Lyrisches Freely inspired by Heinrich Heine Intermezzo (Schumann adapted the poems the needs of music, rearranging and altering some texts) Dichterliebe op. 48 (The loves of the poet) was made in May 1840, and is as much as a cycle of songs as an album, a gallery of pictures each of them an autonomous microcosm few minutes deals consummated in emotion, stress, conflict resolution, and this idea face early Romanticism (Schlegel, master of the Heine: " The man does not exist as a whole, only parts ).
The Schumann lieder occupy a transitional place between the vocal and piano, a sort of extension of its early development for the keyboard. The piano melody brings mostly with extensive preludes and that gloss postudios poems, and " give voice to thoughts and feelings that words simply decorate " (Schumann dixit).
musical treatment that gives the poems Schumann creates a complex emotional experience. In the presence of love as a statement and complaint, as resignation in favor of the beloved, is attached to a peculiar form of reproach sarcasm. Sudden dissonances and harmonic tension sublimated passion that is emphasized in the text. The dynamic contrast between features which accentuates the irony and evokes an atmosphere of desire uncertain.
Consider as an example of the fragmentary nature of the lieder and unstable open ends and beginnings a brief analysis of the first song: Im Monat Mai wunderschönes
The structure of this lied is radically out of Orthodoxy: The absence of tonal definition Top stitch a continuous suspense throughout the song and ends left unresolved harmony. The power of the opening passage (built with a quasi-improvisational arpeggios) lies in the fact that it involves the tone but never reached (regarding the object of desire (Clara) and its absence). This desire, which destabilizes the key and create fragmentation in the song can be heard in the imprecise overlap of the melody (measures 5 to 12) in vocal and instrumental lines, also reemerge at the end of each verse. The vocal melody is simple, ascending and descending grades nearby, in a color that ripple the smooth deployment of words. The piano melody explicit stress on large intervals.
almost incomprehensible in a discography (over 90 versions), the wealth of interpretations makes the choice particularly difficult, and must be done personally. Dichterliebe requires an interpreter capable of both refined and subtle expressive nuances as a show of authority and power, along with a wide vocal range extension as usual transposition of some of the lieder .
started with a known record of the historical background, with a soft background hiss and plenty of saturation. Alfred Cortot, Charles Panzera (Dante, 1935) has an amazing beauty of timbre and a huge range of colors to portray the heart of each song, enhancing the meaning of the verses. Sometimes there are mismatches between voice and piano because of abundant, free and imaginative use of rubato , perhaps the listener will be contrary to current natural pulse of the music. Flexibility of phrasing magic, fantasy become a classic.
The Schumann lieder occupy a transitional place between the vocal and piano, a sort of extension of its early development for the keyboard. The piano melody brings mostly with extensive preludes and that gloss postudios poems, and " give voice to thoughts and feelings that words simply decorate " (Schumann dixit).
musical treatment that gives the poems Schumann creates a complex emotional experience. In the presence of love as a statement and complaint, as resignation in favor of the beloved, is attached to a peculiar form of reproach sarcasm. Sudden dissonances and harmonic tension sublimated passion that is emphasized in the text. The dynamic contrast between features which accentuates the irony and evokes an atmosphere of desire uncertain.
Consider as an example of the fragmentary nature of the lieder and unstable open ends and beginnings a brief analysis of the first song: Im Monat Mai wunderschönes
In the wonderful month of May when the buds opened
also opened my heart to love.
In the wonderful month of May, when all the birds sang
I declared my love and desire.
also opened my heart to love.
In the wonderful month of May, when all the birds sang
I declared my love and desire.
The structure of this lied is radically out of Orthodoxy: The absence of tonal definition Top stitch a continuous suspense throughout the song and ends left unresolved harmony. The power of the opening passage (built with a quasi-improvisational arpeggios) lies in the fact that it involves the tone but never reached (regarding the object of desire (Clara) and its absence). This desire, which destabilizes the key and create fragmentation in the song can be heard in the imprecise overlap of the melody (measures 5 to 12) in vocal and instrumental lines, also reemerge at the end of each verse. The vocal melody is simple, ascending and descending grades nearby, in a color that ripple the smooth deployment of words. The piano melody explicit stress on large intervals.
almost incomprehensible in a discography (over 90 versions), the wealth of interpretations makes the choice particularly difficult, and must be done personally. Dichterliebe requires an interpreter capable of both refined and subtle expressive nuances as a show of authority and power, along with a wide vocal range extension as usual transposition of some of the lieder .
started with a known record of the historical background, with a soft background hiss and plenty of saturation. Alfred Cortot, Charles Panzera (Dante, 1935) has an amazing beauty of timbre and a huge range of colors to portray the heart of each song, enhancing the meaning of the verses. Sometimes there are mismatches between voice and piano because of abundant, free and imaginative use of rubato , perhaps the listener will be contrary to current natural pulse of the music. Flexibility of phrasing magic, fantasy become a classic.
Hermann Prey, Karl Engel (EMI, 1962) gives the character of a cycle soliloquy, soft, caressing, sensitive and attentive to the meaning of the text, although it might be more nuanced, for example in the song No. 3 (" Taube ") or n º 13 ("Grab ). Engel is an imaginative accompanist, well balanced in the recording (in the No. 6 lied the harsh staccato piano aroma accentuates the Bach cantata).
The poet of Fritz Wunderlich, Hubert Giesen (DG, 1965) stands the attractive youthful freshness of her voice, with that candor was always own house brand. Expression effortlessly, breath easy, smooth legato of , beauty of timbre warm inner feeling, sings most of the pieces in their original key. The piano is heavy and rigid displays, letting the refinements of the air staves. To highlight the light and passionate vibrato the track 1, which, however lacks the intolerable nostalgia, in the No. 3 does not observe the ritardando mid-song, and the No 6 is monotonically light. Well in the n º 5, 7 (a summit unsurpassed) and 12.
Dietrich Fischer-Dieskau, Jörg Demus (DG, 1965) has been widely recognized as the most gifted interpreter of songs by his (and probably any) time. His curiosity, intelligence, vast palette lied pushed to new levels of understanding and intensity. Maybe in 1965 is in full voice, intimate, smooth, instant and ardent. Superb in the caress of his baritone timbre, transparency of pronunciation, the dynamic range (no. 5, 8, 9 and 12). Beautifully ritardandi calculated in songs 3 and 6 (where it leaves the frozen heart). In exchange the overemphasis intermittent verbal inflections in the voice, accentuation strategic the general characterization of the major and minor modes for hope and despair. Demus's contribution flows naturally, free speech, with a touch of rubato poetic as the No. 1 (foot care) and 10. The recording is balanced between voice and piano, this slightly superficial.
Peter Schreier, Norman Shetler (Berlin Classics, 1972) is a light tenor, lyric with the bright end, which darkens the color from the bottom (as in The No. 7) and makes a lively use of dynamics to extend the range of expression, reaching the drama at times. The pronunciation is clear and precise, the particular tone is delicate and breathy legato flowing to the endless , communicative, although lack pain. If the No. 2 music theory at the slowest tempo (very appropriate), at No. 6 this laxity is gravitational. cantabile Piano on No. 8 and 12.
Dietrich Fischer-Dieskau, Christoph Eschenbach (DG, 1977) The tenor bell is now inevitably less rich and powerful than previous records. It is also more restrained in dynamics. The sudden rub an unstable expressions that can be irritating mannerisms: Hue, dramatizes, exalts, overacting, all without exaggeration, with the relaxed tone of the experience, ie, imaginative detail without getting lost in it. Incomparable sense of rhythm, variety of tone and color, energy, sometimes threatens to destroy the fragile spell shumanniano (later registration Brendel is dangerously close to the autocaricatura). Excellent piano, clear and evocative, complementing rather than accompany, the same ideal level of achievement art. Very good sound. Essential listening.
Jose Van Dam, Dalton Baldwin (Forlano, 1988) is a poet vociferous , aristocratic and aloof, with his raspy timbre of the cave troll, dragging the pronunciation of the r's. Decent power when asked (no. 7 and 9) how beautiful finishes No. 1 (" verlangen).
Thomas Quasthoff, Roberto Szidon (RCA, 1993) has more body, deeply felt, impeccable phrasing and attention to the text (no. 3). The mellow timbre, powerful, clean, honest, wide spread, but it suffers from poor distinction of the specific nature of each song. The devastating attacks piano (No. 5), energetic (No. 6), round (No. 8).
Thomas Hampson, Wolfgang Sawallisch (EMI, 1994) recovers the original version published by the same Schumann with slightly different melodic and rhythmic. It is a light baritone, enormous vocal control, sometimes (n º 5, 8) sobrearticula to the heroic and opts for an interpretation and impetuous rhetoric rather than by the poet's mood swings. Sawallisch is correct (respects the dynamics of the score) but uninspired, highlighting the tearful rallentandi in each beat of the song # 1.
Wolfgang Holzmair (Philips, 1994) raises a poet opposite of Dieskau: Gentle, quiet, with a velvety whisper and sensitive which private meditation, the diction is clear and bright, but lacks the passion and sensuality (3 and 4). Cooper shares this line internalized, although at times demonstrates a passionate intensity and delicate balance, for example in the No. 1 song is dynamic. Making sound so close you can hear the piano mechanism.
Matthias Goerne, Vladimir Ashkenazy (Decca 1997) is the true successor of FD with a darker timbre and velvety, deep and firm than his teacher. His intense legato adapts to the fluctuating magnetic music that Schumann Heine bitter verses. The unusual broad tempi (No. 1) show a reading in the dark and introverted that sculpts every sentence (in the No. 3 creates a pause very interesting.) Naturally, his pronunciation is correct, but sometimes not entirely clear (first sentence of lied No. 5). The piano is solid (No. 8) but limited in its imagination.
Andreas Schmidt, Rudolf Jansen (Hänssler, 1997) is another disciple of FD, but with greater depth in the lower spectrum of voice, baritone, warm and virile with a scrupulous legato. The question is whether he possesses the narrative skill of the teacher or may be supported only in its timbre Stone (No. 5 rubato to mezza voce ), as sometimes seems too impersonal, almost instrumental, at the expense of the atmosphere and immediacy verbal. Piano paused.
Whether there is sensitive and expressive vision of pain internalized, Ian Bostridge, Julius Drake (EMI, 1998 ) is the appropriate instrument: Tenor lyrical nasal voice with a narrow color palette, managed a wonderful continuing legato , and used selectively vibrato as a means of expression (in the song No 6 illuminates the discovery of flowers and the angels). His speech can be improved (maybe). Terror, immediacy, through both poetry and of music (# 1 Super dynamics in each verse). This recording, for example balance, containing 4 l ieder Schumann expunged the review cycle in 1844 and which were published posthumously. Discreet and sensitive accompaniment.
In this current line of each syllable does not qualify unnecessarily distorting the melodic curve, also found light voice Werner Gura (Harmonia Mundi, 2002) which is appropriate, spontaneous singing, ringing deliciously smooth, highly nuanced text Nos 7 and 9. Its dreamy legato , being a strong point, is not comparable to Wunderlich. Sometimes choose leisurely tempi as suffering from a certain loss of tension (no. 5). Jan Schultsz velvety piano in the postlude descedentes scales in lied No. 10.
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