Ihre Favourite Winterreise

Started by Rinaldo, February 02, 2021, 02:13:09 AM

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Aksel Schiøtz Carnegie Hall, 1964 (He was born in 1906)
Really touching - no technique or fire, not even great poetic nuance, but somehow gentle and humane.
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Andreas Schmidt's traveller on DG is really alone, isolated. It's devastating in its way, as devastating as Schreier/Richter, and possibly more convincing in the way it builds to an existential crisis. And he does something which I really value and by no means everyone else does: he makes Part 1 as expressive and and psychologically intense as Part 2. Toppest tier.
Wovon man nicht sprechen kann, darüber muss man schweigen


Quote from: Jo498 on March 20, 2024, 02:10:45 AMGute Nacht is the only long strophic song in the cycle but it has the last stanza in the major. The others are shorter and/or have more contrasts within (e.g. Die Post, Frühlingstraum). (I think the best option is variation within a mostly strophic form like in "Der Lindenbaum".)
Müllerin has more simple strophic songs, I think, and begins with a fairly trite strophic one ("Das Wandern" became a folksy popular song in Germany, although with a slightly changed melodic line), although the only long one is the last one (Des Baches Wiegenlied) where it might fit better.

This requires some creativity of the singer and the accompanist to make little differences "speak". E.g in Gute Nacht the "disappointed hope" in the first 2 returns to minor after major (eg. verses 7+8  vs. 5+6) and of course the last stanza in major.

Benjamin Appl is particularly striking in the strophic songs in Winterreise I think. Exceptional performance all-round, more dramatic than I suggested in my comments on it above.
Wovon man nicht sprechen kann, darüber muss man schweigen


Quote from: Mandryka on March 09, 2024, 01:26:18 PM

Back to this today, and while "enjoying" is certainly not the word (it is joyless), I am having some sort of positive aesthetic experience.

One impressive thing is that Schreier manages the contrast between desolation and anger possibly better than anyone else I've heard, and that's a big part of the cycle - and yet he avoids completely operatic melodrama. He's found a lieder-idiom which is perfect for this.

I bet Richter was in awe because of what Schreier came up with in the concert. He provides the perfect sympathetic and humble accompaniment - he knows his place! It's Schreier's show, his biggest moment, his masterpiece probably, and it's a jolly good thing that it was captured.

Does anyone have the Schreier/Olbertz Winterreise transferred from LP? If so, I'd love to hear it.

Just found this video of it.


Heinrich Rehkemper came up in another discussion -- certainly his Gutte Nacht is remarkable

Wovon man nicht sprechen kann, darüber muss man schweigen


Nimsgern is a low baritone. He was an opera singer, Wotan in Janowski's Ring and Amfortas for Horenstein, though I think he'd retired when he made this Winterreise. Dramatic to the point where the word is insufficient - electric, a sort of nightmarish delirium. Müller meets Artaud! Very enjoyable for me. 
Wovon man nicht sprechen kann, darüber muss man schweigen


Quote from: Mandryka on March 13, 2024, 10:32:12 AM

Certainly worth listening to this, more than once. Benjamin Appl is reserved, peaceful, thoughtful -- it's a lieder singer's performance rather than an opera singer or a narrator. He's got a honeyed voice.  Zero melodrama, minimum dynamic range. Really stimulating for me.

It may be the longest Winterreise on record -- I've not compared the timings with Jon Vickers/Peter Schaaf.  You have to be up for  himmlische Längen.

I have followed this singer for a few years having first accidentally heard a BBC broadcast with him singing some Mahler. He was then on their young artists's programme. I recommend his beautifully structured recital disc called Heimat.

The cover of his Winterreise disc comes from a film he made of a performance. It is not in the usual concert format. He performed it in a temporary building placed in snow up a mountain. It became an encounter with the weather as well as a recital. That did come across dramatically.

Incidentally, he has just announced that he is conducting Handel's Messiah which looks like a direction of his career that he intends to expand.

DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.


Very intimate, there's a fragility in the voice. A Winterreise à fleur de peau. This is Florian Boesch's second Winterreise.
Wovon man nicht sprechen kann, darüber muss man schweigen


Has anyone got a thought about this question:

Why doesn't he kill himself?
Wovon man nicht sprechen kann, darüber muss man schweigen


There is no theory. You have only to listen. Pleasure is the law. — Claude Debussy


Yes, even death eludes him. It really is a sort of Sisyphus vision of the void.
Wovon man nicht sprechen kann, darüber muss man schweigen


Quote from: Florestan on March 07, 2024, 03:11:40 AM

The rapid alternation between depressive, manic and tender moods makes this almost bipolar tripolar.  ;D

Even Vickers' slight English accent, far from being annoying, contributes to the feeling of alienation and displacement.

In a league of its own, this Winterreise.

I wouldn't want to detract from Vickers here, he knows how to sing, he brings nobility and sincerity. I am his biggest fan. The problem I'm having is with Parsons, who just seems like an ineffectual half asleep pussy cat.

Wovon man nicht sprechen kann, darüber muss man schweigen



This live 1983 Winterreise from Jon Vickers and Peter Schaaf was made the year before his studio recording with Parsons. It is superior - a much more profound expressivity and communicative, visceral expressiveness and more responsive piano playing. The interpretation is in someways reminiscent of Schreier/Richter with one important difference - Vickers is right in the swing from the get go  This is the one to hear - tip top tier.

Is it operatic? Was Vickers ever operatic? He's just unique - he transcends genres. A sublime and irresistible force of nature.
Wovon man nicht sprechen kann, darüber muss man schweigen