Album available // Mahler: Das Lied von der Erde by Bruno Walter 🎧 Qobuz cutt.ly/9eOtDwUK Tidal cutt.ly/seOtDlXO 🎧 Deezer cutt.ly/CeOtFh2r Amazon Music cutt.ly/FeOtFUP9 🎧 Spotify cutt.ly/1eOtFVp2 TH-cam Music cutt.ly/teOtF8M1 🎧 Napster cutt.ly/yeOtGxt3 Soundcloud cutt.ly/weOtGSWR Gustav Mahler (1860-1911) - Das Lied Von der Erde / Le Chant de la Terre *Click to activate the English subtitles for the presentation* (00:00-06:20) 00:00 I. Das Trinklied vom Jammer der Erde / The Drinking Song of Earth’s Sorrow Chanson à boire de la Douleur de la Terre 08:38 II. Der Einsame im Herbst / Autumn Loneliness / Le solitaire en Automne 17:55 III. Von der Jugend / Of Youth / De la Jeunesse 20:56 IV. Von der Schönheit / Of Beauty / De la Beauté 27:42 V. Der Trunkene im Frühling / The Drunkard in Spring / L’ Ivrogne au Printemps 32:09 VI. Der Abschied / The Farewell / L’Adieu Contralto : Kathleen Ferrier Tenor : Julius Patzak Wiener Philharmoniker CONDUCTOR: Bruno Walter Recorded in 1952, at Vienna New Mastering in 2021 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr As a contralto soloist, there is Kathleen Ferrier, the British singer whose career only really began in 1943 at the age of thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another Mahler protégé, Klemperer, with whom she sang in the Second Symphony). She first sang "The Song of the Earth" with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as tenor soloist). She was in tears near the end and omitted the last "ewig". When she apologized to Walter for her unprofessional conduct, he responded beautifully, "My dear Miss Ferrier, if we were all artists like you, we would all have been in tears." Ferrier's singing about Mahler was entirely intuitive. She had a natural sympathy for his idiom, an idiom she had to discover for herself, for there were few performances of Mahler during her formative days. It is hardly possible to listen to this recorded performance without considering the personal circumstances of the artists involved: Walter, the composer's friend, and Ferrier, who knew while she was recording that this was her own "Abschied," that she would see the beautiful land turn green only once more. Like Mahler, she took up the challenge of a death sentence by reaching the peak of her art. *Click to activate the English subtitles for the presentation* (00:00-06:20) Mahler - Symphony No.1 ''Titan'' NEW MASTERING (Century’s rec.: Bruno Walter, New York Philharmonic): th-cam.com/video/nRgwYrkRsPc/w-d-xo.html Gustav Mahler PLAYLIST (reference recordings): th-cam.com/video/KU0kKoMnvWA/w-d-xo.html
One of the GREAT recordings of the 20th century - Bruno Walter did so much to keep Mahler's music alive in mid-century, and Kathleen Ferrier's outstanding voice so cruelly cut short. An outstanding recording.
Kathleen Ferrier was so deeply overwhelmed by the last movement "Farewell" during recording, she literally burst into tears as she sang the words "Ewig... Ewig" and Walter had to halt recording until she gained her composure and they re-recorded the whole movement from scratch. I said farewell to my mother at her grave as she went on her final journey by playing the same movement which she loved so much...
Dear CM/RR thank you from the bottom of my heart for the New Mastering of Das Lied von der Erde with the unforgettable Kathleen Ferrier and conducted by the likewise unforgettable Bruno Walter. A real treasure, the best performance I ever heard of this sublime work.
When she records das Lied von der Erde Kathleen Ferrier, knows she is doomed by cancer, the pains are omnipresent and what she sings is none other than her own requiem, her farewell to the earth, more especialy in ABSCHIED. I remember the first time I heard it and the wave, the surge of emotion that overwhelmed me; this transport elsewhere. It is always present at each listening. For me, there is nothing darker and more beautiful.
As a contralto soloist, there is Kathleen Ferrier, the British singer whose career only really began in 1943 at the age of thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another Mahler protégé, Klemperer, with whom she sang in the Second Symphony). She first sang "The Song of the Earth" with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as tenor soloist). She was in tears near the end and omitted the last "ewig". When she apologized to Walter for her unprofessional conduct, he responded beautifully, "My dear Miss Ferrier, if we were all artists like you, we would all have been in tears." Ferrier's singing about Mahler was entirely intuitive. She had a natural sympathy for his idiom, an idiom she had to discover for herself, for there were few performances of Mahler during her formative days. It is hardly possible to listen to this recorded performance without considering the personal circumstances of the artists involved: Walter, the composer's friend, and Ferrier, who knew while she was recording that this was her own "Abschied" (32:09), that she would see the beautiful land turn green only once more. Like Mahler, she took up the challenge of a death sentence by reaching the peak of her art. *Click to activate the English subtitles for the presentation* (00:00-06:20) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Wunderschöne und tiefempfundene Interpretation dieses spätromantischen und orientalisch komponierten Meisterwerks mit herrlichen Stimmen beider unvergleichlichen Solisten sowie farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der ebenso unvergleichliche Dirigent leitet das weltklassige Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von siebzig Jahren vor. Alles ist wundervoll!
Profoundly sensed performance, truly memorable. Kathleen Ferrier's brittly vibrating voice is absolutely appropriate for such a farewell. And reading the additional comments below, especially being informed that Kathleen Ferrier was suffering from cancer at the time of the recording, amplifies the poignancy of the "umflort" - "shrouded" voice.
One of the most iconic classical recordings of the 20th century, right up there with the 1966 Bayreuth Tristan (with Birgit Nilsson), Walcha's recording of Die Kunst der Fuge or the original 1990 Three Tenors Concert. Bruno Walter clearly felt that in Ferrier he had found a singer perfectly suited to carry this music, and they had already done it live several times: she was familiar with the cycle by the time they finally committed it to tape. By that time, sadly, she knew it was going to be part of her testament as well...
Die Werbung dazwischen ist wirklich unerträglich. - Das alles ist ja so sehr ernst. Wie konnte sie eine solche Leistung erbringen, wo jeder andere vor Todesanst in die Knie gehen würde. Nur davor schon gebührt ihr grösster Respekt. Und unendliche Dankbarkeit. - Dass sie dieses Wunder den Menschen hinterlassen hat.
thank you classic music master ,while not a Mahler fan I've always loved the spirit and substance of this .I seem to have more than one one L P copy from a purchase in San Francisco in 1972. Bruno Walter conducted this six months after Mahler[s death . They were friends ,A dark and sorrowing figure he had a hard time in this valley of tears
Thank you *so much* for this marvelous sharing: this is my favorite performance of this masterwork! Poor Mrs Ferrier knew that this recording will be the last for her and Maestro Walter shared her deep emotion...😪
Magistral versión. Tengo el disco original, que no me canso de escuchar. “La Canción de la Tierra” es de lo más sublime que se ha compuesto. “La Canción de la Tierra” en particular y la obra de Mahler en general es lo contrario a la obra de Camilo José Cela, ya que, mientras que Cela, como bien dijo Sánchez Ferlosio, «lo envilece todo», Mahler, por el contrario, lo enaltece todo. «¿Y qué tiene que ver el culo con las témporas?», dijo entonces Don Camilo “para no hacer mudanza en su costumbre”.
心を揺さぶる最上の音楽。歴史的名盤。 この演奏は、何度聴いても平静ではいられない不思議な力を持っています。何物にも代えがたい、心を揺さぶる最上の音楽。 第1楽章。ウィンナホルンの独特の深みのある渋い音が「大地の歌」の世界に引き込みます。パツァークの声は渋く影があります。 「Du aber, Mensch, wie lange lebst denn du? Nicht hundert Jahre darfst du dich ergotzen An all dem morschen Tande dieser Erde ＝しかし人間よ，お前はどれだけ長く生きるのか。 百年も許されていないのだ、 この大地のはかない価値のないものを楽しむことを。」 暗く皮肉めいたパツアークの声と歌唱ですが、その影に救いを求める心が潜んでいます。ウィーンＰＯの色彩的な音がワルターの多様で豊かなニュアンスによって生気を得て万華鏡のよう。 猿のくだりでは、暗い声を張り上げ悪役が叫ぶよう。ウィーンＰＯの迫る響き。 最後は暗い和音で意味深く終結。 第2楽章。冷え冷えとした前奏の後、深いフェリアの声。沈潜しながら揺れ動く訴求力のある音楽。 最後の「Sonne der Liebe, willst du nie mehr scheinen＝愛の太陽よ、お前はもう二度と輝くつもりはないのだろうか」で頂点、「Tranen aufzutrocknen?＝涙を乾かす」はささやくように。いずれもフィリアは聴き手の心をつかみに来ます。 第3楽章。清廉な弦楽にのって端正な歌唱。 第4楽章。ワルターは、若者の登場から馬のくだりでやや速度を上げ、歌手とオケを盛り上げます。フェリアは伸びのある声でインパクトのある歌。その前後は端正。歌手やオケに無理をさせずに大きな効果を発揮します。 第5楽章。第1楽章と同様、主張のある歌唱とバック。ヴァイオリンソロはウィーンＰＯらしいポルタメント。その後はパツアークのパンチのあるテノール。 第6楽章。作詞作曲の音楽設計に演奏者も一体化して多様な表現を自在に披露します。重い銅鑼の音で始まり、意味深いオーボエが「告別」の世界に引き込みます。 「Die Sonne scheidet hinter dem Gebirge.・・＝太賜が山の彼方に沈み，・・」をフェリアは虚無的に開始、「mit seinen Schätten,die voll Kuhlung sind＝冷えきった影とともに」でアクセントをつけます。緩急をつけ、次のアクセントは「eine Silberbark＝銀の小船」。「Die Blumen blassen im Dammerschein.＝花が薄暗がりの中で色あせる。」は歌手もオケも耽美的に。「Wo bleibst du ? Du lasst mich lang allein !＝君はどこにいるのだ。私を長い間ほっておいて」は強く呼びかけ、「Liebens, Lebens＝愛と生命」であふれんばかりの想いを込めてひとつの頂点をつくります。 間奏部分はウィーンＰＯの表現の真骨頂。中欧的な深い響きと細やかなニュアンス、耽美、ドスの効いた低音。 後半の開始でフェリアは「warum es musste sein＝なぜそうあらねばならないのかと」で粘ったアクセントをつけ、 「Ich werde niemals in die Ferne schweifen. Still ist mein Herz und harret seiner Stunde ! ＝決して遠くへは行くまい。 私の心は静かで，その時を待ちわびている。」 ここで長調に転調し、フェリアの声は自然に別世界へと導きます。 そして、終盤のフェリアは絶唱。 「Die Liebe Erde＝愛する大地」は包み込むような歌、 「blüht＝咲き」で頂点をつくり、 「im Lenz und grünt aufs neu !＝新たに緑になる。」 では万感の想いが込められ、 「allüberall und ewig blauen Licht die Fernen,＝いたるところ、永遠に、遠方は明るく青い」 は、心の底から湧き上がってくる力強い想いのたけが込められた声。ウィーンＰＯの深々とした響き。 「ewig, ewig !＝永遠に、永遠に！」慈しみ深く、まさに天に吸い込まれていく白雲のよう。チェレスタのこの世ならぬ響き。弱音でも心に届くオーケストラ。
Ich liebe dieses Werk von Mahler, besitze 3CD mit Fritz Wunderlich, mein Lieblingstenor! (1 - FW, C. Ludwig, Otto Klemperer, 64 2- FW, D. Fischer- Dieskau, J.Krips, 64 3 - FW, Nan Merriman, H. Schmidt- Isserstedt, 65 ( diese Version ist mir die liebste). Vielen Dank und LG aus Montreal, Qc, Canada PS Diese Version kannte ich noch nicht. Sie ist großartig. Patzak (unter anderen Sängern wie z.B. Peter Anders) war FW 's Vorbild. PPS Und ich muss ehrlich sagen, ich kannte Ferrier nicht, aber sie ist überragend in diesem Lied der Erde.
1. "Das Trinklied vom Jammer der Erde" ("The Drinking Song of Earth's Sorrow") 00:01 Schon winkt der Wein im gold'nen Pokale, The wine beckons in golden goblets Doch trinkt noch nicht, erst sing' ich euch ein Lied! but drink not yet; first I'll sing you a song. Das Lied vom Kummer The song of sorrow Soll auflachend in die Seele euch klingen. shall ring laughingly in your soul. Wenn der Kummer naht, When the sorrow comes, Liegen wüst die Gärten der Seele, blasted lie the gardens of the soul, Welkt hin und stirbt die Freude, der Gesang. wither and perish joy and singing. Dunkel ist das Leben, ist der Tod. Dark is life, dark is death! Herr dieses Hauses! Master of this house, Dein Keller birgt die Fülle des goldenen Weins! your cellar is full of golden wine! Hier, diese Laute nenn' ich mein! Here, this lute I call mine. Die Laute schlagen und die Gläser leeren, The lute to strike and the glasses to drain, Das sind die Dinge, die zusammen passen. these things go well together. Ein voller Becher Weins zur rechten Zeit A full goblet of wine at the right time Ist mehr wert, als alle Reiche dieser Erde! is worth more than all the kingdoms of this earth. Dunkel ist das Leben, ist der Tod! Dark is life, dark is death! Das Firmament blaut ewig und die Erde The heavens are ever blue and the Earth Wird lange fest steh'n und aufblüh'n im Lenz. shall stand sure, and blossom in the spring. Du aber, Mensch, wie lang lebst denn du? But you O man, what long life have you? Nicht hundert Jahre darfst du dich ergötzen Not a hundred years may you delight An all dem morschen Tande dieser Erde! in all the rotten baubles of this earth. Seht dort hinab! Im Mondschein auf den Gräbern See down there! In the moonlight, on the graves Hockt eine wild-gespenstische Gestalt - squats a wild ghostly shape; Ein Aff' ist's! Hört ihr, wie sein Heulen an ape it is! Hear you his howl go out Hinausgellt in den süßen Duft des Lebens! in the sweet fragrance of life. Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Now! Drink the wine! Now it is time comrades. Leert eure gold'nen Becher zu Grund! Drain your golden goblets to the last. Dunkel ist das Leben, ist der Tod! Dark is life, dark is death! 2. "Der Einsame im Herbst" ("The Solitary One in Autumn") 08:38 Herbstnebel wallen bläulich überm See; Autumn fog creeps bluishly over the lake Vom Reif bezogen stehen alle Gräser; Every blade of grass stands frosted. Man meint, ein Künstler habe Staub von Jade As though an artist had jade-dust Über die feinen Blüten ausgestreut. over the fine flowers strewn. Der süße Duft der Blumen ist verflogen; The sweet fragrance of flower has passed; Ein kalter Wind beugt ihre Stengel nieder. A cold wind bows their stems low. Bald werden die verwelkten, gold'nen Blätter Soon will the wilted, golden petals Der Lotosblüten auf dem Wasser zieh'n. of lotus flowers upon the water float. Mein Herz ist müde. Meine kleine Lampe My heart is tired. My little lamp Erlosch mit Knistern, es gemahnt mich an den Schlaf. expired with a crackle, minding me to sleep. Ich komm' zu dir, traute Ruhestätte! I come to you, trusted resting place. Ja, gib mir Ruh', ich hab' Erquickung not! Yes, give me rest, I have need of refreshment! Ich weine viel in meinen Einsamkeiten. I weep often in my loneliness. Der Herbst in meinem Herzen währt zu lange. Autumn in my heart lingers too long. Sonne der Liebe willst du nie mehr scheinen, Sun of love, will you no longer shine Um meine bittern Tränen mild aufzutrocknen? Gently to dry up my bitter tears? 3. "Von der Jugend" ("Of Youth") 17:55 Mitten in dem kleinen Teiche In the middle of the little pond Steht ein Pavillon aus grünem stands a pavilion of green Und aus weißem Porzellan. and white porcelain. Wie der Rücken eines Tigers Like the back of a tiger Wölbt die Brücke sich aus Jade arches the jade bridge Zu dem Pavillon hinüber. over to the pavilion. In dem Häuschen sitzen Freunde, Friends sit in the little house Schön gekleidet, trinken, plaudern. well dressed, drinking, chatting. Manche schreiben Verse nieder. some writing verses. Ihre seidnen Ärmel gleiten Their silk sleeves glide Rückwärts, ihre seidnen Mützen backwards, their silk caps Hocken lustig tief im Nacken. rest gaily at the napes of their necks. Auf des kleinen Teiches stiller On the small pond's still Wasserfläche zeigt sich alles surface, everything shows Wunderlich im Spiegelbilde. whimsical in mirror image. Alles auf dem Kopfe stehend Everything stands on its head In dem Pavillon aus grünem in the pavilion of green Und aus weißem Porzellan; and white porcelain. Wie ein Halbmond steht die Brücke, Like a half-moon is the bridge Umgekehrt der Bogen. Freunde, its arch upturned. Friends Schön gekleidet, trinken, plaudern. well dressed, drinking, chatting.
4. "Von der Schönheit" ("Of Beauty") 20:56 Junge Mädchen pflücken Blumen, Young girls picking flowers, Pflücken Lotosblumen an dem Uferrande. Picking lotus flowers at the riverbank. Zwischen Büschen und Blättern sitzen sie, Amid bushes and leaves they sit, Sammeln Blüten in den Schoß und rufen gathering flowers in their laps and calling Sich einander Neckereien zu. one another in raillery. Gold'ne Sonne webt um die Gestalten, Golden sun plays about their form Spiegelt sie im blanken Wasser wider, reflecting them in the clear water. Sonne spiegelt ihre schlanken Glieder, The sun reflects back their slender limbs, Ihre süßen Augen wider, their sweet eyes, Und der Zephir hebt mit Schmeichelkosen and the breeze teasing up Das Gewebe Ihrer Ärmel auf, the warp of their sleeves, Führt den Zauber directs the magic Ihrer Wohlgerüche durch die Luft. of perfume through the air. O sieh, was tummeln sich für schöne Knaben O see, what a tumult of handsome boys Dort an dem Uferrand auf mut'gen Rossen? there on the shore on their spirited horses. Weithin glänzend wie die Sonnenstrahlen; Yonder shining like the sun's rays Schon zwischen dem Geäst der grünen Weiden between the branches of green willows Trabt das jungfrische Volk einher! trot along the bold companions.
Das Roß des einen wiehert fröhlich auf The horse of one neighs happily on Und scheut und saust dahin, and shies and rushes there, Über Blumen, Gräser wanken hin die Hufe, hooves shaking down blooms, grass, Sie zerstampfen jäh im Sturm die hingesunk'nen Blüten, trampling wildly the fallen flowers. Hei! Wie flattern im Taumel seine Mähnen, Hei! How frenzied his mane flutters, Dampfen heiß die Nüstern! and hotly steam his nostrils! Gold'ne Sonne webt um die Gestalten, Golden sun plays about their form Spiegelt sie im blanken Wasser wider. reflecting them in the clear water. Und die schönste von den Jungfrau'n sendet And the most beautiful of the maidens sends Lange Blicke ihm der Sehnsucht nach. long looks adoring at him. Ihre stolze Haltung ist nur Verstellung. Her proud pose is but a pretense; In dem Funkeln ihrer großen Augen, in the flash of her big eyes, In dem Dunkel ihres heißen Blicks in the darkness of her ardent gaze Schwingt klagend noch die Erregung ihres Herzens nach. beats longingly her burning heart. 5. "Der Trunkene im Frühling" ("The Drunkard in Spring") 27:42 Wenn nur ein Traum das Leben ist, If life is but a dream, Warum denn Müh' und Plag'!? why work and worry? Ich trinke, bis ich nicht mehr kann, I drink until I no more can, Den ganzen, lieben Tag! the whole, blessed day! Und wenn ich nicht mehr trinken kann, And if I can drink no more Weil Kehl' und Seele voll, as throat and soul are full, So tauml' ich bis zu meiner Tür then I stagger to my door Und schlafe wundervoll! and sleep wonderfully! Was hör' ich beim Erwachen? Horch! What do I hear on waking? Hark! Ein Vogel singt im Baum. A bird sings in the tree. Ich frag' ihn, ob schon Frühling sei, I ask him if it's spring already; Mir ist als wie im Traum. to me it's as if I'm in a dream. Der Vogel zwitschert: Ja! The bird chirps Yes! Der Lenz ist da, sei kommen über Nacht! The spring is here, it came overnight! Aus tiefstem Schauen lauscht' ich auf, From deep wonderment I listen; Der Vogel singt und lacht! the bird sings and laughs! Ich fülle mir den Becher neu I fill my cup anew Und leer' ihn bis zum Grund and drink it to the bottom Und singe, bis der Mond erglänzt and sing until the moon shines Am schwarzen Firmament! in the black firmament! Und wenn ich nicht mehr singen kann, And if I can not sing, So schlaf' ich wieder ein. then I fall asleep again. Was geht mich denn der Frühling an!? What to me is spring? Laßt mich betrunken sein! Let me be drunk!
Julius Patzak is incomparable in this work. No other tenor can touch him. He doesn't merely sing his role, he acts it, and with enormous conviction. For the alto role, however, I prefer Janet Baker with Bernard Haitink and the Concertgebouw Orchestra.
Passing Clouds was the brand of cigarette favored by the great English contralto Kathleen Ferrier. According to one of her early teachers, her magnificent voice was attributed to “a wonderful cavity at the back of her throat.” This was the only explanation given for the purity and power of her voice. Near the end of her brief life, Ferrier sang Mahler’s symphony “The Song of the Earth.” We die, but life is fresh, eternally fresh, was Mahler’s ecstatic conviction. Nature renews herself year after year…for ever and ever. Ferrier was in tears when she concluded “The Song of the Earth”, so distraught that she omitted the final ewig, the final ever. - CAVITY (#4 of Joy Williams’ Ninety-nine stories of God)
Вряд ли дело только во впадине её горла, более всего это преимущество ее прекрасного вокала, такая ровность звучания, увы, такая редкость. О Феррьер не столько хочется говорить, сколько слушать, красота, выраженная через струны её души, что может быть прекрасней.
Der Klang einer Stimme wird vor allem durch die seelischen Eigenschaften und die Gedankenkraft eines Menschen gebildet! Es war die Reinheit dieser einzigartigen Persönlichkeit, die an die Reinheit eines Engels gemahnte, welche diesen unglaublich schönen Klang erzeugte!
For Ferrier‘s work alone this recording remains, for me personally, the most emotionally moving but is compromised a bit by her illness. Patzak is ok but not at all in the same league as Wunderlich. Certainly from an overall vocal standpoint alone the 1966 recording is the best sung version, IMO, but these 2 together remain the gold standard for this eternal (ewig) masterpiece. I cherish both for these variety of reasons.
I think of two anecdotes about Mahler, Walter and DLvDE. They're going over a tricky passage, and Mahler says to Walter "Have you any idea how to conduct this? Because I don't." The other, Mahler says "Won't people just go home and shoot themselves?"
Ich sehne dich! Kathleen is softer than Baker or Ludwig.. Kathleen did not speak German! Walter coached her in German ... Not only the words! Though this piece is based on a translation from Chinese the composer was of the German language! It helps to understand the linguistic subtleties when singing an interpretation... Unsurprisingly Norman sings the Kindertotenlieder wonderfully.. she's fluent in German...
@Classical Music/ / Reference Recording I love your masterings. This one too. However, when this was recorded, the recording was noisy, and if you have noisy recording to start with, even with mastering, all you're gonna get is "clearer noise"(Don't take this in the wrong sense) Furthermore, Neither do I think this recording is Walter's best of Mahler nor is it one of the best Dad Lieds. Historically important? Probably Excellent? No, but it's still not bad
At the time she recorded, she knew she was sentenced to death and the last movement is her farewell to the earth. You should read our subtitled commentary and "repent" before one of the greatest lady of music and her most moving testimony.
As a schoolboy, I still remember hearing the announcement of her death on the BBC radio with shock and sadness. In a few brief years, she had entered the hearts of all music-lovers in this country, and abroad. I once had the pleasure of speaking with Dame Isobel Baillie, with whom she sang so often.
@@classicalmusicreference ok but it's not only about her. The Vienna Philharmonic in '52 was still in its rebuilding phase after the war (since they got rid of Jews from the orchestra) and still did not sound as glorious as it would kater become. This may be nice for Kathleen, but I take all the factors into judgement. Do you think this recording sounds better than say, Haitink's version with the Concertgebouw? Starring JANET BAKER? NO.
@@detectivehome3318 You are comparing a "historical" mono recording with a stereo recording made with all "modern" techniques. Indeed it is a very beautiful reference. But the Ferrier-Walter version is timeless for all the reasons mentioned in the comments.
Patzak's voice Is beautiful, musically he's just great, but his name is crammed between that of the best siamo and the conductor! I like Walter, I think Ferrier Is a bit over rated.. how we humans pay homage to those that don't need help, and how we shun the unsuccessful!
When she records das Lied von der Erde Kathleen Ferrier, knows she is doomed by cancer, the pains are omnipresent and what she sings is none other than her own requiem, her farewell to the earth, more especialy in ABSCHIED. I remember the first time I heard it and the wave, the surge of emotion that overwhelmed me; this transport elsewhere. It is always present at each listening. For me, there is nothing darker and more beautiful.
C'est une musique profondément émouvante, effectivement. Et savoir qu'elle fut la dernière à être enregistrée par cette merveilleuse cantatrice renforce encore notre émotion, François.
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Album available // Mahler: Das Lied von der Erde by Bruno Walter
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Gustav Mahler (1860-1911) - Das Lied Von der Erde / Le Chant de la Terre
*Click to activate the English subtitles for the presentation* (00:00-06:20)
00:00 I. Das Trinklied vom Jammer der Erde / The Drinking Song of Earth’s Sorrow
Chanson à boire de la Douleur de la Terre
08:38 II. Der Einsame im Herbst / Autumn Loneliness / Le solitaire en Automne
17:55 III. Von der Jugend / Of Youth / De la Jeunesse
20:56 IV. Von der Schönheit / Of Beauty / De la Beauté
27:42 V. Der Trunkene im Frühling / The Drunkard in Spring / L’ Ivrogne au Printemps
32:09 VI. Der Abschied / The Farewell / L’Adieu
Contralto : Kathleen Ferrier
Tenor : Julius Patzak
Wiener Philharmoniker
CONDUCTOR: Bruno Walter
Recorded in 1952, at Vienna
New Mastering in 2021 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
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As a contralto soloist, there is Kathleen Ferrier, the British singer whose career only really began in 1943 at the age of thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another Mahler protégé, Klemperer, with whom she sang in the Second Symphony). She first sang "The Song of the Earth" with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as tenor soloist). She was in tears near the end and omitted the last "ewig". When she apologized to Walter for her unprofessional conduct, he responded beautifully, "My dear Miss Ferrier, if we were all artists like you, we would all have been in tears."
Ferrier's singing about Mahler was entirely intuitive. She had a natural sympathy for his idiom, an idiom she had to discover for herself, for there were few performances of Mahler during her formative days. It is hardly possible to listen to this recorded performance without considering the personal circumstances of the artists involved: Walter, the composer's friend, and Ferrier, who knew while she was recording that this was her own "Abschied," that she would see the beautiful land turn green only once more. Like Mahler, she took up the challenge of a death sentence by reaching the peak of her art. *Click to activate the English subtitles for the presentation* (00:00-06:20)
Mahler - Symphony No.1 ''Titan'' NEW MASTERING (Century’s rec.: Bruno Walter, New York Philharmonic): th-cam.com/video/nRgwYrkRsPc/w-d-xo.html
Gustav Mahler PLAYLIST (reference recordings): th-cam.com/video/KU0kKoMnvWA/w-d-xo.html
One of the GREAT recordings of the 20th century - Bruno Walter did so much to keep Mahler's music alive in mid-century, and Kathleen Ferrier's outstanding voice so cruelly cut short. An outstanding recording.
Kathleen Ferrier was so deeply overwhelmed by the last movement "Farewell" during recording, she literally burst into tears as she sang the words "Ewig... Ewig" and Walter had to halt recording until she gained her composure and they re-recorded the whole movement from scratch. I said farewell to my mother at her grave as she went on her final journey by playing the same movement which she loved so much...
it is so heart rending and compelling I've used this for such along with Brahms Requiem
❤❤❤❤
Dear CM/RR thank you from the bottom of my heart for the New Mastering of Das Lied von der Erde with the unforgettable Kathleen Ferrier and conducted by the likewise unforgettable Bruno Walter. A real treasure, the best performance I ever heard of this sublime work.
この演奏を、中学3年生の受験期に聴いてしまい、2週間ほど打ちのめされた陶酔の時期を過ごしてしまいました。特にフェリアさんの絶唱には完全に打ちのめされました。何とか気を取り直し、希望校には合格しましたが、『人生』を深く考えるきっかけになった演奏です。ありがとう。
When she records das Lied von der Erde Kathleen Ferrier, knows she is doomed by cancer, the pains are omnipresent and what she sings is none other than her own requiem, her farewell to the earth, more especialy in ABSCHIED. I remember the first time I heard it and the wave, the surge of emotion that overwhelmed me; this transport elsewhere. It is always present at each listening. For me, there is nothing darker and more beautiful.
I heard this as a child and it still effects me in the same haunting and beautiful way. Her voice!
It's not Ferrier.. it's the Mahler that makes you cry!
Bernstein's comments are precious!
As a contralto soloist, there is Kathleen Ferrier, the British singer whose career only really began in 1943 at the age of thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another Mahler protégé, Klemperer, with whom she sang in the Second Symphony). She first sang "The Song of the Earth" with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as tenor soloist). She was in tears near the end and omitted the last "ewig". When she apologized to Walter for her unprofessional conduct, he responded beautifully, "My dear Miss Ferrier, if we were all artists like you, we would all have been in tears."
Ferrier's singing about Mahler was entirely intuitive. She had a natural sympathy for his idiom, an idiom she had to discover for herself, for there were few performances of Mahler during her formative days. It is hardly possible to listen to this recorded performance without considering the personal circumstances of the artists involved: Walter, the composer's friend, and Ferrier, who knew while she was recording that this was her own "Abschied" (32:09), that she would see the beautiful land turn green only once more. Like Mahler, she took up the challenge of a death sentence by reaching the peak of her art. *Click to activate the English subtitles for the presentation* (00:00-06:20)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
“
Wunderschöne und tiefempfundene Interpretation dieses spätromantischen und orientalisch komponierten Meisterwerks mit herrlichen Stimmen beider unvergleichlichen Solisten sowie farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der ebenso unvergleichliche Dirigent leitet das weltklassige Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von siebzig Jahren vor. Alles ist wundervoll!
Profoundly sensed performance, truly memorable. Kathleen Ferrier's brittly vibrating voice is absolutely appropriate for such a farewell.
And reading the additional comments below, especially being informed that Kathleen Ferrier was suffering from cancer at the time of the recording, amplifies the poignancy of the "umflort" - "shrouded" voice.
Für miich eine FREUDE , DAS LIED DER ERDE , HEUTE HIER ZU HÖREN , DANKE ! ( Kürzlich konnte ich auchA. BERG und A. Schönberg hier hören ! ❤❤ )
This is my favorite of all time!
The greatest recording
One of the most iconic classical recordings of the 20th century, right up there with the 1966 Bayreuth Tristan (with Birgit Nilsson), Walcha's recording of Die Kunst der Fuge or the original 1990 Three Tenors Concert. Bruno Walter clearly felt that in Ferrier he had found a singer perfectly suited to carry this music, and they had already done it live several times: she was familiar with the cycle by the time they finally committed it to tape. By that time, sadly, she knew it was going to be part of her testament as well...
Ah, what a moment captured in the everlasting time! Thank you.
What great remastering! From 1952!! Possibly musicians in the VPO still alive then who knew Mahler.
Thank you from the bottom of my heart !!!
L'interprétation par Kathleen Ferrier de l'Abschied est la plus extra extraordinaire qui existe.
This is it. The greatest Das Lied of all time. Almost burst into tears at "blauen licht die Fernen"
ワルター、キャスリン・フェリアー、ユリウス・パッアークの組み合わせは最高ですね。フェリアーの慈しむような歌唱はこの曲に最も合っていると思うし、パッアークの感極まった歌唱も胸を打ちます。
李白・孟浩然・王維などの詩がもとになっており、大地の永遠さ美しさに比べ人の命の儚さが歌われている。ただしマーラー等によって楽天的な東洋の思想が脚色されて仄暗いものとなっている。「大地は永遠なり 綠深くして華々し されど人の儚かなさ悲しかり***生は暗く***死もまた暗い***」
Just superb! I have the CD. Ferrier is fantastic!
Not only Ferrier!!!! D'ont forget Patzak and Walter please
And ... the wonderfull Wiener Phalarmonishes O
Die Werbung dazwischen ist wirklich unerträglich. - Das alles ist ja so sehr ernst. Wie konnte sie eine solche Leistung erbringen, wo jeder andere vor Todesanst in die Knie gehen würde. Nur davor schon gebührt ihr grösster Respekt. Und unendliche Dankbarkeit. - Dass sie dieses Wunder den Menschen hinterlassen hat.
thank you classic music master ,while not a Mahler fan I've always loved the spirit and substance of this .I seem to have more than one one L P copy from a purchase in San Francisco in 1972. Bruno Walter conducted this six months after Mahler[s death . They were friends ,A dark and sorrowing figure he had a hard time in this valley of tears
Kathleen Ferrier, what an amazing voice!
Thank you *so much* for this marvelous sharing: this is my favorite performance of this masterwork! Poor Mrs Ferrier knew that this recording will be the last for her and Maestro Walter shared her deep emotion...😪
Magistral versión. Tengo el disco original, que no me canso de escuchar. “La Canción de la Tierra” es de lo más sublime que se ha compuesto. “La Canción de la Tierra” en particular y la obra de Mahler en general es lo contrario a la obra de Camilo José Cela, ya que, mientras que Cela, como bien dijo Sánchez Ferlosio, «lo envilece todo», Mahler, por el contrario, lo enaltece todo. «¿Y qué tiene que ver el culo con las témporas?», dijo entonces Don Camilo “para no hacer mudanza en su costumbre”.
心を揺さぶる最上の音楽。歴史的名盤。
この演奏は、何度聴いても平静ではいられない不思議な力を持っています。何物にも代えがたい、心を揺さぶる最上の音楽。
第1楽章。ウィンナホルンの独特の深みのある渋い音が「大地の歌」の世界に引き込みます。パツァークの声は渋く影があります。
「Du aber, Mensch, wie lange lebst denn du?
Nicht hundert Jahre darfst du dich ergotzen
An all dem morschen Tande dieser Erde
＝しかし人間よ，お前はどれだけ長く生きるのか。
百年も許されていないのだ、
この大地のはかない価値のないものを楽しむことを。」
暗く皮肉めいたパツアークの声と歌唱ですが、その影に救いを求める心が潜んでいます。ウィーンＰＯの色彩的な音がワルターの多様で豊かなニュアンスによって生気を得て万華鏡のよう。
猿のくだりでは、暗い声を張り上げ悪役が叫ぶよう。ウィーンＰＯの迫る響き。
最後は暗い和音で意味深く終結。
第2楽章。冷え冷えとした前奏の後、深いフェリアの声。沈潜しながら揺れ動く訴求力のある音楽。
最後の「Sonne der Liebe, willst du nie mehr scheinen＝愛の太陽よ、お前はもう二度と輝くつもりはないのだろうか」で頂点、「Tranen aufzutrocknen?＝涙を乾かす」はささやくように。いずれもフィリアは聴き手の心をつかみに来ます。
第3楽章。清廉な弦楽にのって端正な歌唱。
第4楽章。ワルターは、若者の登場から馬のくだりでやや速度を上げ、歌手とオケを盛り上げます。フェリアは伸びのある声でインパクトのある歌。その前後は端正。歌手やオケに無理をさせずに大きな効果を発揮します。
第5楽章。第1楽章と同様、主張のある歌唱とバック。ヴァイオリンソロはウィーンＰＯらしいポルタメント。その後はパツアークのパンチのあるテノール。
第6楽章。作詞作曲の音楽設計に演奏者も一体化して多様な表現を自在に披露します。重い銅鑼の音で始まり、意味深いオーボエが「告別」の世界に引き込みます。
「Die Sonne scheidet hinter dem Gebirge.・・＝太賜が山の彼方に沈み，・・」をフェリアは虚無的に開始、「mit seinen Schätten,die voll Kuhlung sind＝冷えきった影とともに」でアクセントをつけます。緩急をつけ、次のアクセントは「eine Silberbark＝銀の小船」。「Die Blumen blassen im Dammerschein.＝花が薄暗がりの中で色あせる。」は歌手もオケも耽美的に。「Wo bleibst du ? Du lasst mich lang allein !＝君はどこにいるのだ。私を長い間ほっておいて」は強く呼びかけ、「Liebens, Lebens＝愛と生命」であふれんばかりの想いを込めてひとつの頂点をつくります。
間奏部分はウィーンＰＯの表現の真骨頂。中欧的な深い響きと細やかなニュアンス、耽美、ドスの効いた低音。
後半の開始でフェリアは「warum es musste sein＝なぜそうあらねばならないのかと」で粘ったアクセントをつけ、
「Ich werde niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde !
＝決して遠くへは行くまい。
私の心は静かで，その時を待ちわびている。」
ここで長調に転調し、フェリアの声は自然に別世界へと導きます。
そして、終盤のフェリアは絶唱。
「Die Liebe Erde＝愛する大地」は包み込むような歌、
「blüht＝咲き」で頂点をつくり、
「im Lenz und grünt aufs neu !＝新たに緑になる。」
では万感の想いが込められ、
「allüberall und ewig blauen Licht die Fernen,＝いたるところ、永遠に、遠方は明るく青い」
は、心の底から湧き上がってくる力強い想いのたけが込められた声。ウィーンＰＯの深々とした響き。
「ewig, ewig !＝永遠に、永遠に！」慈しみ深く、まさに天に吸い込まれていく白雲のよう。チェレスタのこの世ならぬ響き。弱音でも心に届くオーケストラ。
Ich liebe dieses Werk von Mahler, besitze 3CD mit Fritz Wunderlich, mein Lieblingstenor!
(1 - FW, C. Ludwig, Otto Klemperer, 64
2- FW, D. Fischer- Dieskau, J.Krips, 64
3 - FW, Nan Merriman, H. Schmidt- Isserstedt, 65 ( diese Version ist mir die liebste).
Vielen Dank und LG
aus Montreal, Qc, Canada
PS
Diese Version kannte ich noch nicht. Sie ist großartig. Patzak (unter anderen Sängern wie z.B. Peter Anders) war FW 's Vorbild.
PPS
Und ich muss ehrlich sagen, ich kannte Ferrier nicht, aber sie ist überragend in diesem Lied der Erde.
1. "Das Trinklied vom Jammer der Erde" ("The Drinking Song of Earth's Sorrow") 00:01
Schon winkt der Wein im gold'nen Pokale, The wine beckons in golden goblets
Doch trinkt noch nicht, erst sing' ich euch ein Lied! but drink not yet; first I'll sing you a song.
Das Lied vom Kummer The song of sorrow
Soll auflachend in die Seele euch klingen. shall ring laughingly in your soul.
Wenn der Kummer naht, When the sorrow comes,
Liegen wüst die Gärten der Seele, blasted lie the gardens of the soul,
Welkt hin und stirbt die Freude, der Gesang. wither and perish joy and singing.
Dunkel ist das Leben, ist der Tod. Dark is life, dark is death!
Herr dieses Hauses! Master of this house,
Dein Keller birgt die Fülle des goldenen Weins! your cellar is full of golden wine!
Hier, diese Laute nenn' ich mein! Here, this lute I call mine.
Die Laute schlagen und die Gläser leeren, The lute to strike and the glasses to drain,
Das sind die Dinge, die zusammen passen. these things go well together.
Ein voller Becher Weins zur rechten Zeit A full goblet of wine at the right time
Ist mehr wert, als alle Reiche dieser Erde! is worth more than all the kingdoms of this earth.
Dunkel ist das Leben, ist der Tod! Dark is life, dark is death!
Das Firmament blaut ewig und die Erde The heavens are ever blue and the Earth
Wird lange fest steh'n und aufblüh'n im Lenz. shall stand sure, and blossom in the spring.
Du aber, Mensch, wie lang lebst denn du? But you O man, what long life have you?
Nicht hundert Jahre darfst du dich ergötzen Not a hundred years may you delight
An all dem morschen Tande dieser Erde! in all the rotten baubles of this earth.
Seht dort hinab! Im Mondschein auf den Gräbern See down there! In the moonlight, on the graves
Hockt eine wild-gespenstische Gestalt - squats a wild ghostly shape;
Ein Aff' ist's! Hört ihr, wie sein Heulen an ape it is! Hear you his howl go out
Hinausgellt in den süßen Duft des Lebens! in the sweet fragrance of life.
Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Now! Drink the wine! Now it is time comrades.
Leert eure gold'nen Becher zu Grund! Drain your golden goblets to the last.
Dunkel ist das Leben, ist der Tod! Dark is life, dark is death!
2. "Der Einsame im Herbst" ("The Solitary One in Autumn") 08:38
Herbstnebel wallen bläulich überm See; Autumn fog creeps bluishly over the lake
Vom Reif bezogen stehen alle Gräser; Every blade of grass stands frosted.
Man meint, ein Künstler habe Staub von Jade As though an artist had jade-dust
Über die feinen Blüten ausgestreut. over the fine flowers strewn.
Der süße Duft der Blumen ist verflogen; The sweet fragrance of flower has passed;
Ein kalter Wind beugt ihre Stengel nieder. A cold wind bows their stems low.
Bald werden die verwelkten, gold'nen Blätter Soon will the wilted, golden petals
Der Lotosblüten auf dem Wasser zieh'n. of lotus flowers upon the water float.
Mein Herz ist müde. Meine kleine Lampe My heart is tired. My little lamp
Erlosch mit Knistern, es gemahnt mich an den Schlaf. expired with a crackle, minding me to sleep.
Ich komm' zu dir, traute Ruhestätte! I come to you, trusted resting place.
Ja, gib mir Ruh', ich hab' Erquickung not! Yes, give me rest, I have need of refreshment!
Ich weine viel in meinen Einsamkeiten. I weep often in my loneliness.
Der Herbst in meinem Herzen währt zu lange. Autumn in my heart lingers too long.
Sonne der Liebe willst du nie mehr scheinen, Sun of love, will you no longer shine
Um meine bittern Tränen mild aufzutrocknen? Gently to dry up my bitter tears?
3. "Von der Jugend" ("Of Youth") 17:55
Mitten in dem kleinen Teiche In the middle of the little pond
Steht ein Pavillon aus grünem stands a pavilion of green
Und aus weißem Porzellan. and white porcelain.
Wie der Rücken eines Tigers Like the back of a tiger
Wölbt die Brücke sich aus Jade arches the jade bridge
Zu dem Pavillon hinüber. over to the pavilion.
In dem Häuschen sitzen Freunde, Friends sit in the little house
Schön gekleidet, trinken, plaudern. well dressed, drinking, chatting.
Manche schreiben Verse nieder. some writing verses.
Ihre seidnen Ärmel gleiten Their silk sleeves glide
Rückwärts, ihre seidnen Mützen backwards, their silk caps
Hocken lustig tief im Nacken. rest gaily at the napes of their necks.
Auf des kleinen Teiches stiller On the small pond's still
Wasserfläche zeigt sich alles surface, everything shows
Wunderlich im Spiegelbilde. whimsical in mirror image.
Alles auf dem Kopfe stehend Everything stands on its head
In dem Pavillon aus grünem in the pavilion of green
Und aus weißem Porzellan; and white porcelain.
Wie ein Halbmond steht die Brücke, Like a half-moon is the bridge
Umgekehrt der Bogen. Freunde, its arch upturned. Friends
Schön gekleidet, trinken, plaudern. well dressed, drinking, chatting.
This is The Song of The Earth and all the three of them knew it....and so do I. ...Geoffrey Witte .
... yes
🕊🌟🕊
Oh Wow.
So welcome your new posts.
Thank you so much
🙏💜🙏
💜🎵💜
Uma das obras mais linhas que pude ouvir! Grande Mahler, Grande Bruno Walter!
4. "Von der Schönheit" ("Of Beauty") 20:56
Junge Mädchen pflücken Blumen, Young girls picking flowers,
Pflücken Lotosblumen an dem Uferrande. Picking lotus flowers at the riverbank.
Zwischen Büschen und Blättern sitzen sie, Amid bushes and leaves they sit,
Sammeln Blüten in den Schoß und rufen gathering flowers in their laps and calling
Sich einander Neckereien zu. one another in raillery.
Gold'ne Sonne webt um die Gestalten, Golden sun plays about their form
Spiegelt sie im blanken Wasser wider, reflecting them in the clear water.
Sonne spiegelt ihre schlanken Glieder, The sun reflects back their slender limbs,
Ihre süßen Augen wider, their sweet eyes,
Und der Zephir hebt mit Schmeichelkosen and the breeze teasing up
Das Gewebe Ihrer Ärmel auf, the warp of their sleeves,
Führt den Zauber directs the magic
Ihrer Wohlgerüche durch die Luft. of perfume through the air.
O sieh, was tummeln sich für schöne Knaben O see, what a tumult of handsome boys
Dort an dem Uferrand auf mut'gen Rossen? there on the shore on their spirited horses.
Weithin glänzend wie die Sonnenstrahlen; Yonder shining like the sun's rays
Schon zwischen dem Geäst der grünen Weiden between the branches of green willows
Trabt das jungfrische Volk einher! trot along the bold companions.
Das Roß des einen wiehert fröhlich auf The horse of one neighs happily on
Und scheut und saust dahin, and shies and rushes there,
Über Blumen, Gräser wanken hin die Hufe, hooves shaking down blooms, grass,
Sie zerstampfen jäh im Sturm die hingesunk'nen Blüten, trampling wildly the fallen flowers.
Hei! Wie flattern im Taumel seine Mähnen, Hei! How frenzied his mane flutters,
Dampfen heiß die Nüstern! and hotly steam his nostrils!
Gold'ne Sonne webt um die Gestalten, Golden sun plays about their form
Spiegelt sie im blanken Wasser wider. reflecting them in the clear water.
Und die schönste von den Jungfrau'n sendet And the most beautiful of the maidens sends
Lange Blicke ihm der Sehnsucht nach. long looks adoring at him.
Ihre stolze Haltung ist nur Verstellung. Her proud pose is but a pretense;
In dem Funkeln ihrer großen Augen, in the flash of her big eyes,
In dem Dunkel ihres heißen Blicks in the darkness of her ardent gaze
Schwingt klagend noch die Erregung ihres Herzens nach. beats longingly her burning heart.
5. "Der Trunkene im Frühling" ("The Drunkard in Spring") 27:42
Wenn nur ein Traum das Leben ist, If life is but a dream,
Warum denn Müh' und Plag'!? why work and worry?
Ich trinke, bis ich nicht mehr kann, I drink until I no more can,
Den ganzen, lieben Tag! the whole, blessed day!
Und wenn ich nicht mehr trinken kann, And if I can drink no more
Weil Kehl' und Seele voll, as throat and soul are full,
So tauml' ich bis zu meiner Tür then I stagger to my door
Und schlafe wundervoll! and sleep wonderfully!
Was hör' ich beim Erwachen? Horch! What do I hear on waking? Hark!
Ein Vogel singt im Baum. A bird sings in the tree.
Ich frag' ihn, ob schon Frühling sei, I ask him if it's spring already;
Mir ist als wie im Traum. to me it's as if I'm in a dream.
Der Vogel zwitschert: Ja! The bird chirps Yes!
Der Lenz ist da, sei kommen über Nacht! The spring is here, it came overnight!
Aus tiefstem Schauen lauscht' ich auf, From deep wonderment I listen;
Der Vogel singt und lacht! the bird sings and laughs!
Ich fülle mir den Becher neu I fill my cup anew
Und leer' ihn bis zum Grund and drink it to the bottom
Und singe, bis der Mond erglänzt and sing until the moon shines
Am schwarzen Firmament! in the black firmament!
Und wenn ich nicht mehr singen kann, And if I can not sing,
So schlaf' ich wieder ein. then I fall asleep again.
Was geht mich denn der Frühling an!? What to me is spring?
Laßt mich betrunken sein! Let me be drunk!
귀한 연주 감사합니다
Classical(고전주의의, 고전적인) Music
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Arte 방송이나 Orfeo 방송에서
조차 Classic (최고의, 일류의) Music 이라고 쓰고 있어
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Super!!!!!!
Она пела это в феврале 53 го,умирающая от рака. Дикие боли. Она прощалась.и гениально пела.умерла в октябре...
Julius Patzak is incomparable in this work. No other tenor can touch him. He doesn't merely sing his role, he acts it, and with enormous conviction. For the alto role, however, I prefer Janet Baker with Bernard Haitink and the Concertgebouw Orchestra.
For such an important work, it is necessary to have several versions. But, Kathleen Ferrier dominates the discography, whatever our tastes.
comparing apples and pears Baker and Ferrierr
Passing Clouds was the brand of cigarette favored by the great English contralto Kathleen Ferrier. According to one of her early teachers, her magnificent voice was attributed to “a wonderful cavity at the back of her throat.” This was the only explanation given for the purity and power of her voice.
Near the end of her brief life, Ferrier sang Mahler’s symphony “The Song of the Earth.” We die, but life is fresh, eternally fresh, was Mahler’s ecstatic conviction. Nature renews herself year after year…for ever and ever.
Ferrier was in tears when she concluded “The Song of the Earth”, so distraught that she omitted the final ewig, the final ever.
- CAVITY (#4 of Joy Williams’ Ninety-nine stories of God)
Вряд ли дело только во впадине её горла, более всего это преимущество ее прекрасного вокала, такая ровность звучания, увы, такая редкость. О Феррьер не столько хочется говорить, сколько слушать, красота, выраженная через струны её души, что может быть прекрасней.
Der Klang einer Stimme wird vor allem durch die seelischen Eigenschaften und die Gedankenkraft eines Menschen gebildet! Es war die Reinheit dieser einzigartigen Persönlichkeit, die an die Reinheit eines Engels gemahnte, welche diesen unglaublich schönen Klang erzeugte!
For Ferrier‘s work alone this recording remains, for me personally, the most emotionally moving but is compromised a bit by her illness.
Patzak is ok but not at all in the same league as Wunderlich. Certainly from an overall vocal standpoint alone the 1966 recording is the best sung version, IMO, but these 2 together remain the gold standard for this eternal (ewig) masterpiece. I cherish both for these variety of reasons.
I think of two anecdotes about Mahler, Walter and DLvDE. They're going over a tricky passage, and Mahler says to Walter "Have you any idea how to conduct this? Because I don't." The other, Mahler says "Won't people just go home and shoot themselves?"
👏👏👏👏👏👏
Wonderful thank you. I have the original recording on vynil.
♥️♥️♥️♥️♥️😇😇😇😇😇
hiiii, this is delightful!
Ich sehne dich!
Kathleen is softer than Baker or Ludwig.. Kathleen did not speak German! Walter coached her in German ... Not only the words! Though this piece is based on a translation from Chinese the composer was of the German language! It helps to understand the linguistic subtleties when singing an interpretation...
Unsurprisingly Norman sings the Kindertotenlieder wonderfully.. she's fluent in German...
Does it have copyright I want to use it in my short film can you help me with this
After more than half a century , you can use it, unless special conditions are added to its use, to be checked
@Classical Music/ / Reference Recording
I love your masterings. This one too. However, when this was recorded, the recording was noisy, and if you have noisy recording to start with, even with mastering, all you're gonna get is "clearer noise"(Don't take this in the wrong sense)
Furthermore, Neither do I think this recording is Walter's best of Mahler nor is it one of the best Dad Lieds. Historically important? Probably
Excellent? No, but it's still not bad
Kathleen Ferrier is immortal.
At the time she recorded, she knew she was sentenced to death and the last movement is her farewell to the earth. You should read our subtitled commentary and "repent" before one of the greatest lady of music and her most moving testimony.
As a schoolboy, I still remember hearing the announcement of her death on the BBC radio with shock and sadness.
In a few brief years, she had entered the hearts of all music-lovers in this country, and abroad. I once had the pleasure of speaking with Dame Isobel Baillie, with whom she sang so often.
@@classicalmusicreference ok but it's not only about her. The Vienna Philharmonic in '52 was still in its rebuilding phase after the war (since they got rid of Jews from the orchestra) and still did not sound as glorious as it would kater become. This may be nice for Kathleen, but I take all the factors into judgement. Do you think this recording sounds better than say, Haitink's version with the Concertgebouw? Starring JANET BAKER?
NO.
@@detectivehome3318 You are comparing a "historical" mono recording with a stereo recording made with all "modern" techniques. Indeed it is a very beautiful reference. But the Ferrier-Walter version is timeless for all the reasons mentioned in the comments.
Die grüne Erde, al überall es blüht im Lenz... (Kathleen does not pronounce German well) makes me swoon
Arf have to disagree with this one and go with Hurwitz opinion haha . Walter's recording with Sony is so much clearer there haha
You talk about technical aspects but the Ferrier/Patzak/Walter interpretation is unmatched.
@@classicalmusicreference any interpretation is unmatched lol
@@nihilistlemon1995 haha
Reading the comments here it’s hard not to side with Dave Hurwitz, that people are swayed by non musical elements.
Wiener!
Patzak's voice Is beautiful, musically he's just great, but his name is crammed between that of the best siamo and the conductor!
I like Walter, I think Ferrier Is a bit over rated.. how we humans pay homage to those that don't need help, and how we shun the unsuccessful!
When she records das Lied von der Erde Kathleen Ferrier, knows she is doomed by cancer, the pains are omnipresent and what she sings is none other than her own requiem, her farewell to the earth, more especialy in ABSCHIED. I remember the first time I heard it and the wave, the surge of emotion that overwhelmed me; this transport elsewhere. It is always present at each listening. For me, there is nothing darker and more beautiful.
C'est une musique profondément émouvante, effectivement. Et savoir qu'elle fut la dernière à être enregistrée par cette merveilleuse cantatrice renforce encore notre émotion, François.
sentimentalisme superflu...@@luczegoth