Schumann: Liederkreis, Op. 24, etc.
Dietrich Fischer-Dieskau, Gerald Moore, Hertha Klust
Awards:
-
Building a Library, April 2017, Also Recommended
With his voice in its heady first bloom, Fischer-Dieskau dramatises rather than merely relates. In the third song, "Ich wandelte unter den Bäumen", he is dulcet at the opening, finds a disembodied...
Schumann: Liederkreis, Op. 24, etc.
Dietrich Fischer-Dieskau, Gerald Moore, Hertha Klust
Purchase product
Awards:
-
Building a Library, April 2017, Also Recommended
With his voice in its heady first bloom, Fischer-Dieskau dramatises rather than merely relates. In the third song, "Ich wandelte unter den Bäumen", he is dulcet at the opening, finds a disembodied...
About
Contents and tracklist
- Gerald Moore, Dietrich Fischer-Dieskau (baritone), Hertha Klust
- Dietrich Fischer-Dieskau (baritone), Hertha Klust (piano)
Schumann:
Myrthen Op.25 (2004 Digital Remaster): Du bist wie eine Blume (wds. Heine)
Work length1:49
- Hertha Klust, Dietrich Fischer-Dieskau (baritone)
- Hertha Klust, Dietrich Fischer-Dieskau (baritone)
Schumann:
Der Arme Peter (Romanzen und Balladen III, Op.53 No.3) (2004 Digital Remaster)
Work length4:39
- Hertha Klust, Dietrich Fischer-Dieskau (baritone)
Schumann:
4 Gesänge Op. 142 (2004 Digital Remaster): No. 4, Mein Wagen rollet langsam (wds. Heine)
Work length2:53
- Dietrich Fischer-Dieskau (baritone), Hertha Klust (piano)
- Dietrich Fischer-Dieskau (baritone), Gerald Moore (piano), Hertha Klust (piano)
- Dietrich Fischer-Dieskau (baritone), Hertha Klust (piano)
Awards and reviews
26th July 2008
With his voice in its heady first bloom, Fischer-Dieskau dramatises rather than merely relates. In the third song, "Ich wandelte unter den Bäumen", he is dulcet at the opening, finds a disembodied colouring for the mysterious birdsong, and then uses a harder, darkened tone to convey the mingled disillusion and defiance of the close.
Elsewhere, Fischer-Dieskau combines a yearning legato with an edge of neurosis in "Schöne Wiegen meiner Leiden", hauntingly catches the numbed fear of "Lieb' Liebchen" - where Heine equates his heartbeat with a carpenter hammering his coffin - and sings the final "Mit Myrthen und Rosen" with rueful tenderness.