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These are not art songs but rather Schoenberg's attempt to make some extra money while composing for the Überbrettl, the cabaret where he conducted the house band in 1901. Though they do not feature the hearty blast or seamy sensuality of the genre's traditional manifestations, they do hover between the lively arts and Lieder in a way that makes them a fascinating symptom of compromise. Jessye Norman wonderfully fleshes this odd aesthetic nether region out in this recording; her rich tone is sexy, fleshy, and always ...

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