Now retired from the scene and also about to conclude his career liederista , Heinrich Schlusnus recorded a recital of songs by Strauss and Mahler, which included a rarity then, the series "The errant comrade." Rarity from the point of view of the singer himself, that bohemian author had previously recorded only two examples of the series "Das Knaben Wunderhorn." Registration is a kind of art will not only Schlusnus baritone, but a way of interpreting the genre and even the culture of an era. Shortly after Dietrich Fischer-Dieskau , his successor as prime Lieder singer in Germany, recorded the cycle under the direction of Furtwängler. Multifaceted performer and analytical, able to produce with her voice an almost infinite range of colors and intensities, his is a version just as essential but which has been lost forever ineffable art expressive simplicity wars. Just listen to the verse that opens the first Lied to realize that everything in the song Schlusnus is subordinate to tighten up the resources, perfect diction, legato immaculate, small and continuous air modulations softening, color or fade the stamp with the naturalness of who recites. The ability to incorporate light and dark hiding mechanism was always one of the features of his art. The voice remains miraculously clear and light, even youthful, and transmits pure nostalgia of the past. The perfection of support, legato and union between the painful records testify intervals that characterize the melody ("hab ich"), tightly attached to the descent resigned semitones below. By referring a second time to the "dark room" the tone is dark ("Dunkles Kämmerlein") and reveals the depth of despair which dominates the cycle. Schlusnus has another merit: the tone is always popular, plain and direct, at all times so requested. Something that singers do not always get this refinement. So in the middle section, where the bell acquired also an ethereal sound. It is worth addressing the enforcement of many dual regulatory signs required (\u0026lt;>): in particular, two written in the last sentence ("An mein Leiden"). Song on her lips that always maintains the tone and sound binding. A teacher.
Lied In the second may be perceived lack of Mahler strong culture to adapt to changing unhealthy humor about the former. Time is default and does not highlight the vibrant Schlusnus Part trot or changes the color to highlight the mocking talk of finch. At this point Fischer-Dieskau is more circumspect. At least until the ascending phrase "Wird's nicht eine schöne Welt" and successive, they must imitate the song of the bird and Sch. Resolves with sudden energy and absolute clarity. What is beyond doubt is the hallucinatory tone, almost in a trance in the slow section ("Und da fing im Sonnenschein") where the issue head allows you to get a sound almost unreal. Anthology also the childlike innocence that marks the close ("Nein, nein, das ich mein ', Nimmer blühen kann mir!").
In "Ich hab ' glühend ein Messer "is reaching one of the highest levels of the discography of this rough and frantic Lied. No other singer exhibits similar accent and diction of nerve and bite in the first sentences. The control of breath and yet expressive sobriety do not give one iota. With respect to a Fischer-Dieskau, Schlusnus also has the advantage of issuance Squillante. For a singer of his age, thirty-five year career and experienced two world wars, this form of singing is an artistic symbol unfading. The tension never absent even when it begins in a tone collected, masterfully increases in the middle to exploit in the return to the main idea. Also culminates with a timbradísimo page Solbes (optional) and then reaches the depths of despair with a small rallentando ("Ich wollt 'ich lag auf der schwarzen Bahr). The only small but it comes with the logical weakness in closing down the sib.
's hard to hear better sense of resignation that Schlusnus expressing the beginning of "Die zwei blauen Augen von meinem Schatz." Again collecting expressive restraint can only emerge from the deepest sincerity. Worth paying attention to the way in which carves "Da ich musste Abschied nehmen vom allerliebsten Platz! ", reinforcing the sound from" nehmen "and maintaining a beautiful pp in a particularly high (almost tenor) with incomparable smoothness. Espressivo Mahler indicates in the following sentence: you can not imagine a greater emotion, referring to the eyes of the beloved (even receives a small tremor) or deeper desolation that "warum." After a stern middle section, the last starts with a calm tone purified to the final solution, where the singer touches the border of the fortunate effect whisper (cleverly disguising the new down to the serious).
accompaniment is
somewhat dour, but provides the necessary frank and strong colors. Subtract the greatness of the song. Song that makes the willful interpretation of Quasthoff commented a few weeks ago it frustrating that other baritones and current (or Gerhaher Goerne) seem half singers, mere imitators of Dieskau. A version that supposedly has not been released on CD and we can enjoy thanks to a YouTube user. And remember this anniversary of the death of Mahler, which was perhaps used as an excuse to also discuss other historical records of the earliest advocates of the work disk.
accompaniment is
somewhat dour, but provides the necessary frank and strong colors. Subtract the greatness of the song. Song that makes the willful interpretation of Quasthoff commented a few weeks ago it frustrating that other baritones and current (or Gerhaher Goerne) seem half singers, mere imitators of Dieskau. A version that supposedly has not been released on CD and we can enjoy thanks to a YouTube user. And remember this anniversary of the death of Mahler, which was perhaps used as an excuse to also discuss other historical records of the earliest advocates of the work disk.
Link to Playlist of the cycle. Open bar
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