MAHLER Lieder e. fahrenden Gesellen / Fischer-Dies

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GUSTAV MAHLER

Lieder eines fahrenden Gesellen

4 Rückert-Lieder

Kindertotenlieder
Dietrich Fischer-Dieskau
Symphonieorchester des
Bayerischen Rundfunks
Rafael Kubelik
Berlin Philharmonic
Karl Böhm
Int. Release 03 Jan. 2011
1 CD / Download
0289 477 9375 5 CD ADD GOR


트랙리스트

Gustav Mahler (1860 - 1911)
Lieder eines fahrenden Gesellen

Dietrich Fischer-Dieskau, Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik

Kindertotenlieder

Rückert-Lieder

Dietrich Fischer-Dieskau, Berliner Philharmoniker, Karl Böhm

Songs from "Des Knaben Wunderhorn"

Dietrich Fischer-Dieskau, Karl Engel

총 재생시간 1:13:58

. . . Dietrich Fischer-Dieskau distils an otherworldly spirituality in this song, inspired by the sentient, deep-toned playing of the Berlin Philharmonic under Karl Böhm. Fischer-Dieskau sees everything and exaggerates nothing. "Blicke mir nicht in die Lieder" is gently whimsical, "Um Mitternacht" predictably magnificent, whether in the hushed, fearful opening, the lamenting quality of tone at the disconsolate "Es hat kein Lichtgedanken mir Trost gebracht", or the final affirmation, warm and noble, without bombast. His responses to text and harmonic flux are specific, never generalised.

. . . [Fischer-Dieskau's recording of Mahler's "Kindertotenlieder"] is the best. There really is nothing to criticise . . . you have to find exactly the right balance between showing the songs' emotional impact and also being able to take a step back. Fischer-Dieskau gets this balance, and Böhm's tempos are perfect.

. . . [Dietrich Fischer-Dieskau distils an otherworldly spirituality,] inspired by the sentient, deep-toned playing of the Berlin Philharmonic under Karl Böhm. Fischer-Dieskau sees everything and exaggerates nothing. "Blicke mir nicht in die Lieder" is gently whimsical, "Um Mitternacht" predictably magnificent, whether in the hushed, fearful opening, the lamenting quality of tone at the disconsolate "Es hat kein Lichtgedanken mir Trost gebracht", or the final affirmation, warm and noble, without bombast. His responses to text and harmonic flux are specific, never generalised . . . Fischer-Dieskau's caressing "mezza voce" is matched by playing of exquisite delicacy -- very tender and inward", indeed . . . Fischer-Dieskau combines beauty of tone, Mahlerian understanding and a spiritual quality.