Brahms: Liebeslieder-Walzer, Op. 52, etc.
Edith Mathis, Brigitte Fassbaender, Peter Schreier & Dietrich Fischer-Dieskau
Wolfgang Sawallisch & Karl Engel
These delightful works will be eagerly snapped up by lovers of these seemingly simple but, in fact, quite complex settings for one, two or four voices.
The performances are thoroughly idiomatic,...
Brahms: Liebeslieder-Walzer, Op. 52, etc.
Edith Mathis, Brigitte Fassbaender, Peter Schreier & Dietrich Fischer-Dieskau
Wolfgang Sawallisch & Karl Engel
Purchase product
These delightful works will be eagerly snapped up by lovers of these seemingly simple but, in fact, quite complex settings for one, two or four voices.
The performances are thoroughly idiomatic,...
About
Contents and tracklist
- Edith Mathis (soprano), Peter Schreier (tenor), Dietrich Fischer-Dieskau (baritone), Karl Engel (piano), Wolfgang Sawallisch (piano), Brigitte Fassbaender (contralto)
- Recorded: 1981-09-18
- Recording Venue: Studio Lankwitz, Berlin
- Edith Mathis (soprano), Peter Schreier (tenor), Dietrich Fischer-Dieskau (baritone), Karl Engel (piano), Wolfgang Sawallisch (piano), Brigitte Fassbaender (contralto)
- Recorded: 1981-09-18
- Recording Venue: Studio Lankwitz, Berlin
- Edith Mathis (soprano), Brigitte Fassbaender (contralto), Peter Schreier (tenor), Dietrich Fischer-Dieskau (baritone), Karl Engel (piano)
- Recorded: 1981-09-18
- Recording Venue: Studio Lankwitz, Berlin
Awards and reviews
2010
These delightful works will be eagerly snapped up by lovers of these seemingly simple but, in fact, quite complex settings for one, two or four voices.
The performances are thoroughly idiomatic, both as regards the singers and pianists, with full value given to the words and their meaning. It isn't merely a question of fine singing, which with this quartet can be more or less taken for granted: the subtlety and charm of the interpretations makes what can all too often be a dreary sequence of three-four numbers into a poetic response to the nature of the waltz. There's an intelligent give-and-take between the soloists, so that voices move in and out of the limelight, as the skilful recording allows, and an extra dimension of the music is disclosed here that's too often obscured.
The immediate sound is here a great advantage.
This is a very worthwhile and welcome reissue of a most attractive individual record.