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One the finest Lieder singers and one of the most prolific recording artists of his generation, the great German baritone, Dietrich Fischer-Dieskau, possessed a virtually flawless vocal technique, a remarkable ability to convey the right tonal colour and nuance of a musical phrase, as well as a wonderful command of rhythm.
This re-issue brings together three of Fischer-Dieskau’s most famous recordings, that of Schumann’s Liederkreis with the pianist Gerald Moore, a partnership which would produce a remarkable artistic and creative fusion over the next quarter century.
The 1952 recording of the song-cycle Lieder eines fahrenden Gesellen, conducted by Furtwängler, was made at a time when the music of Mahler was little known or heard outside German-speaking countries, a bold and inspired choice.
Gustav Mahler: Lieder eines fahrenden Gesellen (Song of a Wayfarer)
I. Wenn mein Schatz Hochzeit macht
II. Ging heut' morgen ubers Feld
III. Ich hab' ein gluhend Messer
IV. Die zwei blauen Augen
Gustav Mahler: Kindertotenlieder
I. Nun will die Sonn' so hell aufgeh'n
II. Nun seh' ich wohl
III. Wenn dein Mutterlein
IV. Oft denk' ich, sie sind nur ausgegangen
V. In diesem Wetter, in diesem Braus
Robert Schumann: Liederkreis, Op. 39
No. 1. In der Fremde (In Foreign Parts)
No. 2. Intermezzo
No. 3. Waldesgesprach (Colloquy in the Forest)
No. 4. Die Stille (Quietness)
No. 5. Mondnacht (Moonlit Night)
No. 6. Schone Fremde (Fair Foreign Land)
No. 7. Auf einer Burg (On a Fortress)
No. 8. In der Fremde (In Foreign Parts)
No. 9. Wehmut (Melancholy)
No. 10. Zwielicht (Twilight)
No. 11. Im Walde (In the Forest)
No. 12. Fruhlingsnacht (Spring Night)
“In Kindertotenlieder the young Fischer-Dieskau is a perfect foil for the aging Furtwängler. Schumann's Liederkreis, Op. 39, an early collaboration with Gerald Moore, will melt the stoniest heart.”
(on the EMI reissue)
“Together [Fischer-Dieskau and Furtwangler] recorded what remains an unsurpassed version of the Lieder eines fahrenden Gesellen, the singer spontaneously overwhelmed by the meaning of the text, the conductor revealing more of the inner workings of the score than any of his successors and drawing a sensuous response from the young Philharmonia. The recording, amazingly, hardly shows its age and comes up on CD sounding natural, refined and as beautiful as the performance.”
Click on any of the works listed above for alternative recordings.