The Mezza voce of the Century, Jussi Björling, unfolds magic in this 1939 studio recording. Not even Wunderlich comes close. Recorded July 15. 1939. Pianist is Harry Ebert.
Jussi has been my favorite tenor since I bought an LP of His in my college days at FSU in the late 70’s. This song was on it. “The Best of Jussi Bjorling”. Unfortunately my entire LP collection was destroyed in a flood in the 1990’s. This recording of Beethoven’s Adelaide is a gem. It’s always sends me way, way “up”. In my view there is no more satisfying ending of any piece of music recorded, than the last bars of this recording of the text A-de-la-i-de. That ending phrase melts into perfect gold and drifts away perfectly. As if Jussi is ascending into heaven while singing and the listener is obliged to follow. That may seem an audacious statement. But I stand by it. The pianist is wonderful with his balance and blends so well and continues the line and pacing in the short piano solo passages. Amazing. Jussi captures all the emotion of this song so well, that he seems a tad sharp in a place or two actually serves the emotion of the music and is not a detriment. That his conception comes across so vividly with 1939 recording technology is all the more amazing. This song is sung in such a personal manner. As if the tenor and pianist are in my living room giving me the concert of a lifetime. It seems to have been recorded just for me! Perhaps others may feel this way? This is my favorite music recording of all time. Seven minutes of golden luminous music. I never tire of hearing it. Thank you so much for posting this!
Bjørling's interpretation of the text is just outstanding! Jussi Bjørling manages to bring to the listeners the dreamy atmosphere of the young man wandering in the garden of his ideal woman, a woman he knows that never will be his. And then his joy when he sees the fantasy of his - on his grave there will grow a violet, and on the petal of the violet, there will shine the name Adelaide - his ideal woman that in this way will be with him for ever. Bjørling manages in a soft but passionate way to deliver the romantic story of the young man's emotions. I feel Jussi Bjørling is the young man! And - Jussi was only 28 yrs old when he recorded this version in 1939 - he was himself the young man! Bjørling manages all this because of his fabulous voice and fabulous singing. To me Jussi Bjørling singing Adelaide is an experience for life!
Ascolto questa interpretazione tante volte di seguito, e sempre mi commuovo alla follia. Credo di non aver sentito niente di più bello, e alla mia età " qualcosa" ho già sentito.. Grazie, immenso tra gli immensi Artista
I have to admit this sounds better (warmer) than his 1955 Carnegie Hall performance, though that could be a recording issue. The interpretation is more fascinating. Dietrich Fischer-Dieskau was a monumental lieder singer, but I prefer both Bjorling performances to his. Jussi is justly given credit for his vocal quality and beauty, but his interpretive abilities are underrated.
I've always been moved by this mans divine sublime voice . I often remember my uncle telling me that he saw him live many yrs ago .. I was very envyous .. but in a nice way though . AND of course I LOVE Beethoven
i think that beethovin wrote this piece with jussi in mind.he knew with his mind's eye and his minds ear that a voice would come along some day worthy of this composition. years later along comes Jussi,he heard this piece and knew instinctively that it was for him.it was written in the stars.it was always meant to be.nothing can disturb it. nothing surpasses it .sublime!!
Spectacular singing, such control and beauty! Not only music, but good conversation and nobody's eye glaze over---join us at the Jussi Bjorling Society-USA!
Der konnte einfach alles! Ihm stand jederzeit ein ebenso perfektes mezza voce wie die dramatische Attacke zur Verfügung . Und alles war getragen von unglaublicher Musikalität. Wundervoll!
These wonderful lieds and art songs should be sung more often and appreciate the beauties of them which could not be delivered by operatic arias.=) One of the reason Bjorling is respected by most part is not only because of his great technique, it's his artistic ability to understand and express composers intent. =) Thank you.
cannot agree more. just piano and the wonderful voice, many times it is closer to soul than full opera. I heard of his harsh childhood, maybe it is the reason that i can always feel Jussi tried harder and colored in so so much than others, artistry is equally great as his quality of voice...
of course one can say that Jussi had the voice of the century,but in this recording its thesensitivity of interpritation, the emotional expression and the perfect control and delivery which make it so special
This lied, I consider to be much more difficult to be sung then most arias. It demands much more then "mezza voce'. You have to be in the same state of mind as Beethoven when he wrote this piece. You don't sing it with your voice alone. Wunderlich would have made Beethoven delight with joy. Bjorling would have moved him to shed tears. =)
People who compare artists based on their recordings are only guessing. I heard Björling live and his power, beauty and interpretation was overwhelming. A recording is only an imperfect shadow.. Besides which, comparisons are only useful in horse races - why does there need to be a 'winner'?
Well, you can compare recordings if you clearly state, for example, "this is the best ND recorded". In fact, when it comes to the tenors of the 1900s, we only have access to records today. NB. I also heard Björling live at his legendary concert in Gothenburg August 1960. I agree with you in what you say.
I am very happy that you can appreciate the beauty of this recording. Because it is so intimate (I imagine) not many can. I think it is certainly one of the greatest Lieder recordings ever made. You should listen to the excerpts of the H. Hotter 1943 Winterreise, also on my channel. Thank you very much for your comment!
MAGNÍFICA INTERPRETACIÓN Y MUY APEGADA A LOS REQUERIMIENTOS DE LA OBRA,TIENE VARIOS FRAGMENTOS QUE SE CANTAN SIN TANTA IMPOSTACIÓN Y ESTO LE PROPORCIONA UNA DULZURA INIGUALABLE; BJORLING,TENOR DE ÉLITE.
Yes, a lot of lieder is about love and loss, so they tend to be slow. But there is a lot of lieder that is lively, fun, humorous, and at a faster pace.
Very beautiful, taken at quite a slower tempo than Wunderlich's recording; I still prefer Wunderlich's voice but this is a more varied and arguably more moving interpretation. Great.
what i suspect in this composition made by beethoven is that he took this completely romantic poem and with the adding of his composition he transitioned this poem to no longer be of a romantic nature but to be a true Classical composition.
Such refined subtlety and tasteful singing here. Yes I am inclined to say that this is superior to the Wunderlich rendition although the latter isn't far behind. Thanks for posting this wonderful recording of prime Bjorling.
@ShawDAMAN Agreed on Wunderlich's voice and version of this. Listen to Bjorling and Wunderlich's words "Zauberlicht umflossen" in this song and I think people will see why I feel this way. Fritz, especially on "zauber," just takes the song to a special place and I feel listening to just those two words sums up the difference between the versions of the songs as a whole. It's a tender song, but Bjorling is just a touch too light and tender I think.
Wenn man die allerhöchsten Maßstäbe ansetzt, dann muss man das glauche ich wirklich neidlos anerkennen! Schade, dass Björling nie die Dichterliebe aufgenommen hat, oder irre ich mich da?
Fantastic! I have to respectfully disagree with the Wunderlich comment though. I can't pinpoint a reason but I just listened to both a couple times through, and I prefer Wunderlich's. By the smallest of margins. Just the effortlessness and grace and that his version seems to have just a little more punch to it. I guess it might just be a question of me prefering Wunderlich's voice to Bjorlings. Nothing technical, just a question of the singers' inherent voices.
Wunderlich is more idiomatic; he sounds more like a German Lieder singer because he is. Björling sings it more like an intimate aria, and he does so absolutely beautifully. Two different approaches, two different voices, and how lucky we are to have them both!
I understand Harry Ebert was very sought after as a collaborator by singers. A Gerald Moore of his day ? Dunno - couldn't find anything about him in a quick search of the web ... But he is wonderful in this. He is also on the Kipnis uploads on my Channel -b
There is no doubt that Fritz Wunderlich does it greatly and faster by 1/16 or so, but Jussi Bjoerling has bigger and fuller voice, like a totally smooth thick golden velvet. So, who do you like better or slow vs. fast is anybody's taste. Personally, like both, but if they would force me to pick one, I would pick Jussi. But this again is my personal preference, because I like big voices and slower tempo, which is much more difficult than the fast one. It requires stamina and above all precise control, it is not easy.
It's clear that Jussi has a sweet voice with beautiful (perhaps overly done) dynamics, however, please do not compare his voice to Fritz's as I hear the greater fullness and greater resonance in Wunderlich's voice. What was great about Wunderlich is that he never overdid anything (didn't need to) and never depended on sensational dynamics for expression. He let the composer speak simply and beautifully without showmanship.
There is something to be said here; something extra special about Jussie Bjorling technique. He seems to be a just a tad better in technique than Pavarotti and other great tenors. I think that tad bit better technique gave him his superior sound.
@remybecute A musician or singer who is a a great artist uses dynamics for expression, along with coloring of tone, rythm all dictated by fusing emotions with the text under the composer's demands. DYNAMICS can never be "over done", but can be under done. One cannot be "too sensitive", but surely the ills of the world and Art are committed by those who are too INsensitive. Artistry is NOT determined by the size of the voice.
En mi adolescencia sentí la canción de amor como un espejo que reflejaba mejor que nada mis estados de ánimo, tanto más que las muchachas que me inspiraban siempre fueron miríficas, de ahí mi temprano interés por el romanticismo alemán que encarnaban Hölderlin y Novalis o la figura atípica del francés Senancour. Si, en cierto modo, la canción de amor tiene algo de extremo, el lirismo romántico acentúa aún más este aspecto hasta convertirlo en su índole distintiva. Enalteciendo tres aspectos característicos: expresión del fuego que abrasa al enamorado, desasosiego de no ser correspondido y temblor por sus fatales cenizas; modo de sublimar al ser amado en lo inalcanzable o en un más allá idílico donde nada separará a los amantes. Adelaïde resume dichos polos, todos fruto de un mismo afán irrenunciable, cuya espiral punzante Beethoven presintió aún mozo. Más que en los versos de Friedrich von Matthisson, contraste de sentimientos e intensidad dramática son reflejados por la melodía. Hasta tal punto el músico se identificó con el poema. Esta versión del “joven” Jussi Björling me pareció por aquel entonces la más entrañable y a ella sigo apegado a pesar de su lánguido tono. En cuanto al lenguaje musical, Carla Ramsey establece una aproximación sugerente de cuanto este lied comporta de pasión amorosa insatisfecha: «Como culminación de los anhelos expresados en la primera parte de la canción, el Allegro molto podría verse al modo de una marcha triunfal por la que el joven amante se acrece en la muerte y la transfiguración, mediante las cuales se une simbólicamente con su amada. Tras haber construido un acorde de séptima dominante y una pausa dramática sobre “blättchen”, los crescendos de la marcha culminan en Fa por encima del Do medio con un clamor apasionado del nombre de la amada… Los once compases finales, con la anotación “calando”, figuran musicalmente la relajación postcoital del amante exhausto en los brazos de su amada con una expiración agónica al modo de plegaria: “Adelaïde”» . A mis diecisiete años, temblaba al oírle. ¡Pobre Beethoven! Tan fértil poeta como desmañado en amores.
Undoubtedly a fine version. Björling was certainly a great singer. But since the post mentions Wunderlich's version, I should like to take this opportunity to say that I much prefer the latter to the present recording, which seems to me to drag a bit, and which irritates me a little with its occasional recourse to voix mixte (or should one say falsetto?).
Wieso um Himmelswillen vergleichen?! ich finde beide toll, aber wieso soll jetzt björling dieses stück besser singen? er hat die weniger deutliche aussprache, nimmt sehr viel rubato, was sehr sehr sehr atypisch ist für beethoven und mich hier stört. abgesehen davon nimmt er die deutsche sprache viel zu wenig ernst. dazu kommt, dass er oft opernallürische dinge einstreut. mir gefällts zum beispiel weniger gut. aber zu sagen der eine wäre besser als der andere, käme mir nie in den sinn.
Metronomic adherence to strict tempo was not the norm when this piece was written. And vocal music was and is the least metronomic type type of music. Pretty much every professional instrumentalist now internalizes strict tempo by practicing with a metronome. Metronomes didn't exist when Beethoven received his training. There were pendulums and the like around, but nothing as reliable as a metronome. You are free to argue about when and where Björling takes time, but in fact what he does is pretty close to the recommendations for vocal music I've seen from the late 1700s and 1800s.
Also rein gesangtechnisch muss ich zustimmen ist es einwandfrei gesungen, aber leider kann er Wunderlich nicht das Wasser reichen. Zum singen gehört mehr als nur Technik und eine schöne Stimme. Wunderlich bringt den Sinn des Liedes rüber, jedes Wort hat seinen Platz und er weiß wovon er singt, bei Björling hab ich das gefühl da er keine Ahnung hat was der Text beinhaltet sondern nur rüber bringt was die Musik bietet, und dadurch wird die aufnahme nach 2 minuten langweilig.
the7thwonder Ganz so drastisch sehe ich es nicht, aber auch mir gefällt Wunderlich hierbei insgesamt besser. Allerdings hatte er auch den Vorteil der Muttersprache, was bei Betonung und Gefühl generell eine große Rolle spielt.
@@mattyd3079 Slow singing is the most difficult too. They did it so because that is the way they chose and not because of any inability. Lieder most of the time are slow.
Jussi has been my favorite tenor since I bought an LP of His in my college days at FSU in the late 70’s. This song was on it. “The Best of Jussi Bjorling”. Unfortunately my entire LP collection was destroyed in a flood in the 1990’s. This recording of Beethoven’s Adelaide is a gem. It’s always sends me way, way “up”. In my view there is no more satisfying ending of any piece of music recorded, than the last bars of this recording of the text A-de-la-i-de. That ending phrase melts into perfect gold and drifts away perfectly. As if Jussi is ascending into heaven while singing and the listener is obliged to follow. That may seem an audacious statement. But I stand by it. The pianist is wonderful with his balance and blends so well and continues the line and pacing in the short piano solo passages. Amazing. Jussi captures all the emotion of this song so well, that he seems a tad sharp in a place or two actually serves the emotion of the music and is not a detriment. That his conception comes across so vividly with 1939 recording technology is all the more amazing. This song is sung in such a personal manner. As if the tenor and pianist are in my living room giving me the concert of a lifetime. It seems to have been recorded just for me! Perhaps others may feel this way? This is my favorite music recording of all time. Seven minutes of golden luminous music. I never tire of hearing it. Thank you so much for posting this!
No one else sing this song with such sheer beauty of tone, there is both tenderness and boldness when required.
Bjørling's interpretation of the text is just outstanding! Jussi Bjørling manages to bring to the listeners the dreamy atmosphere of the young man wandering in the garden of his ideal woman, a woman he knows that never will be his. And then his joy when he sees the fantasy of his - on his grave there will grow a violet, and on the petal of the violet, there will shine the name Adelaide - his ideal woman that in this way will be with him for ever.
Bjørling manages in a soft but passionate way to deliver the romantic story of the young man's emotions. I feel Jussi Bjørling is the young man! And - Jussi was only 28 yrs old when he recorded this version in 1939 - he was himself the young man!
Bjørling manages all this because of his fabulous voice and fabulous singing. To me Jussi Bjørling singing Adelaide is an experience for life!
BRAVO to your comment!
28 is absolutely UNBELIEVABLE. Freak of nature
Elski Jussa Björling. Hann er bara tann besti. 👍😊❤️
Ascolto questa interpretazione tante volte di seguito, e sempre mi commuovo alla follia. Credo di non aver sentito niente di più bello, e alla mia età " qualcosa" ho già sentito.. Grazie, immenso tra gli immensi Artista
I have to admit this sounds better (warmer) than his 1955 Carnegie Hall performance, though that could be a recording issue.
The interpretation is more fascinating. Dietrich Fischer-Dieskau was a monumental lieder singer, but I prefer both Bjorling performances to his. Jussi is justly given credit for his vocal quality and beauty, but his interpretive abilities are underrated.
Absolutely stuning
glorious voice
transporting, uplifting
heartbreaking
... jussi is peerless
i am so grateful for this posting
Well said--exactly as I feel.
What can i say but, Perfect, absolutely perfect performance
I've always been moved by this mans divine sublime voice . I often remember my uncle telling me that he saw him live many yrs ago .. I was very envyous .. but in a nice way though . AND of course I LOVE Beethoven
Stunning, from start to the end, piano and voice, very closely so touching, Heavenly! Bravo!
The gentle and haunting entrance of the piano is a promise of greater things to come. Yes, Jussi in great form
i think that beethovin wrote this piece with jussi in mind.he knew with his mind's eye and his minds ear that a voice would come along some day worthy of this composition. years later along comes Jussi,he heard this piece and knew instinctively that it was for him.it was written in the stars.it was always meant to be.nothing can disturb it. nothing surpasses it .sublime!!
Spectacular singing, such control and beauty! Not only music, but good conversation and nobody's eye glaze over---join us at the Jussi Bjorling Society-USA!
Как тенору с таким красивым голосом удается оставаться еще и потрясающим музыкантом?!
Thank you for listing the pianist!
Der konnte einfach alles! Ihm stand jederzeit ein ebenso perfektes mezza voce wie die dramatische Attacke zur Verfügung . Und alles war getragen von unglaublicher Musikalität. Wundervoll!
Pure joy and sang with great emotion !
Jussi que maravillosa vos . Insuperable. Así se llamaba mi madre. Que emoción.
These wonderful lieds and art songs should be sung more often and appreciate the beauties of them which could not be delivered by operatic arias.=) One of the reason Bjorling is respected by most part is not only because of his great technique, it's his artistic ability to understand and express composers intent. =) Thank you.
cannot agree more. just piano and the wonderful voice, many times it is closer to soul than full opera. I heard of his harsh childhood, maybe it is the reason that i can always feel Jussi tried harder and colored in so so much than others, artistry is equally great as his quality of voice...
Stunning music and a voice. technique and style by Bjoerling of magnifent dimensions.
Thank you for posting-John
of course one can say that Jussi had the voice of the century,but in this recording its thesensitivity of interpritation, the emotional expression and the perfect control and delivery which make it so special
Sublime interpretation this is one of my favorites songs. Thanks for uploaded great music as this.
This lied, I consider to be much more difficult to be sung then most arias. It demands much more then "mezza voce'. You have to be in the same state of mind as Beethoven when he wrote this piece. You don't sing it with your voice alone. Wunderlich would have made Beethoven delight with joy. Bjorling would have moved him to shed tears. =)
Wundervoll Jussi!
I don't believe in God but if I go on listening to Bjoerling I may have my beliefs shattered! Simply divine!
Simplemente perfecto
was für ein wundervoller Sänger. Klangliche Manifestation des modernen+sanften Menschen.
So exquisite,so beautiful
Eine der besten Aufnahmen aller Zeiten.... Jussi ist der Größte
Best tenor, ever.
A boyhood favourite, both song and singer. I have yet to hear his
equal in this lovely song.
This is the best interpretation-what i have listen!--Gorgeous intensitet and so sensitive!!!Love!
Ah, Juicy Jussi .... Absolutely ravishing.
People who compare artists based on their recordings are only guessing. I heard Björling live and his power, beauty and interpretation was overwhelming. A recording is only an imperfect shadow.. Besides which, comparisons are only useful in horse races - why does there need to be a 'winner'?
Well, you can compare recordings if you clearly state, for example, "this is the best ND recorded". In fact, when it comes to the tenors of the 1900s, we only have access to records today. NB. I also heard Björling live at his legendary concert in Gothenburg August 1960. I agree with you in what you say.
Thanks for the testimony. He was a man unlike any other.
Jussi for ever
Gorgeous!
Perfection
Sublime!!!
Für mich, Es ist nimmer langweilig! Es ist Perfekt!!
So did I. Björling is incredible!
This is so beautiful, I am exploring my mezo voce right now :)
I am very happy that you can appreciate the beauty of this recording. Because it is so intimate (I imagine) not many can. I think it is certainly one of the greatest Lieder recordings ever made. You should listen to the excerpts of the H. Hotter 1943 Winterreise, also on my channel.
Thank you very much for your comment!
It's just perfect in every way. Mary McMorrow
Words fail me--sublime
Too true !!
MAGNÍFICA INTERPRETACIÓN Y MUY APEGADA A LOS REQUERIMIENTOS DE LA OBRA,TIENE VARIOS FRAGMENTOS QUE SE CANTAN SIN TANTA IMPOSTACIÓN Y ESTO LE PROPORCIONA UNA DULZURA INIGUALABLE; BJORLING,TENOR DE ÉLITE.
Yes, a lot of lieder is about love and loss, so they tend to be slow. But there is a lot of lieder that is lively, fun, humorous, and at a faster pace.
Wunderbar!
Thanks again for posting -.-
Thank you for commenting! Yes, it is way better than the Carnegie Hall version. I think this is as good as it gets.
Il chante avec la passion incroyable!
Very beautiful, taken at quite a slower tempo than Wunderlich's recording; I still prefer Wunderlich's voice but this is a more varied and arguably more moving interpretation. Great.
Bjoerling forever
Perfetto
The 'dein' in 2:12 has everything a tender love can have. It's true no one else has achieved this.
As good as it gets ... I agree with you there! Thanks again for this :)
what i suspect in this composition made by beethoven is that he took this completely romantic poem and with the adding of his composition he transitioned this poem to no longer be of a romantic nature but to be a true Classical composition.
Such refined subtlety and tasteful singing here. Yes I am inclined to say that this is superior to the Wunderlich rendition although the latter isn't far behind. Thanks for posting this wonderful recording of prime Bjorling.
@ShawDAMAN Agreed on Wunderlich's voice and version of this. Listen to Bjorling and Wunderlich's words "Zauberlicht umflossen" in this song and I think people will see why I feel this way. Fritz, especially on "zauber," just takes the song to a special place and I feel listening to just those two words sums up the difference between the versions of the songs as a whole. It's a tender song, but Bjorling is just a touch too light and tender I think.
Deliciosa canción de Beethoven, Adelaide
Wenn man die allerhöchsten Maßstäbe ansetzt, dann muss man das glauche ich wirklich neidlos anerkennen! Schade, dass Björling nie die Dichterliebe aufgenommen hat, oder irre ich mich da?
Altissima scuola di canto...
Голос невероятной красоты! Волшебное исполнение!
🥰
Fantastic! I have to respectfully disagree with the Wunderlich comment though. I can't pinpoint a reason but I just listened to both a couple times through, and I prefer Wunderlich's. By the smallest of margins. Just the effortlessness and grace and that his version seems to have just a little more punch to it. I guess it might just be a question of me prefering Wunderlich's voice to Bjorlings. Nothing technical, just a question of the singers' inherent voices.
Wunderlich is more idiomatic; he sounds more like a German Lieder singer because he is. Björling sings it more like an intimate aria, and he does so absolutely beautifully. Two different approaches, two different voices, and how lucky we are to have them both!
I understand Harry Ebert was very sought after as a collaborator by singers. A Gerald Moore of his day ? Dunno - couldn't find anything about him in a quick search of the web ... But he is wonderful in this. He is also on the Kipnis uploads on my Channel -b
sv.wikipedia.org/wiki/Harry_Ebert
@dragoncantor ..who plays really, really great! Must be quite hard to follow Jussi the Great in this one too.
There is no doubt that Fritz Wunderlich does it greatly and faster by 1/16 or so, but Jussi Bjoerling has bigger and fuller voice, like a totally smooth thick golden velvet. So, who do you like better or slow vs. fast is anybody's taste. Personally, like both, but if they would force me to pick one, I would pick Jussi. But this again is my personal preference, because I like big voices and slower tempo, which is much more difficult than the fast one. It requires stamina and above all precise control, it is not easy.
@saiserieht That would be interesting indeed! I've never heard of such recording though.
It's clear that Jussi has a sweet voice with beautiful (perhaps overly done) dynamics, however, please do not compare his voice to Fritz's as I hear the greater fullness and greater resonance in Wunderlich's voice. What was great about Wunderlich is that he never overdid anything (didn't need to) and never depended on sensational dynamics for expression. He let the composer speak simply and beautifully without showmanship.
Small Fry you're talking out of your arse.
Peter Anders is in my opinion better than all other singers,
There is something to be said here; something extra special about Jussie Bjorling technique. He seems to be a just a tad better in technique than Pavarotti and other great tenors. I think that tad bit better technique gave him his superior sound.
Vergesst nicht die wundervolle Aufnahme der " Adelaide " mit Peter Anders & Michael Raucheisen.
Peter Anders ist unübertroffen an Schönheit und Wortverständlichkeit der Stimme
내가 가장 좋아하는
@remybecute A musician or singer who is a a great artist uses dynamics for expression, along with coloring of tone, rythm all dictated by fusing emotions with the text under the composer's demands. DYNAMICS can never be "over done", but can be under done. One cannot be "too sensitive", but surely the ills of the world and Art are committed by those who are too INsensitive. Artistry is NOT determined by the size of the voice.
En mi adolescencia sentí la canción de amor como un espejo que reflejaba mejor que nada mis estados de ánimo, tanto más que las muchachas que me inspiraban siempre fueron miríficas, de ahí mi temprano interés por el romanticismo alemán que encarnaban Hölderlin y Novalis o la figura atípica del francés Senancour. Si, en cierto modo, la canción de amor tiene algo de extremo, el lirismo romántico acentúa aún más este aspecto hasta convertirlo en su índole distintiva. Enalteciendo tres aspectos característicos: expresión del fuego que abrasa al enamorado, desasosiego de no ser correspondido y temblor por sus fatales cenizas; modo de sublimar al ser amado en lo inalcanzable o en un más allá idílico donde nada separará a los amantes. Adelaïde resume dichos polos, todos fruto de un mismo afán irrenunciable, cuya espiral punzante Beethoven presintió aún mozo. Más que en los versos de Friedrich von Matthisson, contraste de sentimientos e intensidad dramática son reflejados por la melodía. Hasta tal punto el músico se identificó con el poema. Esta versión del “joven” Jussi Björling me pareció por aquel entonces la más entrañable y a ella sigo apegado a pesar de su lánguido tono. En cuanto al lenguaje musical, Carla Ramsey establece una aproximación sugerente de cuanto este lied comporta de pasión amorosa insatisfecha: «Como culminación de los anhelos expresados en la primera parte de la canción, el Allegro molto podría verse al modo de una marcha triunfal por la que el joven amante se acrece en la muerte y la transfiguración, mediante las cuales se une simbólicamente con su amada. Tras haber construido un acorde de séptima dominante y una pausa dramática sobre “blättchen”, los crescendos de la marcha culminan en Fa por encima del Do medio con un clamor apasionado del nombre de la amada… Los once compases finales, con la anotación “calando”, figuran musicalmente la relajación postcoital del amante exhausto en los brazos de su amada con una expiración agónica al modo de plegaria: “Adelaïde”» . A mis diecisiete años, temblaba al oírle. ¡Pobre Beethoven! Tan fértil poeta como desmañado en amores.
Agreed
Parece que algumacoisa não está funcionando... Tentei mandar páginas para frente... sem resultado...
Undoubtedly a fine version. Björling was certainly a great singer. But since the post mentions Wunderlich's version, I should like to take this opportunity to say that I much prefer the latter to the present recording, which seems to me to drag a bit, and which irritates me a little with its occasional recourse to voix mixte (or should one say falsetto?).
Gustate non discutandem.
Nice, but I think the interpretation lacks a certain sense of forward motion.
Wieso um Himmelswillen vergleichen?! ich finde beide toll, aber wieso soll jetzt björling dieses stück besser singen? er hat die weniger deutliche aussprache, nimmt sehr viel rubato, was sehr sehr sehr atypisch ist für beethoven und mich hier stört. abgesehen davon nimmt er die deutsche sprache viel zu wenig ernst. dazu kommt, dass er oft opernallürische dinge einstreut. mir gefällts zum beispiel weniger gut. aber zu sagen der eine wäre besser als der andere, käme mir nie in den sinn.
Peter Anders singt dieses Lied sowieso schöner und wortverständlicher als alle
anderen Tenöre, incl. Wunderlich und Björling
Metronomic adherence to strict tempo was not the norm when this piece was written. And vocal music was and is the least metronomic type type of music.
Pretty much every professional instrumentalist now internalizes strict tempo by practicing with a metronome. Metronomes didn't exist when Beethoven received his training. There were pendulums and the like around, but nothing as reliable as a metronome.
You are free to argue about when and where Björling takes time, but in fact what he does is pretty close to the recommendations for vocal music I've seen from the late 1700s and 1800s.
Meltingly beautiful, but I'd say Gigli had the mezza voce of the century.
Björling, Gigli, Wunderlich!
Also rein gesangtechnisch muss ich zustimmen ist es einwandfrei gesungen, aber leider kann er Wunderlich nicht das Wasser reichen. Zum singen gehört mehr als nur Technik und eine schöne Stimme. Wunderlich bringt den Sinn des Liedes rüber, jedes Wort hat seinen Platz und er weiß wovon er singt, bei Björling hab ich das gefühl da er keine Ahnung hat was der Text beinhaltet sondern nur rüber bringt was die Musik bietet, und dadurch wird die aufnahme nach 2 minuten langweilig.
I don't see at all that this interpretation is dull
the7thwonder
Ganz so drastisch sehe ich es nicht, aber auch mir gefällt Wunderlich hierbei insgesamt besser. Allerdings hatte er auch den Vorteil der Muttersprache, was bei Betonung und Gefühl generell eine große Rolle spielt.
Dieci sordi.😂
TOO SLOW. SCHNELL SCHNELL.
Thank you for saying that. I was searching the comments hoping someone would say it’s too slow. It really is...
@@mattyd3079 Slow singing is the most difficult too. They did it so because that is the way they chose and not because of any inability. Lieder most of the time are slow.