Mostrando postagens com marcador Gerald Moore. Mostrar todas as postagens

Schubert - Die schöne Müllerin - Dietrich Fischer-Dieskau, Gerald Moore

Posted in Dietrich Fischer-Dieskau, EMI, Gerald Moore, Lied, Schubert

Wilhelm Müller was a sort of A. E. Housman of his day: philologist, historian, librarian. He came from Dessau and fought in the war of independence of 1813. He left five volumes of poetry when he died at an age hardly older than Schubert was to attain.

Schubert drew two song-cycles (the other is Winterreise) and two-thirds of a solo song Der Hirt auf dem Felsen ('The Sheperd on the Rock') from these volumes: in quality at least substantial component of his voluminous output of songs. The Schöne Müllerin poems had appeared in 1821 among a collection entitled 'Poems from the posthumous papers of a travelling hornplayer'. Müller himself had complained: 'Indeed, my songs lead only half a life, a paper life of black and white... till music breathes life into them, or at least calls it forth and awakens such as is already dormant in them.' And: 'If i could produce the tunes, my songs would please better than they do now. But courage! A kindred soul may be found who will hear the tunes behind the words and give them back to me.'

Schubert was a soul more kindred than any poet could have dreamed of (though it may be recalled that the first poem in this cycle was given another tune is even more popular in Germany - an nowhere near as attractive).

Müller's poems touched off in Schubert's mind the wretchedness that the stock-in-trade of an artist in his day, and also the frank mirror of his own harassed soul. It is not significant that he composed some of these songs while he was a patient in a hospital undergoing treatment for venereal disease - the treatment was successful but he could not be expected to prophesy that. He chose twenty of Müller's twenty-five poems, and set them partly in May, partly in November of 1823 (shortly before writing the opera Rosamunde). They were 'universally favoured' in his lifetime, and are often referred to by his contemporaries. Although written for a tenor voice, their range was not regarded as rigid, at least by Schubert who himself transposed three of them into baritone keys. ...

William Mann, 1960

Schubert

Die schöne Müllerin, D. 795

Liederzyklus nach Gedichte von
Wilhelm Müller (1794-1827)

Dietrich Fischer-Dieskau, bariton & speaker
Gerald Moore, piano

Recorded: 2-4.XII.1961, Berlin-Zehlendorf (Gemeindehaus)

Quality: mp3, varied kbps
Size: 113 MB

1 comments »

During a busy and fruitful career, Dame Janet Baker consistently involved and moved her audiences by making every song or aria she sang seem the most important thingfor that moment in both their lives and hers. It is a gift vouchsafed to few artists. Although hard to analyse precisely, it undoubtedly arose from her being what I would call a conviction singer. She realised that the text was as important as the music. In her singing we don't just hear the voice beautiful - though her tone is distinctive, rich and individual in timbre - but a message, sad or happy, that is of the essence of her being. These virtues are preserved for us and future generations in her rich legacy of recordings. ...

Alan Blyth, 1994

Fauré, Schubert, R. Strauss, Vaughan Williams, Stanford,
Parry, Busch, Warlock, Gurney, Britten, Ireland, Quilter

Mélodies, Lieder, Songs

Dame Janet Baker, mezzo-soprano
Gerald Moore, piano

Quality: mp3, varied kbps
Size: 133 MB

0 comments »

Schubert - Lieder - Christa Ludwig, Geoffrey Parsons, Gerald Moore, Gervase de Peyer

Posted in Christa Ludwig, EMI, Geoffrey Parsons, Gerald Moore, Gervase de Peyer, Lied, Schubert

The presence of Die Allmacht in a singer’s programme is not likely to go unremarked. It presupposes power. In Schubert’s entire output, few of his songs demand a mighty voice of the kind later generations have come to regard as Wagnerian. Record collectors in the 1950s and 60s would have associated this great hymn to God the Creator with the Brünnhilde-voice of Kirsten Flagstad, and here, in Christa Ludwig, was a new mezzo-soprano, noted for her performances in two operas by Richard Strauss, Der Rosenkavalier and Capriccio, including it in her first Lieder recital for the gramophone; it must have raised a few eyebrows. And what is heard must have done a great deal more than that, for here is a voice of ample volume, certainly, but also one exceptional in quality and character. …

These sessions were Geoffrey Parsons’s first for EMI, and the choice of pianist was significant. Gerald Moore remained the universally recognised principal of accompanists up to his retirement in 1967, but the young Australian, already experienced and well recognised for his talents, was probably the successor. His death after a short illness in 1995, at the age of 65, was mourned throughout the musical world.

Christa Ludwig retired from singing several years ago, but those who have seen her at work since then in masterclasses will have noticed how careful she is to include the pianist in her observations. She would be the first to insist that the ‘solo’ recital is in fact a collaboration of musicians. In saying so she would certainly not overlook Gervase de Peyer, for many years principal clarinet of the London Symphony Orchestra and a leading soloist and chamber player in his own right. Here he makes a major contribution with the obbligato in Der Hirt auf dem Felsen, where voice and clarinet perform what is essentially a duet. With its promise of spring and a making-ready for a fresh start, it was first performed in 1830, a year [sic] after Schubert’s death, the last written of all the (approximately) 700 of his songs.

John Steane, 2004

Schubert

Lieder

Christa Ludwig, mezzosopran

Geoffrey Parsons (3-15) and Gerald Moore (1 & 2 ), piano

Gervase de Peyer, clarinet (3)

Quality: mp3, varied kbps

Size: 114 MB

0 comments »

100th POST - Schubert - Lieder - Dietrich Fischer-Dieskau, Gerald Moore & Karl Engel (6 Discs Box)

Posted in Complete Series, Dietrich Fischer-Dieskau, EMI, Gerald Moore, Karl Engel, Lied, Schubert

Celebrating the 100th POST of An die Musik, I'm happy to offer you this wonderful collection of recordings, an EMI special edition of early recordings of Dietrich Fischer-Dieskau, the greatest Lieder singer of 20th century, and a specially great interpreter of Schubert. I prepared this post very carefully, and I hope you enjoy it. Tank you very much for all visits, comments, sugestions, downloads and orderings! Stay in touch! Hugs! [Erlen]

As a lieder singer, conductor and author, Dietrich Fischer-Dieskau has worked intensively with Franz Schubert’s oeuvre and is largely responsible for the new and more congenial appreciation of the composer we have today. Fischer-Dieskau regards Schubert as something of a “central sun” among composers. In a conversation, he once said that Wagner, whose music cries out for attention, actually came too early; otherwise, Schubert would have had a much more profound influence on the 19^th century.

It was Chiefly through his singing that Fischer-Dieskau debunked the myth of the more or less divinely inspired Schubert, into whose lap melodies simply fell… In this respect, the singer preceded instrumentalists such as Alfred Brendel and Sviatoslav Richter, who tore away the veil of convention from traditional Schubert interpretation. Fischer-Dieskau’s singing shed a new light on Schubert, revealing a man who was very much aware of what he was doing, even if “a God” or his genius had granted him the ability “to say how much I suffer”. Schubert’s lieder took a new credibility. Everyone who heard the young war veteran in Berlin for the first time in 1947 could feel this right away. An eyewitness, the author Karla Höcker, recalls in vivid detail the “very, very young man” who had rounded up Schubert’s friends Schwind and Bauernfeld before her inner eye, and who then proceeded to sweep away the visions of the imagination when “he began to sing. And this is what was so starling: the voice, the man, the music all became one. You had the feeling that he was spinning out the entire wonderful cycle from within himself.”

This was the predominant impression he made throughout his entire career as a singer: that he was singing as if the lied were being created at that very moment and, perhaps more importantly, as if he were singing his own, personal song. The ability to identify with one’s interpretation – in addition to talent and, obviously, a perfect technique – is one of the essential components of this art. Fischer-Dieskau would never tire of saying to his pupils: “You must become the one who’s singing.” …

Hans A. Neunzig, 1995

(translation: Roger Clément)

Schubert

Lieder

Dietrich Fischer-Dieskau, bariton

Gerald Moore & Karl Engel, piano

EMI 6 Discs Box

Recordings: 1951 - 1965

DL Schubert Lieder

Quality: mp3, varied kbps

Sizes: 117 MB, 107 MB, 116 MB, 110 MB, 101 MB, 121 MB, 13 MB

Gerald Moore & Dietrich Fischer-Dieskau

3 comments »

Brahms - Deutsche Volkslieder - Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau & Gerald Moore

Posted in Brahms, Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf, EMI, Gerald Moore, Lied

Brahms

Deutsche Volkslieder

Elisabeth Schwarzkopf, sopran
Dietrich Fischer-Dieskau, bariton
Gerald Moore, piano

Quality: mp3, 192 kbps
Size: 66 MB + 60 MB

5 comments »

Beethoven and his Contemporaries

Lieder

Hermann Prey, bariton

Leonard Hokanson, Gerald Moore, Karl Engel & Michael Krist, piano

Jörg Demus, pianoforte

Karl Scheit, guitar

DL Beethoven & Contemporarie Lieder

Quality: mp3, 128 kbps
Size: 74 MB