![Serenade by David Daniels [countertenor]: CD Cover](http://images.barnesandnoble.com/images/14330000/14335755.jpg)
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CD
Serenade | ||
| 1. | Song for voice & piano "Adelaide" Op. 46 6:32 | |
| Composed by Ludwig van Beethoven | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
| 2. | Der Tod und das Mädchen, for voice & piano in D Minor, Op 7/3/D 531 2:36 | |
| Composed by Franz Schubert | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
| 3. | Auf dem Wasser zu singen for voice & piano, Op.72, D774 3:34 | |
| Composed by Franz Schubert | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
| 4. | Nacht und Träume (Heil'ge Nacht, du sinkest nieder!"), song for voice & piano, D. 827 (Op. 43/2) 4:02 | |
| Composed by Franz Schubert | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
| 5. | Adelaide for voice & piano, D95 3:22 | |
| Composed by Franz Schubert | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
| 6. | Selve amiche 3:01 | |
| Composed by Antonio Caldara | ||
| Performed by David Daniels [countertenor] and Martin Katz | ||
View all tracks on this disc | ||
Until now, countertenor David Daniels has stuck to the customary repertory for the high male voice: baroque opera, especially Handel. But SERENADE, staking a claim on songs both familiar and obscure spanning four centuries and four languages, seems designed to prove just how wide-ranging this young singer's talents are. Daniels's almost uncannily beautiful voice adds another perspective to the lieder of Schubert and the mélodies of Poulenc (which have already been interpreted by baritones, sopranos, and everyone else in between). The result seems all the more unique -- and universal -- for its hybrid of the masculine and the feminine. The Italian baroque songs by Caldara, Cesti, and Lotti play to Daniels's demonstrated strengths, with their often florid embellishments. Elsewhere, his voice glows radiantly in the many gentle selections that allow him to linger serenely on expansive phrases: Schubert's "Nacht und Träme," Gounod's "Absence," and perhaps best of all, Vaughan Williams's "Orpheus with his lute." Although some more robust songs are included for variety, the overall mood is one of tranquility, with a recurrent undertone of romantic nostalgia. The lyrical impulse is paramount in this recital, and Daniels -- joined by the equally versatile Martin Katz on piano -- is as well-equipped as any singer today to express these melodious sentiments with the utmost subtlety. Scott Paulin, Barnes & Noble