That pianist is amazing. Those repeated octaves have caused many pianists hands to cramp in the middle of the piece. Love your voice -- its really improved from some of your earlier recordings.
Will there be a day when a human comes and actually be able to play like her and sing like him at the same time?, if that ever happened my jaw would drop to the ground of admiration.
I'd never heard a noticeable accelerando at the 3:30 part, so I had to go back and actually check the music to see if it was even a thing. Turns out it is, you just never hear it actually performed, because it's Erlkonig and by that point in the piece even the most proficient of accompanists' hands are melting off. Ms. Fuller is an absolute savage of a pianist.
Yes, I went back to the score and there is an accelerando. This piece really needs a good accompanist. This accompanist has such facile octaves, and at that point plays louder and faster with even more ferocity.
Just leaving this here for my own reference. :P 0:22 Intro with narrator 0:55 Father and child 1:23 Erlkonig first time 1:50 Father and child 2 2:13 Erlkonig 2nd time 2:30 father and child 3 3:00 erlkonig 3 3:10 GEWALT!!! and father and child 4 3:24 Narrator closing 3:38 Erreicht
It was. Schubert's piano had a lighter action. If your Steinway is stiff, so will your hands be after 4 minutes of this. Worth it, though. Philippe's singing is likewise amazing. Many thanks for the post.
If you are still interested in Maria Fuller after a year here she is playing the Allemande from Bach's French suite No 6 in E major. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ejO4OxbkGck.html She is an extraordinary musician as you can see from her web site. ru-vid.com/show-UCEvum8cHKyKAjCstroYdNlgabout
His vocal and facial portrayal of the three characters in the song are just brilliant - and the pianist's contribution is simply stunning. This performance is 100% a musical partnership.
i didn't except to find such a brilliant performance by an unknown singer! perfect temperament! when it comes to the part "... so brauch ich Gewalt!" it always gives me the shivers, especially when its articulated like here ...
For a Canadian, his rendition in German is quite nice, it took me a third listen before I realized he was not native. I overlooked some minor pronunciation differences exactly because the delivery of some parts, like *Gewalt!* was so brilliantly natural-seeming. You don't do that without knowing the key meaning of the words within the piece.
@@operacat1 Well, depending on context ... :) What I meant is that I as a classical guitarist didn't know him whereas of course the names of the few legendary personalities such as Dietrich Fischer-Dieskau or Maria Callas are familiar to me, as well as some more recent ones who have some sort of star popularity (Jaroussky) ... (If you're a classical guitarist, say, Ricardo Gallén will be well-known to you, but for anyone else the name will probably remain unknown.)
I am a Schubertaholic. I have recordings and recordings of the lieder, piano music, chamber music. This performance both playing and singing knocked me off my couch. Both dramatic and subtle as each is called for. My faith in classical performances into the future is restored. Thank you.
This is a brilliant performance - the vocal characterisations are just right. The sinister wheedling of the Erlking sent shivers up and down my spine. And that piano playing! I refuse to use the word 'accompanist' - this is a gloriously equal partnership of two superb musicians.
One of the best performances of this warhorse I have heard. Excellent voice and the accompanist is a singers dream. Have not seen either of these two before, but will again. The young lady will have singers lining up for her accompanist work.
I took a music appreciation class 2 semesters ago and as soon as we heard this song, I was hooked. More specifically, it was this singer that we listened to. Such a tragic story. It gives me goosebumps everytime I hear it. Especially when he starts singing the Erlkonig parts. This song appeared in a dream once, and it completely turned it into a nightmare. I didn't hardly sleep the rest of the night. Such a beautiful rendition of the poem.
The pianist in this performance is Amazing. Her emphasis of dynamics, her effective implementation of the pedal, and her steady execution of accents (even on those 16th note chords) is particularly impressive. The vocalist on the other hand does an excellent job with dynamics and voices (acting out the Erlking, the boy, and the Father), but his accents at the beginning of the piece are lax which makes the piece loose some of its feeling.
I love how the lid is all the way up on the piano. You want soft, learn to play soft but let the piano sound with all the harmonics ringing! Maria Fuller is fully up to everything the music asks here. Brava!
Say him perform in Bach's St Mattews Passion with Philadelphia Orchestra last year - Phenomenal. He is performing again with the Philly Orchestra the last weekend in Sep 2016 - looking forward to another outstanding performance. Famous in my book.
The Erlking Who rides so lately through night and wind? It's the father with his child; He's got the boy in his arm, He holds him safely, he keeps him warm. "My son, why do you hide your face so anxiously?" "Don't you see the Erlking, father? The Erlking with crown and coat?"1 "My son, it's a streak of fog." "You lovely child, come, come with me! I'll play oh so beautiful games with you; There are a couple of colorful flowers near the shore, My mother has a couple of golden robes." "My father, my father, and don't you hear, What the Erlking promises silently?" "Be quiet, stay calm, my child; The wind rustles through withered leaves." "Do you, good boy, want to come with me? My daughters shall take care of you nicely; My daughters lead the nightly dance, And lull and dance and sing you to sleep." "My father, my father, and don't you see there Erlking's daughters at the gloomy place?" "My son, my son, I see it clearly: It seems to be the old grey willows." "I love you, I'm fascinated by your beautiful form; And if you're not willing, I'll have to use force." "My father, my father, now he is grabbing me! Erlking has hurt me!" The father shudders, he rides swiftly, He holds the groaning child in his arms, Reaches his home with effort and distress; The child in his arms was dead. It's not really clear what exactly "Schweif" means in this context. The literal translation would be "tail", but I'd rather say it's about the end of his coat.
Schweif = old german word for "Schleppe". www.google.com/search?q=schleppe&client=ms-android-huawei&prmd=sinv&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj1jaqI983pAhUouaQKHZlDAFsQ_AUoAnoECA8QAg&biw=360&bih=518#imgrc=3UL6TFZ8q0XbNM
Schweif is an interesting word to use here, and perhaps we should take a moment to nod to the genius of the composer, Goethe. "Krone und Schweif" is normally translated as "Crown and train," presumably in the sense of a cloak or robe. This satisfies the technical meaning of Schweif. However, two or three other things are notable. First, while that is accurate, Schweif is also commonly used to describe the tail of either an animal or a comet, which imagery lends either a bestial or supernatural air to the alder-king. Second, and this probably adds a very sinister undertone to adult German listeners (but is more speculative,) a very similar word that also means tail (in a more literal sense), Schwanz, in German is a common, rude euphemism for male genitalia. Since the alder-king is a fantasy creature, I don't think there is a definitive answer, but Goethe's choice of the word was perfect given all possible meanings, and I would wager he intended to invoke all of the possibilities at once in the reader even while describing a robe. I think if I were going to translate it to imagery, I would go with a sort of fey aura, like that of the afore-mentioned comet, while giving the alder-king himself slight animalistic features - cat's eyes and so on. The sinister intent should speak for itself from the actor's bearing and facial expression.
This is absolutely THE most stunning version of Der Erlkönig I've ever experienced, and I've heard and seen many different performances. You embody each personality wonderfully. When you shift into the character of the Erl-King, you BECOME the Erl-King - your facial expressions are simply chilling. Bravo ... very well done!!
What a brilliant, dramatic performance of this great work. The 3 characters brought out by the wonderful colour palette that is Sly's fabulous voice. And what a fantastic pianist! Bravi!
Just watched dieskau/allen/bostridge/norman versions and i still have to say Philippe Sly ( the ability to color the phrases and his simplicity without hysterias ) and Maria Fuller ( can i say wow to this incredible pianist ) ARE AMAZING !
The voice is a bit lightweight compared to renditions of this I've heard from Hermann Prey and Dietrich Fischer-Dieskau who could effortlessly fill up a concert hall without even thinking about it. That said, it's obvious this Bass-Baritone is much younger than when I heard those greats and he's years away from a very promising prime. Beautifully sung.
A thoroughly masterful performance by two beautiful, young, splendidly well-equipped performers. BRAVO! I have to say, however, that Ms. Jurrius, the accompanist, deserves special recognition. Her rendition of this extraordinarily difficult accompaniment ranks with the finest on record, and may even surpass the accomplishment of the great Gerald Moore. There is only one word to describe Ms. Jurrius adequately and that word is AWESOME.
Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er faßt ihn sicher, er hält ihn warm. "Mein Sohn, was birgst du so bang dein Gesicht?" - "Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?" - "Mein Sohn, es ist ein Nebelstreif." "Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel' ich mit dir; Manch' bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand." - "Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?" - "Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind." - "Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein." - "Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?" - "Mein Sohn, mein Sohn, ich seh' es genau: Es scheinen die alten Weiden so grau. -" "Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch' ich Gewalt." - "Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!" - Dem Vater grauset's, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh' und Not; In seinen Armen das Kind war tot.
Poem by Johann Wolfgang von Goethe, from a longer work, Die Fischerin, a Singspeil from 1782. Carl Loewe's setting is also masterful. (Hint, hint, Phillipe.)
Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind: Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm. „Mein Sohn, was birgst du so bang dein Gesicht?“ „Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif?“ „Mein Sohn, es ist ein Nebelstreif.“ „Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.“ „Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?“ „Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.“ „Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.“ „Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?“ „Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.“ „Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.“ „Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!“ Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.
One of the BEST recordings of this great Schubert Lied that I have heard...congrats! Especially loved the great dynamics, the dramatic playing and singing - wonderful impersonation of the different characters, the Father, Son, Erlkönig...Bravi! I am using this version for analysis class with my students!
+Maria Fuller hi, my music class is doing this piece as our set piece and I wanted to learn it. I was just wondering how you're managing to play it without getting cramps in your arm? I've been playing since I was baby. still kind of am. 17 years. but I've never learnt a technique for having such endurance. any advice?
I also use this for my Music Appreciation classes...best version of this piece that I know of...great to see Phillipe's expressions and, Maria, your accompaniment is amazing...well done!!
Oh my gosh! Excellent performance to the pianist, and singer. They were drawing me in. I heard this song in an anime called, Haven't you heard of Sakamoto? It's an awesome series. I would recommend watching it. This series is awesome!! 😃😁😄😆
Please pass my he compliments to the the two young performers. It's wonderful to see this masterpiece carried on to another age.Wonderful singing, intelligent and perceptive, and Maria's playing is perfection. This is a fearfully hard piece to play, especially the related chords in the softer passages. It requires the finest technique, stamina and control. I wish you both every success. :-)
Yes, but you should note that in classical singing, at least in America, "R"s are supposed to be flipped, whether it be German, most English and even French. Although it would be lovely, we are not taught to sing as if we are pronouncing the spoken language.
Fantastic interpretation; fantastic vocalist but the highlight for me is the pianist, a true test of endurance... and I just realized I've performed in that venue before, I live 2 minutes away from that building haha... Fantastic local musicians!
This is a masterpiece really,everyone should listen to this and the choice of the song is really good,Im genuenly amazed People should really listen to classic music beacause its really fenomenal and it should be appreciated more than it is right now,at least in my country
wonderful interpretation of this! lovely rich instrument ! You did a great job of conveying the different characters vocally and investing a sense of the dramatic .I have become a big fan.!
Agreed. His acting is subtle and precise. Without characters in this piece, it would not pack the interpretive punch it needs. Also, if he did any less he would be accused of a flat performance. We singers can do no right. It's either boring or all about us. I agree also that the pianist is utterly fantastic.
Brava, Maria Fuller!!! Super Baßführung der linken(!) Hand, das gibt dem schönen, lyrischen Ton von Philippe Sly ein gutes und sattes, dunkles Fundament. Danke!
I never know what to do with my hands when I'm singing. That's why I'm an instrumentalist. Also I can't sing. Also this is one of the only performances that I like the "so brauch'ich gewalt" (No idea if I spelled that right) part (the last line by Der Erlkönig when he seizes the boy). He really did it justice. A lot of singers I've heard just kind of in the same voice as the rest, but it's written as fff I think, and he actually did it. Only version I like better than this is because the guy makes the "ge" in gewalt a fifth higher and it makes the drop to the "walt" so much more intense.
No Fischer-Dieskau? Maybe not, but who is? I for one definitely see a DFD influence in the interpretation of this piece from the facial expressions to the voices of the different characters in the song.
For comparison, here's an early recording of Fischer-Dieskau's: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PaBNUzVSnj8.html I think the potential of Philippe Sly is that he masters the musical difficulties of the piece without any problems (as does the pianist). There are some details when it comes to working out the dramatic details of the ballad where Fischer-Dieskau has a natural advantage, being a native speaker. Distinguishing between narrator - father - son - and Erlkönig can be accentuated.
Wow.. So good ! To me, I didnt know that one before. Its even better than fischer diskau's one. OK...maybe not better but almost as good... both very close :) I like dietrich better when he's playing the "erlkonig" and the boy. I prefer philippe sly as the narator and the father. Anyway, its the most amazing song I ever heard. I try to work on the piano part to accompany my grandma... But I'll never manage it at 152 :( (But maybe its a good thing to preserve Shubert's reputation)
So... I hadn't Fisher Diskau's rendition in mind anymore. I just listened to it again and I have to write an erratum on my commentary : Fisher Diskau's rendition is still the best one concerning any character. Sorry for that :) but I want Philippe Sly to sing it again in a few years, I think I will give credit to my former commentary. By the way, I don't have such good hears but...isn't there some (relative) little fails when Sly pronounces the "Ge" in the word "Gewalt" and when he sings "der Vater grauset's" ? ...(Just to have some music-lovers meaning)
After countless times of listening to this performance, still every time I get goosebumps. Amazing singer, and a spectacular concertmaster. Perfect duet, Bravo.
Kudos to Maria! I've played that accompaniment, and I know the repeated octaves are murder! I wish I could have done it as well as she does. But she has them perfectly under control. (That singer ain't too bad either!)
Great rendition! Bravo! What a voice! I heard you last night live in Winnipeg in Messiah. It was very impressive! Great discovery for me! I sub to your channel and happy to give you the 800th rating!:-) Good luck to you! Sincerely, Yana.
Jeder Sänger, der Kunstlieder singt, muss sich an Dietrich Fischer-Dieskau messen und dieses Video kann sehr wohl mithalten, großes Lob an diese Performance, großartig!
3:00-3:25 i know next to nothing about music but that has gotta be impressive, goosebumps. just the way he makes the child's scream for help sound so real
Maravilhoso cantor e maravilhosa pianista!!! Sem recorrer a coreografias e caretas (que tantos acham tão necessário) o efeito é infinitamente mais impactante. Decididamente um artista a ser seguido❤
