Vorzüglicher Liedgesang… emotional und stimmlich meisterhaft… nuanciert interpretiert, dabei ohne Manierismen oder Firlefanz… ⭐️♥️⭐️ Vielen Dank fürs Teilen dieser großartigen Aufnahme! 🙏🍀 Ein Lob auch dem Begleiter! 👏👏👏
Hotter never makes a festish of his voice. He utters everything from the character, the situation. All his powers, his colors, his musicalitiy is in the portrayal of the character and his predicament. It's never about the voice; it's about humanity.
H.H. gut wie immer. Ein großartiger Sänger und Mensch, den ich das Glück hatte noch persönlich kennenzulernen. Er war ein Wegbereiter, vor allem beim Liedgesang. Eine Autorität ohne autoritär zu sein. Fazit: Einfach wunderbar!! + 5*
That voice belongs to a true artist. Mr. Hotter smooth legato line and the easy messa voce are sublime. Then the dark deep tones are solid , but always beautiful. Thanks for keeping the art songs alive and present.
Comment II HANS HOTTER PUTS THE LISTENER IMMEDIATELY IN THE MUSICAL MOOD & POEM'S OF SCHUBERT. HIS VOICE'S COLORATION ACCORDING TO THE NOTE AND WORD ARE TRULY WONDERFUL AS WELL AS TOUCHING. HOTTER IS NOT ONLY ON DETAILS BUT WITH TENSIONS, SUPERB LEGATO & BREATH CONTROL ALL FOR MUSICAL INTENTS. IT IS REMARKABLE THAT THIS WOTAN'S INTERPRETER CAN MODULATE AND DIMINISH HIS VOICE IN LIEDER FOR AN INTIMATE CONVERSATION BETWEEN MUSIC, WORDS, PIANO AND LISTENER. He was a great teacher also. THANK YOU FOR POSTING THIS GREAT CD !
Hans Hotter is simply magical here with an extraordinary musical range, modulation and unparalleled understanding of the text. Thank you for posting this document !
Both Fischer-Dieskau and Hotter were magnificent, both top of the line, each in his own way. F-D was a lyric baritone, Hotter a Heldenbariton until his voice dropped to a basso cantante in the 1950's. Hotter here does the song in D major, down a step from the original key, which F-D used. Not only that, Hotter produces a very good low D at the end.
His voice`s warming this cold piano background. And he`s sucking listener into his world with piano-voice. It`s a miracle, but he`s changing dimentions. Genius
@iulianik I let google translate this, if you dont mind: This is probably the best of performances! From the distant 40-s warm hand picks up the heart.
Dietrich Fischer-Dieskau certainly got up into the tenor range - no problem. But his tessitura was clearly a baritone. A lyric one, alright. Have you ever heard him talking live, in nature - no way that he'd been a tenor. And: "voix blanche" - that again is a bit a matter of taste, I'd say. I personally sing longer and easier with a certain mix of upper head resonances ("schlanke Stimme"). I don't want to say we'd have to sing nasal, but: Dietrich Fischer-Dieskau was never "blanc" to me! Love.
@Spiritakis Listen again. It does not come as a surprise that someone who has been indoctrinated by FIscher Dieskau's declamatory and overly artificial style finds this recording plain. Hotter has true naturalness, which is the highest form of artistry and the most difficult to achieve. Hotter by the way was Fischer-Dieskau's favorite singer and role model.
If Hotter or Dieskau were the "better" baritone - that's a point of discussion which mostly will depend on one's (indiscussable) personal taste. On the other part I would like to remember that Hotter was a bass-baritone while Dieskau a baritone. It definitely makes a difference: Hotter sings many Lieder in a lower key than Dieskau, giving it a lower tessitura, more adapt to his bass-baritone voice. Here, he ends in a D (!). This would be rather low also for true basses ;-)
I never understood why Schubert uses the phrase at the end of this peace that is so beautifully written. Why end it with "Wherever you are not, there is luck!" why that word at the end, instead of "land" or something. but painfully beautiful otherwise (o;
Because the land is a symbol for the luck he is surching for. The wandere symbolices someone who is surching for the big luck and a beautiful life but can't find it. The song has a symbolic meaning
He associates belonging with happiness, so the land he’s searching for is the place where he’s really one of the people. At the end he tells himself that he’s never going to find happiness. In other words, he’s never going to find the place where he belongs. Therefore, the song is called “Der Wanderer,” The Wanderer.
@saiserieht 1000% agree with you.La vérité est presque entièrement là, elle ne peut être démentie sans démontrer de la part du détracteur une perversion de l'oreille.En écoutant Hotter,je m'aperçois que Dieskau a fait beaucoup de tort au répertoire qu'il a interprété.Schubert doit le maudire,car il a fait de son oeuvre sensible une chose mièvre.Maintenant,j'aime Schubert,car je vois enfin ce qu'on doit en faire! Thank's my friend!
@saiserieht I did. Better than the first time indeed. But I still prefer DFD and have never been able to find his style ''declamatory and overly artificial'', an often repeated cliche I believe. I am a little puzzled by this naturalness that is ''most difficult to achieve''. Naturalness one either has or hasn't, it's like originality: it can't be achieved. Hotter may have had it, but he still can't do justice neither to the music nor to the text, in my opinion of course.
Interesting performance, but a great deal inferior to Fischer-Dieskau's as far as I am concerned. Hotter has neither the diction, nor the nuances of DFD. And his tempo is fast enough to sound rushed. There are some touching moments but overall disappointing.
Vorzüglicher Liedgesang… emotional und stimmlich meisterhaft… nuanciert interpretiert, dabei ohne Manierismen oder Firlefanz… ⭐️♥️⭐️
Vielen Dank fürs Teilen dieser großartigen Aufnahme! 🙏🍀
Ein Lob auch dem Begleiter! 👏👏👏
Hotter never makes a festish of his voice. He utters everything from the character, the situation. All his powers, his colors, his musicalitiy is in the portrayal of the character and his predicament. It's never about the voice; it's about humanity.
where are this type of artists today!
@@道-p2e Well, James Morris studied with HH, and I vote for him.
@@kenhunt278 Wow, I do enjoy Mr. Morris' fine singing... grand and gorgeous.
@@kenhunt278 He is 77, so he is the past as well.
I do not know one word of what he sang, yet I sense his humanity and his humble voice touches deeply... beautiful true singing, bravo!
Hans Hotter...
The legend of German Tenor, who was seen my music text book in my middle school.
Such a great singer and artist!
H.H. gut wie immer. Ein großartiger Sänger und Mensch, den ich das Glück hatte noch persönlich kennenzulernen. Er war ein Wegbereiter, vor allem beim Liedgesang. Eine Autorität ohne autoritär zu sein. Fazit: Einfach wunderbar!! + 5*
That voice belongs to a true artist. Mr. Hotter smooth legato line and the easy messa voce are sublime. Then the dark deep tones are solid , but always beautiful.
Thanks for keeping the art songs alive and present.
Move me to tears... absolutely beautiful.
He’s the king in this song, probably the deepest of all Schubert songs for me
Marvelous singer!!!, he realy sings even with his fullbodied voice, with such tender and ellegance that makes it very sweet to my ears, BRAVO!!!
Comment II HANS HOTTER PUTS THE LISTENER IMMEDIATELY IN THE MUSICAL MOOD & POEM'S OF SCHUBERT. HIS VOICE'S COLORATION ACCORDING TO THE NOTE AND WORD ARE TRULY WONDERFUL AS WELL AS TOUCHING. HOTTER IS NOT ONLY ON DETAILS BUT WITH TENSIONS, SUPERB LEGATO & BREATH CONTROL ALL FOR MUSICAL INTENTS. IT IS REMARKABLE THAT THIS WOTAN'S INTERPRETER CAN MODULATE AND DIMINISH HIS VOICE IN LIEDER FOR AN INTIMATE CONVERSATION BETWEEN MUSIC, WORDS, PIANO AND LISTENER. He was a great teacher also. THANK YOU FOR POSTING THIS GREAT CD !
Hans Hotter is simply magical here with an extraordinary musical range, modulation and unparalleled understanding of the text. Thank you for posting this document !
Sehr schoen -- danke sehr!
Both Fischer-Dieskau and Hotter were magnificent, both top of the line, each in his own way. F-D was a lyric baritone, Hotter a Heldenbariton until his voice dropped to a basso cantante in the 1950's. Hotter here does the song in D major, down a step from the original key, which F-D used. Not only that, Hotter produces a very good low D at the end.
Andrew Margrave b minor but yeah I agree
His voice`s warming this cold piano background. And he`s sucking listener into his world with piano-voice. It`s a miracle, but he`s changing dimentions. Genius
was H.H. mit seiner Riesenstimme leistete ist einfach einmalig-W.Böke Unterhaching
Extraordinary - thank you so much for posting this most touching song in an arguably definitive rendition. Yes,genuine and directly from the heart :)
My favourite lied, my favourite bass baryton :::)))
Пожалуй,это лучшее из исполнений! Из далёких 40-х тёплой рукой забирает сердце.
Да..голос полон теплоты любящего отца
such a beautiful voice
I have discovered Hans Hotter only some months ago, and until then I thought my favourite singer was Fischer-Diskau. Well, I was wrong :)
Che Grande !
Sobre et magnifique.Malgré,son âge, l'enregistrement rend justice au grand-oui,grand- Hotter, mais - on ne peut demander de miracle- pas au pianiste.
DEer ideale Wanderer!!!
@iulianik I let google translate this, if you dont mind:
This is probably the best of performances! From the distant 40-s warm hand picks up the heart.
Erschuetternd!!
Thank - I'll listen for this!
I prefere Hans Hotters interpretation , the depth of feelings ,beautiful voice, unique timber, evreything how it should be
Beste version
Dietrich Fischer-Dieskau certainly got up into the tenor range - no problem. But his tessitura was clearly a baritone. A lyric one, alright. Have you ever heard him talking live, in nature - no way that he'd been a tenor. And: "voix blanche" - that again is a bit a matter of taste, I'd say. I personally sing longer and easier with a certain mix of upper head resonances ("schlanke Stimme"). I don't want to say we'd have to sing nasal, but: Dietrich Fischer-Dieskau was never "blanc" to me! Love.
Thanks for commenting. Also not that Hotter always uses full voice, even in high passages when he sings pp.
@Spiritakis Listen again. It does not come as a surprise that someone who has been indoctrinated by FIscher Dieskau's declamatory and overly artificial style finds this recording plain. Hotter has true naturalness, which is the highest form of artistry and the most difficult to achieve. Hotter by the way was Fischer-Dieskau's favorite singer and role model.
If Hotter or Dieskau were the "better" baritone - that's a point of discussion which mostly will depend on one's (indiscussable) personal taste. On the other part I would like to remember that Hotter was a bass-baritone while Dieskau a baritone. It definitely makes a difference: Hotter sings many Lieder in a lower key than Dieskau, giving it a lower tessitura, more adapt to his bass-baritone voice. Here, he ends in a D (!). This would be rather low also for true basses ;-)
@sdconductr Just a small note, it ends with 'Glück', which means happiness, not luck
auch einer von den ganz grossen mit riesenstimme u.pianos w.böke
I never understood why Schubert uses the phrase at the end of this peace that is so beautifully written. Why end it with "Wherever you are not, there is luck!" why that word at the end, instead of "land" or something. but painfully beautiful otherwise (o;
Because the land is a symbol for the luck he is surching for. The wandere symbolices someone who is surching for the big luck and a beautiful life but can't find it. The song has a symbolic meaning
He associates belonging with happiness, so the land he’s searching for is the place where he’s really one of the people. At the end he tells himself that he’s never going to find happiness. In other words, he’s never going to find the place where he belongs. Therefore, the song is called “Der Wanderer,” The Wanderer.
@sdconductr that's a terrible translation. It should be "Happiness is where you are not!" A bitter reply to his question earlier.
@saiserieht 1000% agree with you.La vérité est presque entièrement là, elle ne peut être démentie sans démontrer de la part du détracteur une perversion de l'oreille.En écoutant Hotter,je m'aperçois que Dieskau a fait beaucoup de tort au répertoire qu'il a interprété.Schubert doit le maudire,car il a fait de son oeuvre sensible une chose mièvre.Maintenant,j'aime Schubert,car je vois enfin ce qu'on doit en faire!
Thank's my friend!
arg, I meant "note" not "not"
I think tenor is closer to the mark when discussing DFD. Then again, that is what happens when one's technique is a classic example of voix blanche.
@saiserieht
I did. Better than the first time indeed. But I still prefer DFD and have never been able to find his style ''declamatory and overly artificial'', an often repeated cliche I believe.
I am a little puzzled by this naturalness that is ''most difficult to achieve''. Naturalness one either has or hasn't, it's like originality: it can't be achieved. Hotter may have had it, but he still can't do justice neither to the music nor to the text, in my opinion of course.
...and let's not even get into the value of DFD's voice over that of Hotter because again, you will lose that argument.
mzia bahturidze
Interesting performance, but a great deal inferior to Fischer-Dieskau's as far as I am concerned. Hotter has neither the diction, nor the nuances of DFD. And his tempo is fast enough to sound rushed. There are some touching moments but overall disappointing.
To the contrary, he follows the directions in the score to the letter. His German is perfect to understand
If this performance was only in the least disappointing, I‘d happily live the rest of my life being deeply disappointed!!!
Wer des Deutschen nicht mächtig, der werfe den Stein nicht! lol