Dang. The pace taken here is remarkable. Drama just builds and builds through to the accel. at 3:30 or so. The falling action afterward is just that more effective. Holy moly. What a performance!
Out of ALL the different interpretations I've listened I believe gives the best EMOTION of what Schubert is trying to show in this music. Sing the high notes with fear or anger, and tremble on the lower parts. Bryn just knows how to perform anything he does. He's my absolute favorite and idol when it comes to art songs and operas. Absolutely phenomenal. Also, the accompanist is fantastic is delivery- crushing the forte chords and aiding Bryn in giving a full honest performance. Well done to this duo.
Yes. Fantasic sung and accompaniomented! Timing!! Time does not exist sometimes with Schubert! They make it happend. Think he wrote this Heine song in late 1828. Just before dying, 31 yaers old. A hero!!!
Andrew Margrave As I understand, there is traditionally no "original key" in art song repertoire as there would be in an opera. You can purchase anthologies from 100 years ago in high and low editions. However, I agree that in song cycles, it's important to keep the relationship of keys between songs in line.
+David Morgenstern I think if you do some research you will find that there is in fact original keys in lieder. This song in particular was orignially written in B-flat minor, as this was known as the "black key", as described by Beethoven. Schubert recognised key characters and utilised their "significance". That you can find 100 year old anthologies in high and low editions is not the work of the composers as much as it is to do with the publishers at that time.
Dang. The pace taken here is remarkable. Drama just builds and builds through to the accel. at 3:30 or so. The falling action afterward is just that more effective. Holy moly. What a performance!
Out of ALL the different interpretations I've listened I believe gives the best EMOTION of what Schubert is trying to show in this music. Sing the high notes with fear or anger, and tremble on the lower parts. Bryn just knows how to perform anything he does. He's my absolute favorite and idol when it comes to art songs and operas. Absolutely phenomenal. Also, the accompanist is fantastic is delivery- crushing the forte chords and aiding Bryn in giving a full honest performance. Well done to this duo.
Yes. Fantasic sung and accompaniomented! Timing!! Time does not exist sometimes with Schubert! They make it happend. Think he wrote this Heine song in late 1828. Just before dying, 31 yaers old. A hero!!!
Incredible...
This is a great interpretation of this art song
Astonishing performance. In a generation of great baritones (Hvorostovsky, Goerne, Mattei, Gerhaher) he is the greatest artist.
In my opinion, noone can match Fischer-Dieskau (pick any version from the 40s to the 90s...) but this is wonderful
What key is this in- it's different to the original (B minor)
A flat minor. Sorry this is six years in the future.
This key is G# minor, a minor third down from the original key of B minor.
Andrew Margrave As I understand, there is traditionally no "original key" in art song repertoire as there would be in an opera. You can purchase anthologies from 100 years ago in high and low editions. However, I agree that in song cycles, it's important to keep the relationship of keys between songs in line.
+David Morgenstern I think if you do some research you will find that there is in fact original keys in lieder. This song in particular was orignially written in B-flat minor, as this was known as the "black key", as described by Beethoven. Schubert recognised key characters and utilised their "significance". That you can find 100 year old anthologies in high and low editions is not the work of the composers as much as it is to do with the publishers at that time.
A flat minor
Was fuer eiñe Interpretation!
I think it's B flat.