As Dietrich Fischer-Dieskau and recorded Gerald Moore 1966-1972 all Lieder Franz Schubert for male voice to 29 LPs, this was not only the high point of the existing since 1949 co-operation between the Deutsche Grammophon and singer, but also a bold and epoch-making enterprise: Since then
is Dietrich Fischer-Dieskau as the German lieder singer par excellence, since Schubert's songs are new and different one. Kenneth S. Whitton writes in his biography of the artist, "Fischer-Dieskau has perhaps done for Schubert similar to Rubinstein Frédéric Chopin , both with the work of a composer of sweetness and free of sentimentality, "
Dietrich Fischer-Dieskau grew up in Berlin as the son of a school teacher. The humanist parents left important marks on his artistic path. Fischer-Dieskau was never a pure vocal virtuoso, but he understood the work of a singer much wider: he worked on numerous books and intellectually with the music, so in his readable book on Schubert, shall also emerged as a conductor and cultivates his talent for drawing and painting. His voice was the perfect base for his art: "The sound spectrum was rich and beautifully modulated. In height it was beautiful iridescent-mixed head tones "to admire, writes Jürgen Kesting . In particular, the highly differentiated and fine-usable dynamic range that the voice from the softest piano could swell to Forte, the "free and easy, effortless and natural voice production, so Kesting, predestined Fischer-Dieskau song artist, but also the repertoire of classical music , Romanticism and the modern.
Fischer-Dieskau's career began at almost the same as an opera and concert singer. In December 1947 he sang for the first time for broadcasting Schubert's Winterreise, and almost a year later, on 18 November 1948, he made his debut at the age of 23 years at the Metropolitan Opera in Berlin . Just two years later He came on in the opera houses of Munich and Vienna, and took in the fifties, both as an opera and lieder singers of international concert stages.
fascinated Fischer-Dieskau Schubert's songs since his youth. Typical of him, that at the beginning of his discussion was the Schubert's Winterreise. He was fascinated by the depth and inner conflict of the Schubert songs. In them he discovered the whole cosmos of human emotion and human thought, which is why he also called for by the most versatility: Italian bel canto of Rossini for the affected agencies, a musical comedy with songs for voice and a declamatory character volksliedartigem vote for the Ballad. Fischer-Dieskau was highly involved with the rhythm of the songs, which he worked out clearly.
Dietrich Fischer-Dieskau This emphasis of rhythm was a key clip, Fischer-Dieskau and his decades-long accompanist Gerald Moore combined. "It corresponds to his rank, he is probably the only song in the world pianist who has played all the Schubert songs. It turns out "above all his rhythmic impetus as a trait to give a Schubert interpretation can not, said Fischer-Dieskau. Moore, who was often as "King of the companion" was known, 26 years older as Fischer-Dieskau, had extensive experience gained through his work, for example, with Pablo Casals, Fyodor Chaliapin , Elisabeth Schumann or Hans Hotter and brought them in to the brilliant song interpretation with Fischer-Dieskau. For him, the recordings of the Schubert songs with Fischer-Dieskau a sum of his artistic work. »Fischer-Dieskau's interpretation is more than the intellect from feeling drawn. He can speak from Schubert through extreme accuracy what is a delight to the ear. Tones and intervals are precisely made, the Gesangsfluß never breaks down, the articulation is always carefully and the beautiful voice is excellent, "was in 1952 in the Times.
humanist and Fischer-Dieskau was marked, he not only Schubert's compositions, but as the set texts seriously, dealt with the literary, textual, historical and social dimensions. He cherished a special admiration for Goethe's poems that he "saw as the beginning and end of the art of song."
Besides Gerald Moore worked Dietrich Fischer-Dieskau with Sviatoslav Richter, Daniel Barenboim, Wolfgang Sawallisch and Aribert Reimann together, to name just a few of the attendants at the piano. A delightful and artistically very human Schatt fertile friend connected him with the three years younger Austrian pianist Jorg Demus . The 28 years of interaction between the two artists come from such an exemplary record productions such as Brahms 'Four Serious Songs of 1958, a selection of Liszt's songs three years later, Strauss' Krämerspiegel 1964 and the following year Schumann's Dichterliebe and the winter trip, which some critics think Fischer-Dieskau's best recording of Schubert's melancholic cycle. "He added," Joerg Demus wrote about his friend, "probably the first time shown in real accomplishment, that it is possible, content in its full depth and meaning mediate and thereby to serve the poet, while at the same time the human voice - as said before Schumann -. the finest musical instrument remains and can be realized as such all the inspiration and intuitions of the musicians "
The German gramophone records made history for the Schubert recordings . In their case, what was written in 1971 New York : "If you did not hear Mr. Fischer-Dieskau, you have something crucial failure in your life,"
Source: Franz Peter Messmer, the booklet
Track 1: wanderer Night Song ID 224
Wandrers night
The song you are from heaven,
all still suffering and pain,
the one who is doubly wretched
you fill twice with refreshment
alas, I am weary!
What all this pain and pleasure?
Sweet peace,
come, oh come into my heart!
The poem "Night Song wanderer" Johann Wolfgang Goethe added a letter to Charlotte von Stein at, with the date "on the slope of Ettersberg , d. 12th Feb. 76 ". (1776). For in 1789 in Goschen published edition of his works, he replaced the the time chosen phrases "all joy" with "all suffering" (2nd line) or "spoiled" by "the pain" (6.Zeile).
"wanderer's Night Song" shares with its counterpart in third place the "most famous German poems" what to read at the end of this post more.
Track 2: wanderer's Night Song II D 768
An Equal
is peace over all peaks
'
felt in every treetop
you
hardly a breath;
the birds in the trees .
waiting balde only
you rest well.
Goethe house. Photo R. Bechstein. Text of the poem. German text. Verso: No. 20 III. Thuringian art publisher Rudolf Bechstein. Sitzendorf i. Schwarzatal. The stamp area: Real photography. Not used. The Kickelhahn (Gickelhahn), one of the highest mountains in the Thuringian Forest , southwest of Ilmenau is closely related to Goethe's famous, at its height in the night of 6 7th September 1783 written poem, "Over all the summits is" peace. It was written on the wall of the cottage there, standing boards.
On 27 August 1831 Goethe visited the hut for the last time. accompanied in the records of the mountain inspector Johann Christian Mahr , of Goethe, it says:
"said On entering the upper room he:" I have in earlier times in this room with my servants in the summer of eight days lived and at that time a little verse written on the wall here. Well I want to see this verse again, and when the day is noted below, on which it happened, so you can record me such kindness. "I immediately took him to the southern window of the room," [in pencil next to which the poem without heading, but signed "D. 7. September 1783rd Goethe. " written. stood]
Goethe left to those few verses, and tears flowed down his cheeks. Slowly he drew his snow-white handkerchief from his dark brown cloth coat, wiped his tears and spoke in a gentle, melancholy tone: "Yes, just wait soon you will rest too," was silent for half a minute, looked again through the window into the dark pine forest, and turned out to me, saying, "Now we want to go again."
Goethe in Ilmenau in the Kickelhahn W. FREDERICK Goethe on the Kikelhahn in Ilmenau. A 1382nd Text of the poem. Verso: FA Ackermann's Art Publishing House, Munich. 108 Series: Goethe's life (12 cards). (Keep this.) Non-ran. - The entire sequence of Woldemar Friedrich refers to Goethe's life, the Goethe-time portal at this URL . Since this representation Mahr is associated with Goethe's poem the idea of the venerable old man on the Kickelhahn, full of sadness and premonitions of death in the sight of the evening's nature is lost. To worship developed the "Goethe-house", as Ilmenau was raised in 1838 to the seaside resort, created as a way for the swimmers, topographic maps and descriptions were made and lithographed by Bernhard Arnswaldt and appeared colored leaves on memory and its surroundings Ilmenau (The first of which was the Kickelhahn-house with Goethe verses). destroyed by fire in 1870, the cottage has been faithfully recreated from drawings and in 1874 inaugurated. A facsimile of the inscription was mounted under glass.
There is also a photograph from 1869, which documented the barely legible text in the state he had 90 years after its creation. The photo also shows saw marks: A tourist had tried in vain to cut the text from the wall.
This description and two pictures of the house are from the Goethe- "Goethe time portal" : Jutta Assel and George Hunter: places and times in Goethe's life .
Track 11: with silence on the moon D 296
To the moon
refill Busch and Dale
misty glow,
at last set once
my soul intact, broadest
on my fields
soothes your eyes, like the friend
eyes gently over my fate.
every echo of my heart feels
happy and troubled times,
walk between joy and pain
in solitude.
Flow, flow, dear river!
Never shall I be happy!
Thus merriment and kiss
and loyalty Sun
I possessed once
what is so delicious!
that, to his agony
never forget it!
Murmur, river, along the valley, rush
without ceasing,
whisper to my song
melodies
if you Furiously in the winter night
,
or to the splendor of spring
bathe young buds.
Blessed is he who shuts himself off from the world without hatred
,
holding a friend to his heart and enjoys the
,
what, people do not know
not or considered
wanders through the maze of breast
in the night .
Caspar David Friedrich (1774-1840): Morning fog in the mountains, 1808, Rudolstadt, Castle Museum Heidecksburg. is reprinted in anthologies, not the early version of the poem from the period 1776/78, which was found between letters to Charlotte von Stein, but the version of 1789, which was probably only after the return from the trip to Italy, and is number 5 of the "most famous German poems."
Seminar on "To the Moon" (with two versions of a text, content playback, analysis and interpretation)
TRACKLIST
FRANZ SCHUBERT
(1797-1828)
Songs on Poems by / to poems by / d'après poèmes de
of Johann Wolfgang von Goethe
01 Wandrers Night Song ID 224 [1'47]
"You who are of heaven"
02 Wanderer's Night Song II D 768 [2'33]
"Above all is peace summits"
03 Ganymed D 544 [4'42]
04th Hunter's Evening Song D 368 [2'32]
05th An Schwager Kronos D 369 [3'06]
06th Calm Sea D 216 [2'25]
07th Prometheus D 674 [5'34]
songs of the Harper
from Goethe's Wilhelm Meister:
08th Harp player ID 478 [4'28]
"Who is the solitude,"
is 09th Harpist III D 480 [4'57]
"Who never ate his bread with tears"
10th Harp player / D 479 [2'10]
"on the bag I will sneak"
11th on the moon D 296 [4'53]
12th at the Lake D 543 [3'32]
13th First Loss D 226 [1'56]
The 14th Muse son D 764 [2'02]
15th Restless Love D 138 [1'22]
16th Close to the beloved D 162 [3'27]
17th Heidenröslein D 257 [1'46]
18th Delight of melancholy D 260 [1'05]
19th Erlkönig D 328 [4'19]
20th The King in Thule D 367 [3'00]
21st Secret D 719 [1'48]
22nd Limits of the human D 716 [8'06]
23rd The river D 766 [1'13]
24th Welcome and Farewell D 767 [3'17]
TT [76'00]
Dietrich Fischer-Dieskau, baritone
Jörg Demus (01-14) - Gerald Moore, piano
ADD
® 1960 (01-14) / 1969 (21-24) / 1970 (15-20)
© 1999
Executive Producer: Prof. Schiller Eisa (01 - 14), Otto Gerdes
Recording Producer: Hans Weber (01-14), Rainer Brock
mixer (Balance Engineer): Harald Gaudi (01-20), Hans Peter Schweigmann
Cover Illustration: Irmgard Seidat
The most famous German poems. determined Based on 200 collections of poetry and compiled by Hans Braam. With a foreword by Helmut Schanze.
The canon is booming. After decades of abstinence are presented for almost all areas of anthologies, the muster, depending on the criteria of selecting, in each case the most famous and important texts of the same genus. The present selection of the most famous poems in the German language is another way: neither they will lay claim, on its own normative force objective judgments about the tradition decent meet, yet they will trust to the contrary, the subjective taste and knowledge of an individual publisher. It is based rather on the 200-year tradition of self Anthologisierens Only the best was in each of the various collections of poems for school and home use recording found. Then this band appeals to the assembled expertise of a period of time from the beginning of the "reading book" in the 18 Century, in the rich forms of reading an anthology of 19th and last century to the threshold of our day. And it is the sum of the selection decisions of 200 editors and publishers collectives, which gives the poems included here its canonical weight.
ranking of 'most famous poems "to copy frequency - 1 Page As much as the evaluated collections in order to converge on the temporal seem so much in their time-related trends, fashions and preferences reflected found. Far the bow is drawn, from the Vienna School Father Jais and Munster high school director Zumkley about the poet Friedrich Matthisson and Germanists Philip and Wilhelm Wackernagel, the collector and poet Gustav Schwab and the teacher Theodor Real Mayer, including his ten successors in the publication of his famous anthology; on Stifter and Storm to Hans Bender, Karl Otto Conrady and Marcel Reich-Ranicki - to name a few. Nearly four decades claimed the sighting of the best-inventory, a database of over 75 000 documents came together here, based on 34 000 different poems by more relate than 3,000 authors. A first limitation is now led from the point that a larger number of anthologists for the same text has decided. More than 20,000 "ephemeral" were assigned only once. The text, which were at least four times included in anthologies, formed a pre-selected poems of 4000 - although in order to maintain equality of opportunity, the threshold for younger, born from 1844 authors, has been reduced from four to three documents. In book form this elite would still filled volumes 10-12. Consequently, further restrictions were necessary.
A canon is always determined by forgetting and remembering, loss of tradition and tradition of education, each Epoch creates its own, much is discarded in the following, some newly discovered from the past. To provide an overview of the various phases of this process, the evaluated collection was divided into four periods, each with about the same number of anthologies, from the beginning, in the 18th Century until 1850, 1851-1900, from 1901 to 1950 and finally from 1951 to 2004th The last section represents our current view of the stock was therefore: only what is in at least ten of the period represented in this edited anthologies, meets the criteria for inclusion in the most famous poems - 239 texts have been determined in this way. For what Collections this essence has been extracted, how many impressions the individual poems as a whole and have experienced within the individual time periods, is documented in the appendix. The reader will also find a ranking of the most famous poems by number of total impressions in the analyzed collections.
The genus, the selection decisions due to the present volume characterized him at the same time itself: it is the "reader." And how reading books in the rule to the history of literature as a whole belong, is also a panorama of German Poetry in its essential examples shown. As for the origin and evolution of the texts, is the author of a kind source of the poem in its highly personal art form as well as in the emphatic sense owes. It should come as no surprise who is represented here by identification of the statistics most often: of course the "classics" in general - Goethe. He leads the list with the total number of documents. Amazingly may see to find Matthias Claudius on the front seats - except with his evening song, he is nevertheless still present with four other poems.
ranking of 'most famous poems "to copy frequency - 2 Page In poetry transcends the personal interview is an "I" to that of the species being "Man". This representation is basic and the result of the wide distribution of selected poems. The long runs, which saw the evaluated textbooks and anthologies over the centuries, have stabilized the canon in a way that leaves only a small modification scope. What comes once in a perpetual supply of that "silver load", can be so easily not erase from memory. Not change the often overlooked time-bound conceptions and programs of reading any more than their obvious bookmakers optation by ideology and politics. Not least, based on this the often startling reminder of the value of these poems Collection: on an all intergenerational reception process - the students have to memorize them, and the elderly, protecting them as a unique vocabulary and often well into advanced age.
And yet the species. the anthology and the (school) read the book and in terms of change to consider the new and re-writing. It is less about the finish of the single poem "ad usum delphini," but his escape from cycles, contexts and work units. For example, Goethe's Wanderers Night Song in the work related to a "same" is connected, the poem is all about peaks rest. Since it is the second, it has the poet A provided the title match. This non-title is omitted in most textbooks, but also so that the cross-reference to genre and theme. Such detachment - it is not an isolated case - changed the character of a poem often so radical that its meaning is overgrown by a new interpretation of the anthology. Each recording of a poem in a collection is therefore an alienation same. at least the great author may have the idea of an original work relationship can be assumed, that possibility does not apply to lesser-known poets who nevertheless contribute in no small way to the canon.
"To the Moon" - the text of both versions as a word cloud (created by http://www.wordle.net/ ) What is with the suggestion of continuity and consistency certainly paid off well, the Depending on the political and ideological premises of anthologists. Only those personal memories of the readers who identify themselves as a collective memories are retained as a reference. There is no doubt reinforced this frame of reference of the collective memory resources by the work on the canon. But what if, as here, the collected power of the modern reader Kanonbildner suddenly confronts? Will he be in his freedom not feel restricted when you scroll in the anthology only of importance, indeed, the significant ever met? Against a single publisher and his arbitrary acts like you can not defend themselves, even against a meeting of the "Prussian school men" or an institution such as the Frankfurter Allgemeine Zeitung. What, though, if each individual approach is drowned out the different voices of poetry by the statistical consensus of the flavor carrier in the last two centuries?
is now the essence of the German poem, as it is presented here, nothing that should never, ever change, on the contrary. With each Occurrence of another anthologists can get news on the quantitative threshold, which was drawn here. The door into the treasure house in which the supply of Indifference, to be kept open. This distinguishes this collection of those anthology companies from which it feeds on: that they would not seek an absolute stability, but was content to be resultant of a multidimensional classification process. What has sediment in it, is a pluralism of opinions and judgments - on the hand so that the reference to contexts of all kinds free again. The chorus of seemingly impeccable taste in support so it can be shown is by no means a harmonious, it is full of discord and gross errors. Whether the time had healed all wounds lyrical memory of the Germans, that was the verdict of the readers to this new anthology of anthologies, one can see more detail, not basking in the power of its many editors will, but only their modest contribution to the development a collective memory selected.
victories in spring 2004
Helmut Schanze
Of the 24 gathered at the Goethe-Lieder Schubert CD includes 15 of the "most famous German poems", and not less than 10 of them on to the the first page printed top group of the top 36:
(73 x) Erlkönig
(71 x) Wandrers night song I
(71 x) wanderer's Night Song II
(69 x) To the Moon
(55 x) Prometheus
(50 x) boundaries of humanity
(47 x ) The King of Thule
(44 x) Heidenröslein
(44 x) Welcome and farewell
(43 x) Calm Sea
CD Info & Scans (tracklist, cover, booklet, Music Samples, Bonus Pictures), 70 MB
Schubert - Goethe Lieder INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue-Log Files
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