Guest
Schubert: 12 Lieder by Elisabeth Schwarzkopf and Edwin Fischer 🎧 Qobuz (Hi-Res) Tidal (Hi-Res) 🎧 Apple Music (Lossless) Idagio (Hi-Fi) 🎧 Deezer (Hi-Fi) Amazon Music (Hi-Fi) 🎧 Spotify (mp3) Youtube Music (mp4) 🎧 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: 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : ❤️ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) // COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT 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):
