ihr "Heil dir, Sonne" aus "Siegfried" trübt: Immer hat ihr Gesang etwas Distanziert-Majestätisches, der große Ausbruch lag ihr nicht. Doch Autorität und Grandeur ("Ewig war ich, ewig bin ich") ihres Singens sind dafür Entschädigung genug. Sehr gut restaurierter Mono-Klang!

Ein ähnliches Schicksal wie Eileen Farrell ereilte Ingrid Bjoner, denn auch die norwegische Sopranistin ist (fast) der Vergessenheit anheimgefallen, weder Jürgen Kesting noch Jens Malte Fischer erwähnen sie in ihren Gesangslexika. Die norwegische Sängerin gehörte fast 30 Jahre dem Ensemble der Bayerischen Staatsoper an, auf deren Veröffentlichungen beim Label Orfeo sie post mortem zu späten Plattenehren kommt. Sie verfügte zwar nicht über die Klangfülle Farrells, doch ihre in allen Lagen ausgeglichene Stimme konnte in der Höhe wahre Leuchtfeuer entzünden. Die Killerpartie der Turandot bewältigt sie mit imperialer Autorität, dazu mit brennender Intensität, Beethovens "Leonoren"-Arie zudem mit dynamischer Flexibilität und erstaunlicher Virtuosität – und wiederum einigen gleißenden Noten. Im Gegensatz zu vielen Hochdramatischen klingt sie nie matronenhaft, und auch das oft charakteristische Vibrato-Wackeln ist nicht zu hören. Den "Sturz" in der gefürchteten Passage bis zum hohen B verzeiht man ihr. Als Brünnhilde versengt sie den Siegfried von Jean Cox und beeindruckt im Schlussgesang. Die Stimme ist hier, 1976, deutlich gereift, souverän geführt und stets textverständlich. Immer wieder durchleuchtet sie den Text und findet den richtigen Ausdruck im Klang ("Wisst Ihr wie das ward?"). Leicht durchwachsener Live-Sound.

Brünnhildes Schlussgesang findet sich auch auf einer CD mit Orchesterauszügen aus Wagner-Opern mit Wilhelm Furtwängler – gesungen von der großen Kirsten Flagstad. Selbst Farrell verfügte nicht über ihr einzigartiges Volumen. Mochten Birgit Nilssons Trompetentöne mehr Durchschlagskraft besitzen, Kirsten Flagstads Klangfluten war niemand gewachsen. Nicht nur deswegen klingt ihre Interpretation statuarischer als die von Bjoner, die die schlankere Stimme besaß. Bei Flagstad steht die heroische Komponente im Vordergrund, wo man bei Bjoner eher den Eindruck eines persönlichen Einzelschicksals hat. Ebenfalls aus dem Herbst ihrer Karriere stammen die RIAS-Aufnahmen, die beim Label Audite erscheinen. Die "Wesendonck-Lieder" klingen nicht mehr ganz taufrisch, doch findet sie mit der Wärme ihrer Stimme einen persönlicheren Ton als Farrell. Brünnhildes Schlussgesang hingegen gelang ihr unter Furtwängler suggestiver, wogegen die Aufnahme der "Vier letzten Lieder" jener von deren Uraufführung unter Furtwängler vom 22. Mai 1950 (ebenfalls mit Flagstad) klangtechnisch weit überlegen ist. Zwar sind wir heute in Strauss' "Schwanengesang" mittlerweile schlankere Stimmen gewohnt (Schwarzkopf, della Casa, Fleming), jedoch betört Flagstad durch ihr dunkles Timbre und die subtilen Klangfarben auf den dunklen Vokalen.