You wouldn't think that a recording by Fischer- Dieskau, given his huge Schubert discography, could still offer an exciting revelation – but that's what the 'new' Die schöne Müllerin recording offers. Explanations for its suppression vary. The singer seems to think it has something to do with its technical quality: the booklet-note, slightly more credibly, tells us that it was planned before DG decided to include the cycle in its 'complete' Schubert with the baritone and Gerald Moore, which caused this performance to be put on the back burner. Now we can enjoy a reading that's absolutely spontaneous, daring in its dramatic effects – bold extremes of dynamics, for instance – and full of even more subtle detail than in Fischer-Dieskau's other recordings.
This approach owes not a little to Demus's piano. As Alan Newcombe says in his notes: 'Aided by Demus's lightly pedalled, often almost brusque staccato articulation, the result is starker, more elemental, less comfortable [than the reading with Moore], conceived on a larger scale.' To that one should add that the singer is at the absolute height of his powers; tone, line, breath control and intuitive imagination are most remarkable in the strophic songs that, in lesser hands, can seem over-long. Another feature of this is the significant underlining he gives to pertinent words. For instance, in Pause note how 'gehängt', 'durchschauert' and 'Nachklang' receive this treatment. It's this unique vision of the German language in music that still marks out this baritone from his many successors.
Immediate, unvarnished sound heightens the value of this extraordinary performance.