I just love the sensitive, expressive rubati that Elly Ameling offers here . Hers is the perfect , romanticlly styled and slightly wistful version of Schumann's Widmung . What a pity that we now hear so little of her recordings and old broadcasts on the radio. Young singers could learn so much from her . I fear that like many beautiful , unpretentious singers - for example Margaret Price- she is being forgotten by the public. Please share these clips of Ameling's artistry with your music loving friends.
Dalton Baldwin and Elly Ameling perform this lied with excellence. The two of them understand completely one another's musical feelings. This is just wonderful.
Du meine Seele, du mein Herz, Du meine Wonn’, O du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab. Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden. Daß du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein beßres Ich!
Certainly one of the greatest art song singers of our generation. This live recording is valuable in watching the artist convey her body and facial emotion. I have heard this singer perform several times and had the wonderful experience of working with her in masterclass at the Cleveland Institute of Music and her insights to musical interpretation are glorious. Listen to all you can of this singer both as artist and master of diction, especially French and German among others. Kudos to you diva
I played this immeditaely after Damrau. What balm! A beautiful voice used with senitivity, musicianship and a strong sense of love for what she is sharing with us. I am sure Baldwin's accompanimet is better than it sounds - a miking problem.
Heard her and Dalton Baldwin do a lieder recital in the tent at Aspen in the summer of 1983 whilst a conducting student there. It was memorable, even to this day. Frauenliebe und Leben was the highlight.
The VHS thing clears up why I can't square this in my mind with the recordings I grew up with and continue to treasure. Still, many, many thanks for this!! I was five years old when this was made
Elly Ameling gives here an utterly breathtaking and heart rending interpretation of this beautiful Art song. There is no harshness in her use of the German lyrics in this performance.Thank you for sharing this!
She is THE MASTER.. or mistress! I studied with her many years ago; such a kind, loving teacher. And, she knows everything. She gave me a little chocolate after each session!!
Ameling is always exquisite; Baldwin is playing as if he's a soloist, not an accompanist. As another person commented, Gerald Moore's approach would have been appreciated.
Du meine Seele, du mein Herz, Du meine Wonn’, O du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab. Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden. Daß du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein beßres Ich! Du meine Seele, du mein Herz, Du meine Wonn’, O du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwe Mein guter Geist Mein Bess res’ Ich!
Dalton Baldwin was Gerard Souzay's regular accompanist, and a very sensitive one - just listen to the recordings they made together. If you're not familiar with Souzay, do yourself a favor and find out! Despite the technical problems, this is my favorite rendition of this song.
Gérard Souzay (who was a friend of mine) was my very favorite singer, and Dalton Baldwin (whom I also know) was his regular and worthy accompanist. Their joint achievement is a wonder. So I find it a bit hard to agree with comments that bash Baldwin's achievements.
The recording does justice to the artistry of neither singer nor pianist. It works best to reduce the volume and use the imagination more: it' s a lovely rendition of Widmung.
It is for the sound engineers to balance matters - even when the soloist is virtually sitting on the piano'. Nevertheless, please hear Percy Kahn's modest account of the accompaniment in the Tauber recording.
One of Schumann´s wonderful melodies! And the low change of key! And the piano playing! Typical for Schumannis the "after-playing" on the piano sometimes after the singhing, and here it is perfect. The after-playing must not be too week. Sometimes I think that the after-playing is the most important bit in Schumann´s songs.
"Postlude" is what is meant here, the closing phrases of the song in which the singer has finished and just the concluding "piano afterthoughts" are heard.@@davidsimmons654
Baldwin could have done with a bit more poetry, but flexibility of flow is beautiful, Ameling is truly remarkable, beautiful voice, total musical control, both intuitive and intelligent at the same time, I love it!
That stage is terrifying, truly like a horror film or haunted house. People, do not ever paint interior walls any shade of red, ever, unless in the Far East. The wash from the fluorescent lights over the red is even more terrifying and oppressive.
There's a bit of a conundrum there. Innig and Lebhaft basically translates as inward and lively (vivace). It's almost as if Schumann's duel nature was combined and used as the tempo of this piece lol The piano should not intrude, it should work as a duet with the vocalist. I prefer a slow Widmung, but that seems to be impossible to find on here.
Actually the "ich = isch" thing is not Bavarian pronunciation, it's from the Rheinland (Bundesländer Rheinland-Pfalz and Nordrheinwestfalen, I also know people from Hessen who pronounce it like this). I don't think she's actually singing "isch", which would not be acceptable, it's just that her "Stimmsitz" (= Vocal placement?) is so far forward that it just sounds that way when she voices that consonant.
Very nice sung by Elly Ameling! But it's an annoyance that the pianist obviously has no clue of a subtle accompaniment and misuses the vocal music by forging himself acustically ahead.
Whatever reservations one may have regarding the present performance, Dalton Baldwin proved himself to be an ideal accompanist in the course of his long and wonderfully fruitful collaboration with the great baritone Gérard Souzay.
Ok, my comment is probably unjust, because I have read about Baldwin in the meantime, and he seems to be famous for the opposite behaviour. My impression may only be caused by the recording.
Great song, but poor recording. Some pianists get it all wrong, too loud, too frenetic, no poetry. The singer must always set all the controls in place, then the voice can reveal all the shades present in the music.
I just love the sensitive, expressive rubati that Elly Ameling offers here . Hers is the perfect , romanticlly styled and slightly wistful version of Schumann's Widmung . What a pity that we now hear so little of her recordings and old broadcasts on the radio. Young singers could learn so much from her . I fear that like many beautiful , unpretentious singers - for example Margaret Price- she is being forgotten by the public. Please share these clips of Ameling's artistry with your music loving friends.
Dalton Baldwin and Elly Ameling perform this lied with excellence. The two of them understand completely one another's musical feelings. This is just wonderful.
I love the way Elly Ameling sings "Widmung" with such feeling!
Du meine Seele, du mein Herz,
Du meine Wonn’, O du mein Schmerz,
Du meine Welt, in der ich lebe,
Mein Himmel du, darein ich schwebe,
O du mein Grab, in das hinab
Ich ewig meinen Kummer gab.
Du bist die Ruh, du bist der Frieden,
Du bist vom Himmel mir beschieden.
Daß du mich liebst, macht mich mir wert,
Dein Blick hat mich vor mir verklärt,
Du hebst mich liebend über mich,
Mein guter Geist, mein beßres Ich!
Certainly one of the greatest art song singers of our generation. This live recording is valuable in watching the artist convey her body and facial emotion. I have heard this singer perform several times and had the wonderful experience of working with her in masterclass at the Cleveland Institute of Music and her insights to musical interpretation are glorious. Listen to all you can of this singer both as artist and master of diction, especially French and German among others.
Kudos to you diva
This is really the nicest of all interpretations of this wonderful lied.
Incredible soprano. My favorite of all time. Thanks for sharing. If you have more, please continue posting. :-)
Elly Ameling sets the standard for any singer singing German art songs. She's the master!
Laureen Falco Es geht auch um große Kultur und ausschließlichen Geschmack!
I played this immeditaely after Damrau. What balm! A beautiful voice used with senitivity, musicianship and a strong sense of love for what she is sharing with us. I am sure Baldwin's accompanimet is better than it sounds - a miking problem.
dropped tear after hearing her performance.... so beautiful... i have to play this piece
I'm surpurised to hear your voice .
your voice is so beautiful.
Heard her and Dalton Baldwin do a lieder recital in the tent at Aspen in the summer of 1983 whilst a conducting student there. It was memorable, even to this day. Frauenliebe und Leben was the highlight.
Thus us one of the most gorgeous lieder that exists ever! And she sings in a very expressive way! Norah de Almeida (from Brazil)
an excellent rendition of this masterpiece.
Adoramos. Tudo que ela canta é construido com inteligência e sensibilidade.
The VHS thing clears up why I can't square this in my mind with the recordings I grew up with and continue to treasure. Still, many, many thanks for this!! I was five years old when this was made
Magnificent performance - really beautiful voice and sublimely expressive.
Elly Ameling gives here an utterly breathtaking and heart rending interpretation of this beautiful Art song. There is no harshness in her use of the German lyrics in this performance.Thank you for sharing this!
Well said
Absolutely beautiful!!:)
So wonderful to se e Ameling sing with Baldwin and especially in widmung !
シューマンの歌曲の素晴らしさを最初に知ったのはアメリングが歌うこの「献呈」によってでした。啓示に触れたときのように、心がふるえました。この映像は彼女の若い時の歌唱にくらべると衰えていますが(録音もいまひとつです）、それでも名唱であることに変わりはなく、ほかの歌手と聴きくれべても、一番よかったです。後奏にシューベルトの「アベマリア」が聞こえてきます。
Unbearably beautiful. Unbelievable performance.
What a beautiful recording.
For some strange reason the Netherlands have produced some of the greatest musicians of our age. Elly is at the top of pile.
Gorgeous. Perfect expression!
It’s so good to hear her again
🌹❤❤❤
Extraordinaria como siempre.!!!!!❤❤❤❤❤❤❤❤
She is THE MASTER.. or mistress! I studied with her many years ago; such a kind, loving teacher. And, she knows everything. She gave me a little chocolate after each session!!
Beautiful!
Very beautifully interpreted by both. So girlish sounding... just as a young bride would sound.
beautiful!!!!!
일부러 찾아봤는데 영상이 있어서 반갑네요. 엘리아멜링.
Me encanta!!!
Ameling is always exquisite; Baldwin is playing as if he's a soloist, not an accompanist. As another person commented, Gerald Moore's approach would have been appreciated.
Zauberhaft, sprachlos...
Wonderful.
I remember her observation made with an attractive accent ' it takes so much effort, to sing effortlessly! A lovely voice for sure!
Du meine Seele, du mein Herz,
Du meine Wonn’, O du mein Schmerz,
Du meine Welt, in der ich lebe,
Mein Himmel du, darein ich schwebe,
O du mein Grab, in das hinab
Ich ewig meinen Kummer gab.
Du bist die Ruh, du bist der Frieden,
Du bist vom Himmel mir beschieden.
Daß du mich liebst, macht mich mir wert,
Dein Blick hat mich vor mir verklärt,
Du hebst mich liebend über mich,
Mein guter Geist, mein beßres Ich!
Du meine Seele, du mein Herz,
Du meine Wonn’, O du mein Schmerz,
Du meine Welt, in der ich lebe,
Mein Himmel du, darein ich schwe
Mein guter Geist Mein Bess res’ Ich!
I love Schumann's lieder
Dem Pianisten fehlte es am nötigen Gefühl diese wunderbare Stimme zu begleiten
Alfred Mertens, almebo Mr. Almebo Kann ich bei ihrem Liederkonzert 1979 in Edinburgh bestaetigen.
Amazing
Dalton Baldwin was Gerard Souzay's regular accompanist, and a very sensitive one - just listen to the recordings they made together. If you're not familiar with Souzay, do yourself a favor and find out!
Despite the technical problems, this is my favorite rendition of this song.
Gérard Souzay (who was a friend of mine) was my very favorite singer, and Dalton Baldwin (whom I also know) was his regular and worthy accompanist. Their joint achievement is a wonder. So I find it a bit hard to agree with comments that bash Baldwin's achievements.
The recording does justice to the artistry of neither singer nor pianist. It works best to reduce the volume and use the imagination more: it' s a lovely rendition of Widmung.
It is for the sound engineers to balance matters - even when the soloist is virtually sitting on the piano'. Nevertheless, please hear Percy Kahn's modest account of the accompaniment in the Tauber recording.
One of Schumann´s wonderful melodies! And the low change of key! And the piano playing!
Typical for Schumannis the "after-playing" on the piano sometimes after the singhing, and here it is perfect. The after-playing must not be too week. Sometimes I think that the after-playing is the most important bit in Schumann´s songs.
Johan Cavalli what’s “after-playing”?
"Postlude" is what is meant here, the closing phrases of the song in which the singer has finished and just the concluding "piano afterthoughts" are heard.@@davidsimmons654
Baldwin could have done with a bit more poetry, but flexibility of flow is beautiful, Ameling is truly remarkable, beautiful voice, total musical control, both intuitive and intelligent at the same time, I love it!
Bravissima.
That stage is terrifying, truly like a horror film or haunted house. People, do not ever paint interior walls any shade of red, ever, unless in the Far East. The wash from the fluorescent lights over the red is even more terrifying and oppressive.
Wow, she is good. I like her.
BORN TO SING
Greatest lieder soprano ever. She's either the soprano Janet Baker or Jaket Baker is the mezzo Elly Ameling.
Чудесно! ❤️
Why do so many pianists think that this is a concerto written for them?
Why do so many singers ignore 'Innig, lebhaft'?
There's a bit of a conundrum there. Innig and Lebhaft basically translates as inward and lively (vivace). It's almost as if Schumann's duel nature was combined and used as the tempo of this piece lol The piano should not intrude, it should work as a duet with the vocalist. I prefer a slow Widmung, but that seems to be impossible to find on here.
Blijft prachtig wat een top zangeres......pfffff
Hi, nothing happened to the speed of teh pianist. He had some very nice rubato and kept well in sympathy with Ameling's interpretation.
Extrême intelligence !
The piano part is covering part of the subtleties of Elly Ameling.
A bit too loud compared to the restrained singing.
Unbelievable..
It's still the bee's knees, friend. There's never been anybody better and very likely never will be
He's following her beautifully, though
0:20
Very pretty! But I think she sang a couple wrong words... That's ok, it happens all the time, and she still sounds great.
It sounds like she's saying "ish" and "mish" instead of "ich" and "mich", is that just because of the recording quality?
I dont think it's the recording quality I think it's how she's saying it :)
It's the bavarian pronunciation. Dietrich Fischer-Dieskau also sings german like this.
are both ways permitted? :) thank you for explaining, Yan-Yang!
Actually the "ich = isch" thing is not Bavarian pronunciation, it's from the Rheinland (Bundesländer Rheinland-Pfalz and Nordrheinwestfalen, I also know people from Hessen who pronounce it like this). I don't think she's actually singing "isch", which would not be acceptable, it's just that her "Stimmsitz" (= Vocal placement?) is so far forward that it just sounds that way when she voices that consonant.
Besides the fact that she's Dutch . . .
Delicious.
Very nice sung by Elly Ameling!
But it's an annoyance that the pianist obviously has no clue of a subtle accompaniment and misuses the vocal music by forging himself acustically ahead.
Whatever reservations one may have regarding the present performance, Dalton Baldwin proved himself to be an ideal accompanist in the course of his long and wonderfully fruitful collaboration with the great baritone Gérard Souzay.
yes well said but the camra is jacked up really bad and the piano is louder than her beautiful voice
Ok, my comment is probably unjust, because I have read about Baldwin in the meantime, and he seems to be famous for the opposite behaviour.
My impression may only be caused by the recording.
Great song, but poor recording. Some pianists get it all wrong, too loud, too frenetic, no poetry. The singer must always set all the controls in place, then the voice can reveal all the shades present in the music.
Agree
Trop ampoulé.
ピアノの人が無茶うまいそう思うのは気のせい？
Unbelievable..