"Women in the sun in the morning" - Caspar David Friedrich
Last year marked the bicentenary of Robert Schumann (1810 -1856). The year ended and not in this blog devoted to the German composer or a reference miserable, so, although late, today I thought of remedying this omission.
The truth is that Schumann has never been found among my favorite composers
. Not that I like, much less, but sometimes I find his work so exacerbated romanticism which I find cloying and even advise against their listening directly to diabetics. But it certainly has beautiful work, and once I overcome the laziness that often accompanies me home, it is hard not to enjoy his compositions. One of the works I just always reconciling with is Schumann "Dichterliebe" (Poet's Love) , which is the composer's Opus 48, possibly his best known song cycle and one of the peaks of German Romantic Lied.
was written between May and June 1840, one of the most creative periods of the musician and the same year he married Clara Schumann . The work conceived for solo voice and piano, consists of 16 lieder freely created many other texts by the poet Heinrich Heine . These poems belong to the series of 65, plus a prologue, written Heine titled "Intermezzo Lyrisches" .
Although the cycle has been interpreted by all kinds of voices, it seems that Schumann originally wrote the score for soprano. In
fact, the composer dedicated his "Dichterliebe" the singer Wilhelmine Schröder-Devrient , a German soprano of the time, however, it is more known for his countrymen through the allegedly autobiographical book attributed to him (published in Spain as "Memoirs of a German singer" ) which explains in detail the various and bizarre sexual hobbies of his youth, making the book with the passage of time in one of the most popular works of erotic literature Germanic. In "Dichterliebe" , Schumann manages to give his music
the extreme sensitivity of the texts of Heine and enhances the poetry in them, knowing extract their musical potential, adjusting, when considering accurate, the verses to the needs of your score to obtain the desired melody. Few composers had hitherto been an intimate connection between music and poetry. Here poetry Music Heine and Schumann poetic music , merge into an indivisible whole, enriching each other. This cycle basically speaks of love. Of love in its entirety and from all perspectives, from initial infatuation, to the fullness of happiness achieved, disillusionment, nostalgia and an ending which sees the criticism and resignation to lost love and at the same death
but not without a small glimmer of hope. Despite the differences we find between 16 lieder, the cycle is equipped with a dramatic unity and a cyclical structure that goes más allá de ser una simple sucesión de canciones temáticas. Para lograr transmitir toda la profundidad musical y poética de estos lieder se exige un intérprete que aúne sensibilidad y riqueza de matices con fuerza expresiva y autoridad vocal. Muchos han sido los y las cantantes que han puesto su voz a este ciclo. Yo hoy quería traer aquí una pequeña muestra de algunas interpretaciones de estos lieder en voces muy distintas.
Comienzo con el que posiblemente sea el más grande liederista de nuestra época, el barítono alemán Dietrich Fischer-Dieskau . El cantante, con la belleza de su timbre baritonal, su impoluta dicción and an astonishing wealth dynamics in a teacher manages to convey the passionate intimacy of Schumann's work . Then we can listen to the Salzburg Festival in 1956, accompanied on piano by Gerald Moore , playing the first six lieder cycle :
video
FiDiTanzer528
same 1956 and also at the Salzburg Festival, the great Italian bass Cesare Siepi , accompanied by piano Taubmann Leo, played the lied cycle number 7: "Ich Grolle nicht" (Do not hold grudges) . Siepi was not exactly a specialist German lied, but here his powerful, dark voice, with the energetic music of Schumann , manage to reflect the dramatic loss of love and anger of the indignant:
video
sprichbeeke
Then we hear a tenor, none other than Fritz Wunderlich , accompanied by pianist Hubert Giesen , playing the lied number 8: "Und wüßten's die Blumen, die kleinen (If the flowers knowledge) , a real waste of expressiveness and sensitivity:
video
Hypercheiria
is yet another baritone Thomas Quasthoff extraordinarily accompanied by Hélène Grimaud , who sings the lied 10: "Hör 'ich das Liedchen klingen" (I hear the sound of the mantra) , a brief but beautiful displays of know-how of the German singer who brings all the nostalgia and pain of the page:
of medicitv
I end with a female voice playing the last three lieder cycle. It is the American soprano Barbara Bonney , accompanied by Malcolm Martineau's piano in a live performance at the Châtelet in Paris in 2001:
video
lyricholic
If you want to hear the complete cycle in tenor Mark Padmore and Kristiaan piano Bezuidenhout and see all the texts translated, here you can go , into which recently devoted Maacah on his blog to this work of Schumann .
0 comments:
Post a Comment