Thank you for sharing. Lieder performance of the very highest order. Pianist and singer completely in sync. It is quite something to witness how Dieskau marries absolute clarity of diction with flawless legato. All of which is given over to needs of the song. Simply remarkable.
I love this piece so much, it makes me so emotional when I hear it. Dieskau and Sawallish put together such an amazing version of it. I'm glad this is on film and here on RU-vid
Marvellous playing , accompanying what some of us reckon to be the greatest singer of the 20th century, not only for his rich voice but for the artistry and influence upon modern singing in interpreting both the music and the all-important words.
What a singer! and Sawallisch: the two together are the most perfect duet one could hope to hear. They just don't, don't make them like that anymore; RIP both of them ...
After listening for the past hour to some of the most beautiful voices and songs, I’ve decided to no longer consider who is best, or which song is most beautiful: I will, from now on, just enjoy the musical dish placed before me!
Dá uma tristeza saber que Fisher-Dieskau morreu. Ninguém canta um lied como ele. Suas interpretações são tão lindas que deixam a gente assustada com tanta beleza. Que coisa é a voz humana?
Sir, if you watch his face, and know German, during every passage he's having a thought and reacting to that thought. He's living the piece. One of my favorite moments is the subtle change going from "Stummes." and " Schweigen." where you can see his face light up with joy. So I'm inclinded to disagree by calling it a subtle interpretation.
Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde Wird uns, die Glücklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde Und zu dem Strand, dem weiten, wogenblauen Werden wir still und langsam niedersteigen Stumm werden wir uns in die Augen schauen Und auf uns sinkt des Glückes stummes Schweigen
What I love about Dieskau isnt any of the obvious things its how everything he does he makes real. That is how my heart also wants to sing though I am afraid I am not as pure as he and will expose something I do not wish others to see.
When given ammunition in Italy the last year of the war, Fischer-Dieskau fired every round every day into the dirt, risking his life if discovered. He was an amazing singer, an even more amazing human being.
There's no accounting for taste (über Geschmack lässt sich nicht streiten) but your comments are shocking and shameful. If you don't like it just leave it and allow others to enjoy this superb singing and heartfelt interpretation by one of the finest singers not only of his generation, but ever. If you are unable to appreciate it the loss is yours!
Just when I had decided this is essentially a soprano lied, F-D shows me that there is NOTHING he cannot illuminate and make his own to our advantage. If Sawallisch is not very good (see below) he must be excellent.
They're both wonderful artists, and I enjoy both of their interpretations, Tauber in particular makes me keep hitting the reload button on his acoustic recording. I've not stated a word about any artist being superior, I'm not the type, but I suspect if you discovered video of either singing this piece, you'd find the same "Do I need to buy more sausages for my snitchel?" look you're talking about.
Probably this was already mentioned by someone else, in the comments below, but even if so, it bears repeating: His name is not Dieskau. It is Fischer-Dieskau. His father's surname was Fischer. Dietrich (or Albert Dietrich) was born Fischer; the Dieskau was a later addition to the family name, which then became hyphenated. Call him Fischer-Dieskau. He deserves the extra effort.
I agree with radioplug. But I think that perhaps it is not Fischer-Dieskau himself but the fact that it is a male singer that mars that first entry. The soprano voice at its entrance simply grows out of the accompaniment whether piano or orchestral. Still, Fischer-Dieskau sings superbly as always
There was this complete "presentation" here in YT a while ago. It included more than an hour of Lieder from Wolf, Strauss, Schumman, Brahms and Beethoven. It was removed and I cannot find it anywhere else. Anyone knows the name of this particular recording? The only ones remaining in YT are "Mondnacht" and "Erste Grun", which are also amazing. I find this particular concert with Sawallish spectacular.
This clip is all the more poignant now that both artists have died, Wolfgang Sawallisch today and DFD in May last year. Commentary on Sawallisch today has been kinder than it was to DFD, whose singing - and character - seemed to cop an undeserved amount of flak both before and after his death. No singer’s style can please everyone, but sneeringly sanctimonious attacks on DFD by critics such as Greg Sandow, Terry Teachout and Jan Neckers and their followers have at times been downright vicious.
Love it all except that I feel like he comes in too forcefully at the beginning. It's always wonderful when you get a singer who interprets the opening as if their conversation is just coming into focus at that moment. Other than that small issue, I love this performance. Love Fischer-Dieskau!
On a pleuré Whitney et Dona, on s'inquiéte déjà de l'état de santé de Elton et dans la presse, la disparition de ce monument de l'art lyrique qu'est Dietrich Fischer Dieskau, est quasiment passée inaperçue. Décidément les journalistes sont de gros ploucs incultes!
Nope. It's some 20 to 30 cents above F major. Probably due to the video. Guessing from the sound of DFD's voice (a tiny bit Mickey Mouse) and the piano (a tiny bit too shiny), it was tuned "properly" on recording and then through processing it got higher.
Clean, precise, technically excellent singing: typical Fischer-Dieskau. But for my money I'll take the warmth of Prey every time. Funny, when I was a young music student I was convinced FD was a tenor hiding out as a lyric baritone! LOL
+BD Y And you had been right! He was what we call a "spoiled tenor". Have you ever listened to Heinrich Schlusnus singing this lied? No comparison to Schlusnus`warmth and empathy. One can sing this clean that it comes to sterility: typical FD. Besides, I had been a professional classic singer. Greetings from Germany!
+Ruth Ruhfaut And greetings to you from Bundesstaat Washington in the USA! So I was right, was I? FD was a "spoiled tenor." I haven't heard that term before but I like it. ;-) I've only heard a little of Schlusnus to tell you the truth, but you're right he was a superb singer, beautiful voice. You say you sang professionally? That's fantastic. I was only ever an ardent amateur!
Fischer was a real baritone, but he was not the tipical italian opera baritone. He used to sing with a natural light voice, he did not abuse his instrument, that is why he could sing until his last days.
Fischer-Dieskau's interpretive strength is at the fore here. He understands, as few do, that there is a painful wistfulness to this lyric, because it is a fantasy. Even if sung in the very arms of the lover, it is a fantasy of a love-soaked future too good to be true. His vocalism and Sawallish's interpretation leave much to be desired IMHO, but this is nevertheless a peerless performance.
Genau wie Bernstein und Levine war Sawallisch als Pianist hochbegabt. Er hätte ohne weiteres die Pianistenlaufbahn einschlagen können. Sawallisch ist hier meiner Meinung nach besser als Fischer-Diekau!
Comparisons are odious. Best to enjoy and be thankful for all the beautiful renditions set before us, rather than spoiling the banquet with invidious and petty one-upmanship.
I'm generally a tremendous admirer of F‐D but not in this beautiful song. Neither am I impressed by the pianist on this occasion. Overall, from both artistes, a lacklustre performance. The singer mangles a word at one point and takes more breaths than I would have anticipated. By far and away the best reading of this musical gem is in my opinion that between Gerald Moore and Janet Baker. Matchless. Sublime. Utter, utter perfection. Moore lovingly caresses every bar whist Baker's phrasing and nuances totallly embrace the poet's longing, as expressed in the title. By comparison the German singer sounds like a donkey versus a thoroughbred. Given he's singing in his own language I'm taken aback at how immensely dull he sounds in this piece. He's not helped by his pianist who comes across as making heavy weather of his 'efforts'. The word that for me sums up this latter pair's rendition is 'laboured'.
Perhaps I was a little harsh on DFD...I revere his memory...I have many recordings of his...Schumann and Schubert in particular and I adore them. Sorry, but his Strauss (R) is not world class. Just listen to Tauber and Wunderlich and genuinely compare, please.
What a silly comment. Come back when you've grown up a little, as you're missing so much - and that goes for several other non-appreciative comments above that are just plain wrong. And no, it's not a matter of taste in this case.
@@AfroPoli - you already did, said the pot to the kettle. And I wouldn't dignify your insulting comment by calling it a critique - unless, by your standards, that's what it was.
Yes, this rendition also cuts my soul...but the wrong way...the interpretation is insensitive and mechanical. I adore FD's Schubert, but he is hopelessly lost with Strauss. I suspect when I watch his face, he is thinking about his shopping list at Lidl or Aldi...certainly not about the music or text. Yes I am Dr. phil...so please do not challenge my German! mfG Bill
