Schubert: Lieder Clara Osowski & Timothy Lovelace

• Franz Schubert (1797 - 1828): Rastlose Liebe, D. 138:
• 1 Schubert: Rastlose Liebe, D. 138 01:27
• Nachtstück, D. 672:
• 2 Schubert: Nachtstück, D. 672 04:59
• An die Leier, D. 737:
• 3 Schubert: An die Leier, D. 737 04:34
• Der Schiffer, D. 536:
• 4 Schubert: Der Schiffer, D. 536 02:04
• Ganymed, D. 544:
• 5 Schubert: Ganymed, D. 544 04:13
• Am See, D. 939:
• 6 Schubert: Am See, D. 939 01:55
• Wandrers Nachtlied II, D. 768:
• 7 Schubert: Wandrers Nachtlied II, D. 768 02:09
• Die Sterne, D. 433:
• 8 Schubert: Die Sterne, D. 433 03:17
• Seligkeit, D. 433:
• 9 Schubert: Seligkeit, D. 433 01:57
• Bei dir allein, D. 866 No. 2:
• 10 Schubert: Bei dir allein, D. 866 No. 2 02:16
• Nachtviolen, D. 752:
• 11 Schubert: Nachtviolen, D. 752 03:00
• Ellens Gesang I, D. 837:
• 12 Schubert: Ellens Gesang I, D. 837 08:24
• Ellens Gesang II, D. 838:
• 13 Schubert: Ellens Gesang II, D. 838 03:12
• An den Mond, D. 193:
• 14 Schubert: An den Mond, D. 193 03:02
• Erlafsee, D. 586:
• 15 Schubert: Erlafsee, D. 586 03:58
• Der Musensohn, D. 764:
• 16 Schubert: Der Musensohn, D. 764 02:15
• Gondelfahrer, D. 808:
• 17 Schubert: Gondelfahrer, D. 808 02:07
• Geheimes, D. 719:
• 18 Schubert: Geheimes, D. 719 01:48
• Im Fruhling, D. 882:
• 19 Schubert: Im Fruhling, D. 882 04:20
• Total Runtime 01:00:57

Info zu Schubert: Lieder

Clara Osowski lends her lush mezzo-soprano to 19 lieder penned by Franz Schubert during the last 13 years of the composer's all too short life. Landscape abounds in this collection - lakes, rushing streams, the rising moon, stars, flowers, birdsong. True to Schubert's conception, the American mezzo - who makes her solo debut recording with this release - considers her voice and that of pianist Timothy Lovelace equal partners.

Clara Osowski, smezzo-soprano
Timothy Lovelace, piano

Clara Osowski
praised for singing “from inside the music with unaffected purity and sincerity” (The Telegraph, UK), is an acclaimed soloist and chamber musician performing throughout the United States and Europe.

Highlights of Clara’s 2026/2027 season include appearances with the Minnesota Orchestra in Handel’s Messiah, Music of the Baroque in Chicago for Bach’s Mass in B Minor, and the Kansas City Symphony in Messiah, all under the direction of Dame Jane Glover. She also performs Messiah with Portland Baroque Orchestra, Vaughan Williams’s Hodie with the Chorus of Westerly, Bach’s Mass in B Minor with Baroque Music Montana, Verdi’s Requiem with the Huntsville Symphony, Mahler’s Symphony No. 2, “Resurrection” with the Sheboygan Symphony Orchestra, a program of arias from Bizet’s Carmen with the Mississippi Valley Orchestra, and appears with Sparks & Wiry Cries in New York. In August 2026, BIS Records releases her recording of Schubert lieder with pianist Timothy Lovelace.

Recent seasons have brought Clara to many of North America’s leading orchestras, festivals, and concert presenters. She made her London debut at Wigmore Hall and appeared with Chicago’s Music of the Baroque in Handel’s Jephtha, subsequently released on disc. She has performed as soloist with the Minnesota Orchestra, Saint Paul Chamber Orchestra, Milwaukee Symphony Orchestra, Rochester Philharmonic Orchestra, Delaware Symphony Orchestra, South Dakota Symphony Orchestra, Master Chorale of South Florida, Seattle Bach Festival, and numerous other ensembles in repertoire including Beethoven’s Symphony No. 9, Mahler’s Symphony No. 2, Mendelssohn’s Elijah, Bach’s St. Matthew Passion and Christmas Oratorio, Mozart’s Requiem and Mass in C Minor, Verdi’s Requiem, Pärt’s Stabat Mater, Copland’s Old American Songs, and Vivaldi cantatas and arias.

On the operatic stage, Clara has appeared as Florence Pike in Britten’s Albert Herring with Minnesota Opera, Baba the Turk in Stravinsky’s The Rake’s Progress at the NDSU Chamber Music Festival, and Ulrike in Kristina by Benny Andersson and Björn Ulvaeus with VocalEssence. An active recitalist, she has appeared with the Schubert Club, Salastina, LyricFest, the Baldwin Wallace Bach Festival, and numerous universities and concert series throughout the United States.

An internationally recognized interpreter of song literature, Clara received the Ralph Vaughan Williams Society Prize at the 2019 Wigmore Hall International Song Competition for the best performance of English song by a British composer. In 2017, she became the first American prize winner at Thomas Quasthoff’s International Das Lied Competition in Heidelberg, Germany, earning Second Prize and the Richard Tauber Prize for her interpretation of Schubert. Additional honors include prizes at the Concours musical international de Montréal, the Houston Saengerbund Competition, and the Bel Canto Chorus Regional Artists Competition.

A dedicated educator, Clara has presented masterclasses and residencies at universities and festivals across the country, including the Aspen Music Festival’s Professional Choral Institute and Indiana State University’s Contemporary Music Festival. She holds degrees from North Dakota State University and the University of Iowa, was named a 2018–2019 McKnight Artist Fellow for Musicians, and currently serves as Artistic Director of the Source Song Festival in Minneapolis–Saint Paul.

Timothy Lovelace
has performed on four continents and has been featured at Carnegie’s Weill Recital Hall, New York’s Merkin Concert Hall, Philadelphia’s Trinity Center, Columbia University’s Miller Theatre, Chicago’s Dame Myra Hess Memorial Concerts and on chamber music series sponsored by the symphony orchestras of Chicago, Cincinnati, Detroit, Minnesota, and the Saint Paul Chamber Orchestra. The roster of internationally-known artists with whom Lovelace has appeared includes Miriam Fried, Alban Gerhardt, Nobuko Imai, Robert Mann, Charles Neidich, Paul Neubauer, Ayano Ninomiya, Paquito D’Rivera, and Dawn Upshaw. He has also concertized with the Bergen Woodwind Quintet and the Pacifica String Quartet. As a soloist, he performed Messiaen’s Oiseaux exotiques on subscription series concerts of the Minnesota Orchestra conducted by Osmo Vänskä.

For thirteen years, Lovelace was a staff pianist at the Ravinia Festival’s Steans Institute, where he played in the classes of Barbara Bonney, Christoph Eschenbach, Thomas Hampson, Christa Ludwig and Yo-Yo Ma, among others. Other professional staff pianist engagements include two International Double Reed Society conferences, two International Viola Congresses, the ClarinetFest of The International Clarinet Association, and The Wideman International Piano Competition.

A proponent of new music, Lovelace has performed under the supervision of composers Elliott Carter, John Corigliano, Steve Heitzeg, Andrew Imbrie, Leon Kirchner, Libby Larsen, Lowell Liebermann, Thea Musgrave, Gunther Schuller, Stanislaw Skrowaczewski, David Evan Thomas, Dan Welcher, and Judith Zaimont, and he presented the world premiere of Osvaldo Golijov’s Third World.

“The superb collaborations of pianist Timothy Lovelace can’t be understated,” wrote Gramophone magazine in praise of Forgotten Romance, one of two Lovelace recordings on the Albany label. The American Record Guide declared his performance of Loeffler’s Rhapsodies on the Boston Records CD …is but a dream “the very best I have ever heard. Anyone wanting a definitive modern recording of this work need look no further.” Lovelace has received similarly positive reviews in recent recordings on the Blue Griffin and MSR labels.

As a conductor, Lovelace has led numerous operatic and symphonic ensembles. At the University of Minnesota, he has conducted productions of The Seven Deadly Sins, Suor Angelica, and La Voix humaine.

Timothy Lovelace holds the Ethel Alice Hitchcock Chair in Collaborative Piano and Coaching at the University of Minnesota. He previously taught at The University of Texas at Austin, the University of Wisconsin Oshkosh, the University of Wisconsin-Platteville, the Green Lake Chamber Music Camp, and The Madeline Island Music Camp. His principal teachers were Pat Curtis, Harold Evans, Clifford Herzer, Gilbert Kalish, Donna Loewy, and Frank Weinstock. He studied at the University of Cincinnati College-Conservatory of Music, Stony Brook University, and the Aspen and Eastern Music Festivals.

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