I sometimes worry that best classical performances are in my past. Then, I hear a performance like this, and I am certain sheer virtuosity belongs to no single era. You two gentlemen are gifted performers. I salute you and thank you for sharing your remarkable gifts.
Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben! Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt. Ich bin gestorben dem Weltgetümmel, Und ruh’ in einem stillen Gebiet! Ich leb’ allein in meinem Himmel, In meinem Lieben, in meinem Lied! -Friedrich Rückert. EN I am lost to the world With which I used to waste much time; It has for so long known nothing of me, It may well believe that I am dead. Nor am I at all concerned If it should think that I am dead. Nor can I deny it, For truly I am dead to the world. I am dead to the world’s tumult And rest in a quiet realm! I live alone in my heaven, In my love, in my song! -Friedrich Rückert
As a young baritone who is currently in school, I am listening to this several times a day. An inspiration at a level I can't even describe. I can only hope and dream that I can reach such a level at any age, and until then, and past then if it comes, I enjoy more than anything listening to this stunning voice sing at a level of mastery far beyond it's age.
Sometimes in a performance everything just meshes, you are "in the zone" as they say. Here, singer, pianist and videographer are "in the zone." This is just excellent! Thank you for sharing it with us.
I can't tell you how many levels of grief this rendition has gotten me through. Jordan and Philippe, Thank you........meditative, consoling, a cool, almost Buddhist sense of what Vergil called "Lacrimae rerum" (the tears of things)
There are moments nature produces two such gifted performers. Mr. De Sousa matches the emotion of Mr. Sly's vocal virtuosity with every keystroke. A nod to the Steinway for its lovely deep and resonant sound. Perfection.
In this most sad of Thanksgivings down here in the USA and on this planet earth, we thank you both all for this heartfelt song to life and death. Yes we really are tired and running from this world, but we must continue to engage in it, one foot in front of the other. Please continue to sing and inspire us, because WE SO NEED INSPIRATION RIGHT NOW WE CANNOT DO IT WITHOUT YOU
The "signature" downward appoggiatura notes that are phrase topping agogic stresses are approached at the end of this work just exquisitely with no mannerism. This uncannily pure composition demands an uncannily pure solution. This is the playing field of the likes of Fischer-Diskau, the late Will Parker, and now this one. His singing is indeed magnificent. One could not wish for more, is lucky to get as much.
This interpretation is so wonderfull. His voice is just wonderfull. The pianist is just wonderfull. Everthing is just wonderfull. And his german is so clear, not even a german could do it better. Excuse my bad english 🙈
I came across this magnificent rendition. What a fantastic voice. And I love the piano interpretation. So much emotion in this version. I listened to it all day. Thank you for sharing this. I hope you will record more Mahler.
If there is music in heaven, as I’m sure there must be, it couldn’t be more lovely than this. Amazing voice, but also amazing use of it. Sound seems effortlessly produced.
I just can’t stop listening to this wonderful performance. I am used to hearing a female voice singing this but I was bowled over by this man. Also used to the orchestra backing but I didn’t really miss it!
Dear Philippe, Yours is the only version that continues to make me weep......The timbre of your voice and the melancholy spirit that moves forward in every line are unmistakable.
Me voilà coupé du monde dans lequel je n'ai que trop perdu mon temps; il n'a depuis longtemps plus rien entendu de moi, il peut bien croire que je suis mort ! Et peu importe, à vrai dire, si je passe pour mort à ses yeux. Et je n'ai rien à y redire, car il est vrai que je suis mort au monde. Je suis mort au monde et à son tumulte et je repose dans un coin tranquille. Je vis solitaire dans mon ciel, dans mon amour, dans mon chant.
I normally prefer the soprano version because even Dietrich Fischer-Dieskau was not that clear, emotional and brilliant! This is just perfect! Sly has it all, De Souza wonderful! A masterpiece.
Interesting. No stiff stage performance but more like he work in progress. And as you can google, Philippe Sly does opera and songs of several composers. There's more to come. Concerning the video. Nice intro but when the singing starts we should be able to focus on the singing and the message. The flashback at 4:31 is horrible because the singer sings at this moment "... in my heaven" which is essential part of the message and of the tension. The scene breaks it recklessly. Maybe this is fashion today but it is stupid and disrespectful. I would have preferred a 2-4 minutes long 'Making of', where we see the two musicians struggling and improving. Then the performance where you can concentrate on the music and meaning. And (maybe) a short after-performance-clip with the reactions of the two to their final version.
Toll gesungen, aber der Filmschnitt ist völlig daneben. Was soll z.B. das Gezappel und Hin- und Herlaufen und Lachen während des Klaviervorspiels? Das wird dem Stück nun wirklich nicht gerecht. Gerne mal den Rückert-Text lesen!!! Mahler hat das Vorspiel sicher nicht geschrieben, damit währenddessen gezeigt wird, wieviel Spaß die Künstler bei der Vorbereitung hatten. Wunderfully sung, but the film cut is completely bad. What, for example, is the running back and forth and laughing during the piano prelude supposed to do? That really doesn't do the play justice. If you read the Rückert text you will find that Mahler certainly didn't write the prelude to show how much fun the artists had at the rehearsal.
Sie wissen offenbar nicht, wie nahe Freude und Leid zusammen liegen, das freut mich sehr für Sie! Ich finde gerade deshalb passt das an dieser Stelle sehr gut, zu zeigen, dass auch das Erarbeiten eines solchen Werkes mit Freude verbunden sein kann (und soll...).
@@samsylvester2140 Ja, aber es gehört nicht gerade dahin, wo man sich auf dieses intensive und stille Lied eingelassen hat und dann an den stillsten und innerlichsten Stellen von einem Gezappel gestört wird. Sie fänden es dann sicher auch toll, wenn mitten in einer Orchesteraufführung der Dirigent noch mal einige Passagen durchgeht und bespricht und dann er oder andere Musiker kurz in die Pause gehen. Nein, es wäre besser gewesen, die Erarbeitung am Anfang oder am Ende zu zeigen, und zwar mit Ton, damit man sieht und hört, was sie besprechen, wo sie Schwierigkeiten und Verbesserungen sehen. Also eine Art 'Making of'.
Avec tout le respect, on dirait que le texte et les phrases musicales ne lui parlent pas. C'est des très beaux sons, et du beau legato, mais je suis un peu déçu, c'est'est plus un travail sur la forme qu'une interprétation. Je dis tout ça, mais j'adore cette voix. 😅
Ole Nielsen--if I were a troll, why on earth would I say he has a lovely voice? The piano, if you want more specifics: in the first few time-stopping and ethereal bars sounds just plain halting, as if the pianist were unfamiliar with the music. And all the hand-waving and sensitive posing in the world is not a performance, let alone an interpretation. I couldn't help but notice you found "wow" and "in the zone" satisfyingly specific, in contrast to my comment.
J Rupp In fact, I guess you didn't bother to look up the Translation of the title, did you?? It says "Ich bin der Welt abhanden gekommen" and it means:"I am lost to the world" So the Pianist interpretates it just the way it makes total sense...
No, I never said "anything would be a legitimate interpretive choice"... It's just that the thing you criticized "as if the pianist were unfamiliar with the music" is something that makes completly sense, if you have a look at the poem by Rückert... but you may give your suggestions to us, how you'd play it differently :)
Surprisingly amazing piano accompaniment. Never heard so convincing & spousing the singer's idea on a piano, an orchestra has infinite ressources + the conductor's! Sounds almost like intended becoming "abhanden gekommen"... Couldn't find nicer to say about.
Sorry but artsi fartsi bs and light years away from such masters as Jose van Damm. Microphones and clever sound engineering can cover up a lot, but not everything
having recently completed my grade 8 singing, after hearing your stunning performance of such a beautiful piece, I have decided to finally learn this myself! Thank you
My go-to performance of this song has been Ludwig, Baker and (yes) Schwarzkopf--she was asked by Bruno Walter to sing it at his farewell concert in Holland (she wrote that she felt her voice didn't have the reserves needed to sing this music). I must also add Norman as well. But your performance has forced me to add the name of Sly, I loved your Giovanni but wasn't prepared for this-- a truly stunning performance.
This has hit me like nothing ever before. It has shaken into life the pain that lay hidden in the deepest of my soul.I didn't know it was there.But it is,and I must face it to become at one with myself.
