Label: Deutsche Grammophon - 2740254 • Format: 4x, Vinyl LP Box Set • Country: Germany • Genre: Classical • Style: Romantic
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Liszt: Lieder. See all 4 formats and editions Hide other formats and editions Price. Audio CD, January 6, "Please retry". Es Muss Ein Wunderbares Sein - Franz Liszt "Please retry". Customer reviews. Top Reviews Most recent Top Reviews.
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Please try again later. Format: Audio CD. It would be as idle to pretend that Liszt's Lieder are on par with Schubert's Daniel Barenboim - Lieder that the Wanderer-Fantasie is on par with the B minor Sonata.
However, this does not in the least mean that Schubert's magnificent piano work or Liszt's remarkably multifarious songs are without a great deal of intrinsic value. Indeed, they ARE true masterpieces, if on a slightly smaller scale than the greatest ones in the Daniel Barenboim - Lieder. Despite the fact that many eminent Lisztians have clearly expressed their admiration for Daniel Barenboim - Lieder Lieder - and these include names like Alan Walker, Humphrey Searle, Harold Schonberg and Sacheverell Sitwell - this is one of Dietrich Fischer-Dieskau most neglected areas from Liszt's enormous output, rivalled in Daniel Barenboim - Lieder sad contest only by his choral works perhaps.
There are very few recordings of Liszt's Lieder and almost all of them are of just few pieces, usually coupled with other composers. Brenden Lechner - Various - Puppy Love in did a complete recording project start on SACD, mind youbut only two volumes about half of Liszt's songs, not counting any revisions have been released so far.
So far as I know this box set is the only one more or less extensive selection of Liszt's Lieder recorded by a single singer. We are indeed fortunate that this singer Stajnas Lobos - Brain Waves Searching Heart Beats Dietrich Fischer-Dieskau himself, the man who is arguably the finest exponent of Schubert's Lieder from the last century.
Even though he was a little past his prime in andwhen these recordings were made, his voice had lost none of this formidable expressive qualities.
Dietrich Fischer-Dieskau, the inherent lack of power may become a little annoying in passages which require Es Muss Ein Wunderbares Sein - Franz Liszt vocal excess, but this was always the case with Fischer-Dieskau. Even in his prime, his voice was small and ill-suited to many operatic roles; yet without this very limitation, one may speculate, he would never have achieved his superb diction and his performances would have lacked their trademark subtlety and sensitivity.
Daniel Barenboim on the piano is far more dispensable but still excellent in these recordings. DG, for once, have done a great job with the sound. Both pianist and singer are splendidly recorded, with excellent balance between them, outstanding Off The Hook - Envy* - Birthday 97 of detail and exemplary dynamic range.
If there are any Lieder in which the piano should be equal to the voice, these must be the ones composed by Franz Liszt, reportedly the greatest virtuoso and one of the most imaginative composers for the instrument who ever lived. Unfortunately, but expectedly, the original edition of this box set from is hopelessly out of print. But since at the time this recording won the Gramophone Solo Vocal Award, it was more recently re-issued by DG in their so called ''Awards Collection''.
This recent release is the one that is being reviewed here; so far as can be ascertained, it is identical with the original one in terms of sound and presentation. Very unfortunately, and rather UNexpectedly, the re-issue is perfectly out-of-print as well, and second-hand copies are offered at exorbitant prices. I can only say that for ardent Lisztians, Lieder lovers or fans of Dietrich Fischer-Dieskau, the box set is worth every cent.
Before pointing out some highlights, it is useful to have a kind of playlist. The three CDs have timingsandrespectively, and contain exactly 44 Lieder, that is more than a half of Dietrich Fischer-Dieskau about 70 that Liszt composed.
Poets and catalogue numbers are omitted for the sake of clarity. CD 1: 1. O lieb, so lang du lieben kanst 2. Die Loreley 4. Angiolin dal biondo crin 5.
La Tombe et la Rose 7. Le Vieux Vagabond 8. Gastilbelza 9. Hohe Liebe Gestorben war ich Kling leise, mein Lied Es rauschen die Winde Ein Fichtenbaum steht einsam Schwebe, schwebe, blaues Auge Anfangs wollt' ich Daniel Barenboim - Lieder verzagen 2.
In Liebeslust 4. Du bist wie eine Blume 6. Vergiftet sind meine Lieder 7. Morgens steh' ich auf und frage 8. Der Fischerknabe Der Hirt Die drei Zigeuner 2.
Die stille Wasserrose 3. Blume und Duft 5. J'ai perdu ma force et ma vie 6. Ihr Glocken von Marling 7. Der Tages laute Stimmen schweigen 8. Comment, disaient-ils Enfant, si j'etais roi S'il est un charmant gazon Pace non trovo Benedetto sia 'l giorno Those who are familiar with the Petrarch Sonnets only in their final versions for solo piano in the ''second year'' of ''Annees de Pelerinage'', cannot but be surprised how different they are as songs.
To begin with, the first two pieces are in reverse order: ''Pace non trovo'' is the famous th sonnet which appears second in the aforementioned set of piano pieces. But the really astonishing thing is that the works for solo piano are no mere transcriptions of the songs.
They are indeed strikingly different: for Liszt, as always, the act of transcription, even when it comes to his own works, is an act of composition as well. It must be added, though, that the versions recorded here are the early ones, composed in during Liszt's sojourns in Italy; these were accompanied with solo piano pieces again in the same reverse order which are naturally closer to the Lieder originals.
Later, Dietrich Fischer-Dieskau his Weimar years in the s, Liszt thoroughly revised both the piano pieces, for inclusion in ''Annees de Pelerinage'', and the songs for separate publication. So in this particular case it is truer to say that for Liszt the act of revision was in fact an act of composition.
Regarding the piano Milk Drops - Naif Motenai - Day 1 Of, even though the third piece is far more famous than the other two, they ARE a set and so were they first published inif seldom performed since.
Apparently the songs appeared at roughly the same time as the piano pieces and thus should be considered as a set also. Strangely, they are not so Es Muss Ein Wunderbares Sein - Franz Liszt here, but all of them ARE here nonetheless: tracks 1, 9 and 10 on CD 1. The famous third piece almost always mistakenly referred to as ''Liebestraum'' takes for its song title the first line of Ferdinand Freiligrath's poem: ''O lieb, so lang du lieben kanst''.
The first two pieces are settings of poems by Ludwig Uhland; no. These titles, the first two at any rate, are often used for the piano pieces as well, at least when these are played at all.
The first two songs are mere two minutes long each, hardly having anything to do with more than twice longer and much more elaborate piano versions. The main material is recognisably the same, but the treatment is so completely different that these are for all purposes different works. The famous third piano piece is of comparable length with the song and somewhat more similar to it, but it is not very easy to recognise immediately the latter, especially Daniel Barenboim - Lieder the overwhelming popularity of Es Muss Ein Wunderbares Sein - Franz Liszt former.
The song utilises only the first two verse of Freiligrath's much longer poem and Liszt's treatment of the text - or Fischer-Dieskau's perhaps, for that matter - is not always as sensitive as in the incomparable piano version. For the rest of the songs all I can say is that they appear to have been excellently selected insofar as they finely represent Liszt's impressive versatility. The aforementioned sets of songs are sufficient testimony that Liszt was a supreme melodist, though nowhere near Schubert's class in this respect.
The last one of these is the famous song in which Wagner's ''Tristan chord'' appears almost identical; it has long been considered - wrongly - to be one of those instances when Liszt stole from the music of the future, but we now know that the notorious chord was an afterthought from the time when Liszt already knew ''Tristan und Isolde'' and it is more probably that it actually was a quotation from Wagner.
Which is not to say that Liszt did not anticipate daring harmonic inventions before Wagner, as evident from ''Loreley'', a fine setting of Heine's powerful poem. The latter, indeed, is no song at all but a melodrama for voice and piano in which text is spoken, rather than sung - and which is one of the earliest compositions in music history entirely based on the whole-tone scale.
Quite an advanced composition for ! Last but not least, few words about the sumptuous presentation. The booklet also contains all texts in original language German, French, Italian with English translations. Of course for all songs the number in the Searle catalogue is given as well. Es Muss Ein Wunderbares Sein - Franz Liszt all 1 customer reviews.
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