Xavier Palacios | Schubert Lieder, Vol. 2 (Accompaniments for Low Voice  with Transpositions_

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Classical: Art songs Classical: Vocal Music Moods: Type: Vocal
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Schubert Lieder, Vol. 2 (Accompaniments for Low Voice with Transpositions_

by Xavier Palacios

Schubert Lieder Vol.2 Piano Accompaniments for Low Voice ( Bass-Baritone, Mezzo or Contralto) with transpositions by Xavier Palacios offer high quality backing tracks for the classical singer to suit your voice perfectly.
Genre: Classical: Art songs
Release Date: 

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1. Am Mignon "Über Tal und Fluss" in E Minor, D 161
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2:45 $0.99
2. Am Tage aller Seelen in D Major, D 343
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3:49 $0.99
3. Am Tage aller Seelen in C sharp Major, D 343
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3:49 $0.99
4. An den Mond "Füllest wieder Busch..." in C Major, D 259
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3:27 $0.99
5. An den Mond "Füllest wieder Busch..."in B Major, D 259
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3:28 $0.99
6. Auf dem Wasser zu singen in F sharp Minor, D 774
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3:22 $0.99
7. Auf dem Wasser zu singen in F Minor, D 774
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3:17 $0.99
8. Auf dem Wasser zu singen in E flat Minor, D 774
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3:20 $0.99
9. Auf dem Wasser zu singen in F sharp Minor, Faster, D 774
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3:11 $0.99
10. Auf dem Wasser zu singen in F Minor, D 774, Faster
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3:09 $0.99
11. Auf dem Wasser zu singen in E flat Minor, D 774, Faster
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3:09 $0.99
12. Lied der Mignon "Nur wer die Sehnsucht kennt" in F Minor, D 877 N° 4
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3:01 $0.99
13. Lied der Mignon "Nur wer die Sehnsucht kennt"in E Minor, D 877 N°4
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3:01 $0.99
14. Der Wanderer in E flat Major, D 493
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5:34 $0.99
15. Der Wanderer in D Major, D 493
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5:34 $0.99
16. Der Wanderer in E flat Major, D 493, Slower
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5:58 $0.99
17. Der Wanderer in D Major, D 493, Slower
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5:58 $0.99
18. Im Abendrot in E Major, D 799
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4:11 $0.99
19. Im Abendrot in E flat Major, D 799
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4:11 $0.99
20. Frühlingsglaube in F sharp Major, D 686
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3:47 $0.99
21. Frühlingsglaube in F Major, D 686
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3:47 $0.99
22. Nähe des Geliebten in C sharp Major, D 162
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3:19 $0.99
23. Nähe des Geliebten in C Major, D 162
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3:19 $0.99
24. Nacht und Träume in A flat Major, D 827
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3:21 $0.99
25. Nacht und Träume in G Major, D 827
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3:21 $0.99
26. Nacht und Träume in A flat Major, D 827, Faster
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3:04 $0.99
27. Nacht und Traüme in G Major, D 827, Faster
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3:04 $0.99
28. Rastlose Liebe in B Major, D 138
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1:19 $0.99
29. Rastlose Liebe in B Major, D 138, Slower
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1:22 $0.99
30. Die Schöne Müllerin D 795: Das Wandern, in G Major
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2:25 $0.99
31. Die Schöne Müllerin D 795: Das Wandern, in F Major
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2:25 $0.99
32. Die Schöne Müllerin D 795: Das Wandern, in G Major, Faster
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2:17 $0.99
33. Die Schöne Müllerin D 795: Das Wandern, in F Major, Faster
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2:17 $0.99
34. Wanderers Nachtlied II, D768 "Über allen Gipfeln" in F sharp Major
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2:17 $0.99
35. Wanderers Nachtlied II, D768 "Über allen Gipfeln" in F Major
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2:17 $0.99
36. Winterreise D 911: Gute Nacht, in B Minor
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5:53 $0.99
37. Winterreise D 911: Gute Nacht, in B flat Minor
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5:53 $0.99
38. Winterreise D 911: Der Lindenbaum, in D Major
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4:15 $0.99
39. Winterreise D 911: Der Lindenbaum, in C Major
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4:15 $0.99
preview all songs

ABOUT THIS ALBUM


Album Notes
You can use freely these accompaniments for either private or public rehearshal or concert performance (with the singer). You can use them for for radio broadcast if you mention that all accompaniments are by Xavier Palacios. For Tv broadcast you will need to ask a written permission to Xavier Palacios (The artist and Producer).
Xavier Palacios studied at the Ecole Normale de Musique de Paris de Paris with Antonio Ruiz Pipo, a pupil of Alfred Cortot, and Billy Eidi, a renowed accompanist of French song. He also studied Musical analysis with Ginette keller, a pupil of Nadia Boulanger. He has given many recitals in France and has been the assistant and accompanist of Laurence Russel Albert (Pushkin Prize, Metropolitan Opera) for a few years.

This second volume of Schubert Lieder (Vol.2) Piano Accompaniments for Low Voice with transpositions contains 15 Schubert ieder with various transpositions to suit your voice perfectly. It has been carefully worked out. Particular care has been given to phrasing, breathing , as well as rendering the atmosphere of the song, allowing the singer to sing freely, but also putting him on "the right track" for phrasing, tempo and musical content. We also recommend that the singer rehearshes without the accompaniment as well. But these backing tracks (or Karaoke, a term that should not apply to Classical Music) will give him the necessary tools to give a consistent interpretation of Schubert Lieder, that he should be able to convey to another accompanist.

The keys used for the transpositions are determined by usage of renowned recording artists, and by usage of authoritative editions. The classification High-Medium-Low favoured by these editions varies sometimes : the key chosen for ,a transposition for, say, "Medium Voice" in a given edition can be different from the key in another "Medium Voice" edition. We try to provide as many transpositions as the authoritative Editions do. Barenreiter, for instance, uses quite often lower key charts than Peters.

This Low Voice Edirtion covers all key charts used in most Authoritative Editions, and is suitable for Baritones, Bass baritones, Mezzo-Sopranos (But not light Mezzos althogh there are exceptions. ), and Countertenors.
For Lyric baritones and light Mezzos (Mezzo Leggero), we recommend the Volume "Schubert Lieder (Vol.2) Accompaniments with transpositions for Medium and High Voice". D.F.Dieskau, who is a lyric Baritone, uses in some instances the "Low" Edition key chart used by Peters Friedlaender Edition.
But remember, Vocal range is only one aspect of Voice classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and the advice of your teacher.
In some instances (Nacht und Träume, Der Wanderer, Das Wandern, and Rastlose Liebe), We use different tempi for the same song for interpretative reasons, mainly. In Nacht und Träume or Der wanderer, powerful Bass Baritones, or Operatic Mezzos need a slower tempo and more power in the accompaniment; "Der Wanderer" is a case in point. In this work of Genius, interpretation can turn this piece into an introvert miniature, or a powerful symphonic poem, the question remains open.

The High, Medium and Low range match Authoritative Editions Key charts. The Medium-High and Medium Low (Except when it appears in the Original Key) are transpositions, you won't find in the authoritative Editions. The pianist will have to transpose to play in that key. But it can be very useful to the Singer.

How do the Editions choose the key charts for their Editions ?
In our collection of accompaniments, we select key charts according to the top notes which are comfortable for the singer. As a matter of fact, itis in accordance by the usage of authoritative recording artists, and most Music Publishers.
The classification that follows explains this, but there are many exceptions, because Vocal Range is only one aspect of Voice Classification. Choose your repertoire following the "nature" of your Voice, or your "Voice type" if you like, and the advice of your teacher.

We use 5 vocal ranges instead of 3 : High, Medium-High, Medium, Medium-Low, and Low.
The "Medium Low" and "Low" albums apply to "True low Voices" , Mezzos, Baritones, Contraltos and Bass-Baritones. The High, Medium-High and Medium apply to sopranos -From Coloratura to Dramatic Sopranos-, to light Mezzos (Mezzo Leggero), and from Tenors to Light Baritones. Our "Medium Voice " classification can sometimes suit young Baritones, or Young Mezzos,, and even Young Sopranos, they should in that case follow the advice of their teacher.

For Male Voices : High Voice : Top note(s) G4 or higher
Medium High : Top note(s) F#4
Medium : Top note(s) F4
Medium-Low : Top note(s) E4
Low : Top note(s) Eb4 or Lower.

For Female Voices : High Voice : Top note(s) G5 or higher
Medium High : Top note(s) F#5
Medium : Top note(s) F5
Medium-Low : Top note E5
Low : Top note(s) Eb5 or Lower.

Of course this classification applies to the notes found in the music. To secure singing these notes properly, the singer should be able to sing one tone or one tone and a half Higher, and one tone or one tone and a half lower for the lowest notes.


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