Schubert: 12 Lieder by Elisabeth Schwarzkopf and Edwin Fischer 🎧 Qobuz (Hi-Res) bit.ly/3PRPfPn Tidal (Hi-Res) bit.ly/3PYoita 🎧 Apple Music (Lossless) apple.co/45rmJcV Idagio (Hi-Fi) bit.ly/46prhls 🎧 Deezer (Hi-Fi) bit.ly/3RZ1Kv3 Amazon Music (Hi-Fi) amzn.to/3txadeL 🎧 Spotify (mp3) spoti.fi/46Sk1hH TH-cam Music (mp4) bit.ly/3M5B4F9 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本… Franz Schubert (1797-1828) 12 Lieder 00:00 I. An die Musik, D. 547 (Schober) 02:38 II. Im Frühling, D. 882 (Schulze) 07:05 III. Wehmut, D. 772 10:05 IV. Ganymed, D. 544 (Goethe) 14:53 V. Das Lied im Grünen, D. 917 (Reil) 19:25 VI. Gretchen am Spinnrade, D. 118 (Goethe) 22:51 VII. Nähe des Geliebten, D. 162 (Goethe) 26:09 VIII. Die junge Nonne, D. 828 (Craigher) 30:58 IX. An Sylvia, D. 891 (Shakespeare, trans. Bauernfeld) 34:04 X. Auf dem Wasser zu singen, D. 774 (Stolberg) 37:20 XI. Nachtviolen, D. 752 (Mayrhofer) 40:10 XII. Der Musensohn, D. 764 (Goethe) Soprano: Elisabeth Schwarzkopf Piano: Edwin Fischer Recorded in 1952, at London New mastering in 2023 by AB for CMRR 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr In the time of his short life and six hundred lieder, Schubert accomplished the total transformation of a musical and literary genre. In fact, he brought about three revolutions rather than just one: a revolution in poetics, a revolution in the imagination, and a revolution in interpretation. In no form of musical collaboration is mutual sympathy and understanding of more crucial importance than in lieder. Indeed there is no more intimate form of music-making. Nor in the annals of recording would it be possible to find a more richly satsifying example of the art than the present recital, which brings together two of the subtlest and most penetrating artists of the twentieth - century - and two of the most individual. In Elisabeth Schwarzkopf we find far more than clear diction and an effortlessly beautiful voice. We hear a singer whose sensitivity to the relationship of words and music is likely to remain unsurpassed. So in tune is she, indeed, with the purely musical properties of words themselves, that a knowledge of their literal meaning is rendered all but irrelevant. In the variety of expression and subtlety of tone which she lavished on the enunciation of vowels she was peerless; in the dramatic eloquence of her consonants she was unique. Nor can there have been many singers in history who used the mere intake of breath to such compelling effect. For all her innate musicality and natural sophistication, she could hardly be described as an artless singer. Her performances were studied in the extreme, her meticulous and penetrating attention to detail being thought by some to have resulted in an excess of interpretation. By today's standards, she may be thought a trifle mannered, the voice perhaps a little "over-produced". To tar her with the brush of passing fashions, however, would reveal more of our limitations than of hers. The impeccable professionalism evident at every stage of her long career bespeaks a love and respect for music matched at every turn by instincts of unfailing taste and an emotional range embracing everything from coquettish high spirits to the most intense, even tragic, introspection. On the face of it, the great Swiss pianist Edwin Fischer might seem an unlikely partner. While sharing with her a central devotion to the great Austro-German tradition and spiritual insights of the highest order, he was at the same time one of the most transcendentally simple (and endearingly fallible) players in the history of musical performance. Like Schubert himself, and Mozart before him, Fischer was a master refiner whose reflective nature and spiritual integrity led him to the very essence of the music at hand. In two such contrasting songs as Der Musensohn and Auf des Wasser zu singen, for instance, his economy of means is so great that at first he may appear to be doing next to nothing, yet seldom can this music have breathed with such subtle eloquence. His occasional lapses into unintended accelerandi and the minor fingerslips which could befall him under the strain of nerves were the down side, as it were, of a self-forgetfulness which gave much of his playing its peculiar and deeply moving sense of intimacy. But anyone doubting Fischer's ability to match Schwarzkopf in drama and intensity should have their fears allayed several times over in the present recital, not least in the searing Die junge Nonne. The interpreter's art has no finer exemplars than these. (Sylvain Fort (Diapason) & Jeremy Siepmann (Emi)) Franz Schubert PLAYLIST (reference recordings): th-cam.com/video/0GEyWlp0xSs/w-d-xo.html
In the time of his short life and six hundred lieder, Schubert accomplished the total transformation of a musical and literary genre. In fact, he brought about three revolutions rather than just one: a revolution in poetics, a revolution in the imagination, and a revolution in interpretation. In no form of musical collaboration is mutual sympathy and understanding of more crucial importance than in lieder. Indeed there is no more intimate form of music-making. Nor in the annals of recording would it be possible to find a more richly satsifying example of the art than the present recital, which brings together two of the subtlest and most penetrating artists of the twentieth - century - and two of the most individual. In Elisabeth Schwarzkopf we find far more than clear diction and an effortlessly beautiful voice. We hear a singer whose sensitivity to the relationship of words and music is likely to remain unsurpassed. So in tune is she, indeed, with the purely musical properties of words themselves, that a knowledge of their literal meaning is rendered all but irrelevant. In the variety of expression and subtlety of tone which she lavished on the enunciation of vowels she was peerless; in the dramatic eloquence of her consonants she was unique. Nor can there have been many singers in history who used the mere intake of breath to such compelling effect. For all her innate musicality and natural sophistication, she could hardly be described as an artless singer. Her performances were studied in the extreme, her meticulous and penetrating attention to detail being thought by some to have resulted in an excess of interpretation. By today's standards, she may be thought a trifle mannered, the voice perhaps a little "over-produced". To tar her with the brush of passing fashions, however, would reveal more of our limitations than of hers. The impeccable professionalism evident at every stage of her long career bespeaks a love and respect for music matched at every turn by instincts of unfailing taste and an emotional range embracing everything from coquettish high spirits to the most intense, even tragic, introspection. On the face of it, the great Swiss pianist Edwin Fischer might seem an unlikely partner. While sharing with her a central devotion to the great Austro-German tradition and spiritual insights of the highest order, he was at the same time one of the most transcendentally simple (and endearingly fallible) players in the history of musical performance. Like Schubert himself, and Mozart before him, Fischer was a master refiner whose reflective nature and spiritual integrity led him to the very essence of the music at hand. In two such contrasting songs as Der Musensohn and Auf des Wasser zu singen, for instance, his economy of means is so great that at first he may appear to be doing next to nothing, yet seldom can this music have breathed with such subtle eloquence. His occasional lapses into unintended accelerandi and the minor fingerslips which could befall him under the strain of nerves were the down side, as it were, of a self-forgetfulness which gave much of his playing its peculiar and deeply moving sense of intimacy. But anyone doubting Fischer's ability to match Schwarzkopf in drama and intensity should have their fears allayed several times over in the present recital, not least in the searing Die junge Nonne. The interpreter's art has no finer exemplars than these. (Sylvain Fort (Diapason) & Jeremy Siepmann (Emi)) 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Amazing recording! Thanks for the upload. I am studiyng many of these leider and the freshness of this approach, so brisk, so green is incredibly inspiring.
song 7 around 23 minute mark I find really enchanting and it baths in beauty.. I rate Schubert 2nd to Beethoven. Its a crime how so many people do not know His Hungarian Melody.. Ashkenazy version is wonderful as is the Kuznetsov..
Du mal à supporter Schwartzkopf et ses miaulements permanents ( sauf pour le duo des chats ) ! Je crois que je vais un peu loin quand même ...Par contre le piano de Fischer , une des sept merveilles !😜🤪😝
Pour être très honnête, je préfère ces Lieder chanté par Fritz Wunderlich, enfin, ceux qu'il a chantés. Ne m'en voulez pas. Mais cela ne veut pas dire que je n'apprécie pas ceci, bien au contraire. Et surtout tt le travail qui a été nécessaire pour produire tt cela. Merci beaucoup, bon week-end et salutations sincères de Montréal, Qc, Canada
@@classicalmusicreference Suis d'accord avec vs, mais préfère un tenor à un soprano de loin. En général, je préfère les baritons et basses, Fritz Wunderlich est une exception. C'était, et c'est pour moi le meilleur tenor de ts les temps, malgré Pavarotti que j'aime beaucoup aussi. Et je dois avouer que je déteste les "counter ténors". Suis incapable de les écouter. Excusez-moi mais je n'y peux rien. J'aime les voix graves.
Die frau ist eine große künstlerin. Noch größere bewunderung würde man für sie empfinden, wäre sie nicht 1940 ohne not in die NSDAP eingetreten, umd hätte dies später anfangs geleugnet
Schubert: 12 Lieder by Elisabeth Schwarzkopf and Edwin Fischer
🎧 Qobuz (Hi-Res) bit.ly/3PRPfPn Tidal (Hi-Res) bit.ly/3PYoita
🎧 Apple Music (Lossless) apple.co/45rmJcV Idagio (Hi-Fi) bit.ly/46prhls
🎧 Deezer (Hi-Fi) bit.ly/3RZ1Kv3 Amazon Music (Hi-Fi) amzn.to/3txadeL
🎧 Spotify (mp3) spoti.fi/46Sk1hH TH-cam Music (mp4) bit.ly/3M5B4F9
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, AWA日本…
Franz Schubert (1797-1828) 12 Lieder
00:00 I. An die Musik, D. 547 (Schober)
02:38 II. Im Frühling, D. 882 (Schulze)
07:05 III. Wehmut, D. 772
10:05 IV. Ganymed, D. 544 (Goethe)
14:53 V. Das Lied im Grünen, D. 917 (Reil)
19:25 VI. Gretchen am Spinnrade, D. 118 (Goethe)
22:51 VII. Nähe des Geliebten, D. 162 (Goethe)
26:09 VIII. Die junge Nonne, D. 828 (Craigher)
30:58 IX. An Sylvia, D. 891 (Shakespeare, trans. Bauernfeld)
34:04 X. Auf dem Wasser zu singen, D. 774 (Stolberg)
37:20 XI. Nachtviolen, D. 752 (Mayrhofer)
40:10 XII. Der Musensohn, D. 764 (Goethe)
Soprano: Elisabeth Schwarzkopf
Piano: Edwin Fischer
Recorded in 1952, at London
New mastering in 2023 by AB for CMRR
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
In the time of his short life and six hundred lieder, Schubert accomplished the total transformation of a musical and literary genre. In fact, he brought about three revolutions rather than just one: a revolution in poetics, a revolution in the imagination, and a revolution in interpretation. In no form of musical collaboration is mutual sympathy and understanding of more crucial importance than in lieder. Indeed there is no more intimate form of music-making. Nor in the annals of recording would it be possible to find a more richly satsifying example of the art than the present recital, which brings together two of the subtlest and most penetrating artists of the twentieth - century - and two of the most individual.
In Elisabeth Schwarzkopf we find far more than clear diction and an effortlessly beautiful voice. We hear a singer whose sensitivity to the relationship of words and music is likely to remain unsurpassed. So in tune is she, indeed, with the purely musical properties of words themselves, that a knowledge of their literal meaning is rendered all but irrelevant. In the variety of expression and subtlety of tone which she lavished on the enunciation of vowels she was peerless; in the dramatic eloquence of her consonants she was unique. Nor can there have been many singers in history who used the mere intake of breath to such compelling effect.
For all her innate musicality and natural sophistication, she could hardly be described as an artless singer. Her performances were studied in the extreme, her meticulous and penetrating attention to detail being thought by some to have resulted in an excess of interpretation. By today's standards, she may be thought a trifle mannered, the voice perhaps a little "over-produced". To tar her with the brush of passing fashions, however, would reveal more of our limitations than of hers. The impeccable professionalism evident at every stage of her long career bespeaks a love and respect for music matched at every turn by instincts of unfailing taste and an emotional range embracing everything from coquettish high spirits to the most intense, even tragic, introspection.
On the face of it, the great Swiss pianist Edwin Fischer might seem an unlikely partner. While sharing with her a central devotion to the great Austro-German tradition and spiritual insights of the highest order, he was at the same time one of the most transcendentally simple (and endearingly fallible) players in the history of musical performance.
Like Schubert himself, and Mozart before him, Fischer was a master refiner whose reflective nature and spiritual integrity led him to the very essence of the music at hand. In two such contrasting songs as Der Musensohn and Auf des Wasser zu singen, for instance, his economy of means is so great that at first he may appear to be doing next to nothing, yet seldom can this music have breathed with such subtle eloquence. His occasional lapses into unintended accelerandi and the minor fingerslips which could befall him under the strain of nerves were the down side, as it were, of a self-forgetfulness which gave much of his playing its peculiar and deeply moving sense of intimacy. But anyone doubting Fischer's ability to match Schwarzkopf in drama and intensity should have their fears allayed several times over in the present recital, not least in the searing Die junge Nonne. The interpreter's art has no finer exemplars than these. (Sylvain Fort (Diapason) & Jeremy Siepmann (Emi))
Franz Schubert PLAYLIST (reference recordings): th-cam.com/video/0GEyWlp0xSs/w-d-xo.html
This recording is such a masterpiece! Schwarzkopf touchée par la grâce.
In the time of his short life and six hundred lieder, Schubert accomplished the total transformation of a musical and literary genre. In fact, he brought about three revolutions rather than just one: a revolution in poetics, a revolution in the imagination, and a revolution in interpretation. In no form of musical collaboration is mutual sympathy and understanding of more crucial importance than in lieder. Indeed there is no more intimate form of music-making. Nor in the annals of recording would it be possible to find a more richly satsifying example of the art than the present recital, which brings together two of the subtlest and most penetrating artists of the twentieth - century - and two of the most individual.
In Elisabeth Schwarzkopf we find far more than clear diction and an effortlessly beautiful voice. We hear a singer whose sensitivity to the relationship of words and music is likely to remain unsurpassed. So in tune is she, indeed, with the purely musical properties of words themselves, that a knowledge of their literal meaning is rendered all but irrelevant. In the variety of expression and subtlety of tone which she lavished on the enunciation of vowels she was peerless; in the dramatic eloquence of her consonants she was unique. Nor can there have been many singers in history who used the mere intake of breath to such compelling effect.
For all her innate musicality and natural sophistication, she could hardly be described as an artless singer. Her performances were studied in the extreme, her meticulous and penetrating attention to detail being thought by some to have resulted in an excess of interpretation. By today's standards, she may be thought a trifle mannered, the voice perhaps a little "over-produced". To tar her with the brush of passing fashions, however, would reveal more of our limitations than of hers. The impeccable professionalism evident at every stage of her long career bespeaks a love and respect for music matched at every turn by instincts of unfailing taste and an emotional range embracing everything from coquettish high spirits to the most intense, even tragic, introspection.
On the face of it, the great Swiss pianist Edwin Fischer might seem an unlikely partner. While sharing with her a central devotion to the great Austro-German tradition and spiritual insights of the highest order, he was at the same time one of the most transcendentally simple (and endearingly fallible) players in the history of musical performance.
Like Schubert himself, and Mozart before him, Fischer was a master refiner whose reflective nature and spiritual integrity led him to the very essence of the music at hand. In two such contrasting songs as Der Musensohn and Auf des Wasser zu singen, for instance, his economy of means is so great that at first he may appear to be doing next to nothing, yet seldom can this music have breathed with such subtle eloquence. His occasional lapses into unintended accelerandi and the minor fingerslips which could befall him under the strain of nerves were the down side, as it were, of a self-forgetfulness which gave much of his playing its peculiar and deeply moving sense of intimacy. But anyone doubting Fischer's ability to match Schwarzkopf in drama and intensity should have their fears allayed several times over in the present recital, not least in the searing Die junge Nonne. The interpreter's art has no finer exemplars than these. (Sylvain Fort (Diapason) & Jeremy Siepmann (Emi))
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Thank you for this masterly exposition of these wonderful performers of this glorious music.
EXTRAORDINARIA INTERPRETACION.MARAVILLOSA
Many thanks for the New Mastering of the recording of these marvelous Schubert songs with two unforgettable artists and the accompanied information !
You're welcome :)
Una joya de registro. Gracias por compartir. Saludos desde Colombia.
첫곡은 유년시절의 저를 클래식음악의 세계로 인도해준 노래입니다.
아름다운 추억들을 떠올리게 해주셔서 감사합니다❤
여러분께 행복한 추억을 선사하는 데 일조하게 되어 기쁩니다.
Спасибо большое, это просто великолепно ❤❤💐💐
I haven't forgotten Russian yet, you're right.
Amazing recording! Thanks for the upload. I am studiyng many of these leider and the freshness of this approach, so brisk, so green is incredibly inspiring.
yes, vielen dank fur arbeit.😊
Mit Vergnügen :-)
Maravillosa interpretacion de la diva y el pianista 🎉❤
Thank you so much for arranging this program. It is so beautiful!
Phenomenal - TY CM/RR!
song 7 around 23 minute mark I find really enchanting and it baths in beauty.. I rate Schubert 2nd to Beethoven. Its a crime how so many people do not know His Hungarian Melody.. Ashkenazy version is wonderful as is the Kuznetsov..
glorious
❤❤💕
Du mal à supporter Schwartzkopf et ses miaulements permanents ( sauf pour le duo des chats ) ! Je crois que je vais un peu loin quand même ...Par contre le piano de Fischer , une des sept merveilles !😜🤪😝
Op ok
ヴィブラートが致命傷です。
Pour être très honnête, je préfère ces Lieder chanté par Fritz Wunderlich, enfin, ceux qu'il a chantés. Ne m'en voulez pas.
Mais cela ne veut pas dire que je n'apprécie pas ceci, bien au contraire. Et surtout tt le travail qui a été nécessaire pour produire tt cela. Merci beaucoup, bon week-end et salutations sincères de Montréal, Qc, Canada
Difficile de comparer un tenor et une soprano :)
@@classicalmusicreference
Suis d'accord avec vs, mais préfère un tenor à un soprano de loin. En général, je préfère les baritons et basses, Fritz Wunderlich est une exception. C'était, et c'est pour moi le meilleur tenor de ts les temps, malgré Pavarotti que j'aime beaucoup aussi.
Et je dois avouer que je déteste les "counter ténors". Suis incapable de les écouter. Excusez-moi mais je n'y peux rien. J'aime les voix graves.
It is truly unnecessary to make comparisons. Let us just enjoy each performer s skills.
Die frau ist eine große künstlerin. Noch größere bewunderung würde man für sie empfinden, wäre sie nicht 1940 ohne not in die NSDAP eingetreten, umd hätte dies später anfangs geleugnet