Mahler's Songs of a Wayfarer
Robert R. Ramirez
> Was this piece orchestrated for baritone or mezzo-soprano? I thought it
> was mezzo-soprano until I heard the baritone version on the radio. Any
> thoughts? Thanks
As far as I know, "Songs of a Wayfarer" was composed simply for VOICE and
orchestra; either baritone or mezzo-soprano can be employed. Personally,
I think this piece is better when sung by a baritone (especially Thomas
Hampson or even Dietrich Fischer-Dieskau).
Robert Ramirez
Richard Schiebel
> Fischer-Dieskau, yes, but go for the 1950's EMI recording with
> Furtwaengler, whom FD introduced to these songs, and indeed to Mahler, if
> I'm not mistaken.
I'm afraid you are, on both counts. Furtwangler's concert listings show
performances of these works back in 1923.
Rich
Martin A. Mazur
sg...@news.oswego.edu (Celia A. Sgroi) wrote:
>The F-D/Furtwaengler recording on EMI from 1952 is lovely, but I think it
>is exceeded by the "live" F-D/Furtwaengler performance from the Salzburg
>Festival (1951) available on Orfeo. This was F-D's Salzburg debut, and
>you can certainly hear why he knocked their socks off.
>
>I think that Mahler's "Kindertotenlieder" are also infinitely better when
>sung by baritones. My favorite is F-D/Boehm (BPO) on DG from 1966, but
>many people (including Fischer-Dieskau) prefer the earlier recording with
>Kempe.
>
>Any opinions?
Another good performance is Thomas Hampson's on Teldec.
--
Martin A. Mazur | 2nd Century thoughts on MTV:
The Applied Research Laboratory | "There is no public entertainment which
The Pennsylvania State University | does not inflict spiritual damage"
| - Tertullian
Adam W. Grasso
> I think that Mahler's "Kindertotenlieder" are also infinitely better when
> sung by baritones. My favorite is F-D/Boehm (BPO) on DG from 1966, but
> many people (including Fischer-Dieskau) prefer the earlier recording with
> Kempe.
>
> Any opinions?
>
> State University of New York
> College at Oswego
> sg...@oswego.oswego.edu
I enjoy Kindertotenlieder more with baritones also. I have the Kempe on
EMI/Angel, and think it's wonderful. However, I can't comment on the
other recordings FD has made. I do think Janet Baker's interpretation is
beautiful, though.
--
Adam W. Grasso Dept. of Molecular Biology/Microbiology
aw...@po.cwru.edu Case Western Reserve University
Cleveland, OH USA School of Medicine
ROB...@vm.temple.edu
the singer's gender to the suitability of the lyrics, then we'd have to
drop many beautiful recordings of the Lieder eines fahrended Gesellen.
Personally, I've always found that the Kindertotenlieder "sits" on a baritone's
voice much better than a woman's. Hampson's voice in his recording with
Bernstein is very moving in its beauty; I hope he records it again when
he is older. Then again, I almost can't stand listening to these songs
because they're too painful.
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| ROBIN MITCHELL-BOYASK ROBINM@TEMPLEVM |
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In article <DHInJ...@world.std.com>
jl...@world.std.com (James C Liu) writes:
>aw...@po.cwru.edu (Adam W. Grasso) writes:
>
>>> I think that Mahler's "Kindertotenlieder" are also infinitely better when
>>> sung by baritones. My favorite is F-D/Boehm (BPO) on DG from 1966, but
>>> many people (including Fischer-Dieskau) prefer the earlier recording with
>>> Kempe.
>
>>EMI/Angel, and think it's wonderful. However, I can't comment on the
>>other recordings FD has made. I do think Janet Baker's interpretation is
>>beautiful, though.
>
>do refer specifically to a caretaker who regrets leaving the children alone.
>Now, would it have been a male doing such a thing in fin-de-siecle Vienna?
>My prejudices would say absolutely not. One vote for a woman's comforting,
>motherly voice. More specifically, Kathleen Ferrier on EMI, with the
>VPO under Bruno Walter. There's also a surprisingly distinguished modern
>recording with Just Enormous and the Boston SO (Berlin PO?) under Ozawa
>(yes, Ozawa) on Philips.
>--
>/James C.S. Liu, MD "Computers in the future may weigh no more
>jl...@world.std.com than 1.5 tons."
>Department of Medicine -- Popular Mechanics, 1943, forecasting the
>New England Med Ctr, Boston MA relentless march of science
Steven Chung
#More specifically, Kathleen Ferrier on EMI, with the
#VPO under Bruno Walter.
Better yet, live on Decca/London with the Concertgebouw under Klemperer.
[Truly horrendous sound, if that bothers you.]
--
Steven Chung | 1L, Penn Law | sch...@dolphin.upenn.edu
Hlimouze
>As much as I respect J.Liu's opinion, I have to disagree. Were we to
restrict
>the singer's gender to the suitability of the lyrics, then we'd have to
>drop many beautiful recordings of the Lieder eines fahrended Gesellen.
>Personally, I've always found that the Kindertotenlieder "sits" on a
baritone's
>voice much better than a woman's. Hampson's voice in his recording with
>Bernstein is very moving in its beauty; I hope he records it again when
>he is older. Then again, I almost can't stand listening to these songs
>because they're too painful.
Strong agreement here! I can't think of a good reason not to give
Kindertoten-
lieder to a male singer. Personally, I find the early (earliest?)
recording of these songs, by Heinrich Rehkemper and Jascha Horenstein, to
be the most moving and painful of all. I'll have to look for Hampson's.
Henry Limouze
gggg gggg
"Die zwei blauen Augen von meinem Schatz (Lieder eines fahrenden Gesellen)"
gggg gggg
"Dietrich Henschel; "LIEDER EINES FAHRENDEN GESELLEN"; Gustav Mahler"
gggg gggg
> ek...@uclink2.berkeley.edu (Eugene Kim Kang) writes:
>
> > Was this piece orchestrated for baritone or mezzo-soprano? I thought it
> > was mezzo-soprano until I heard the baritone version on the radio. Any
> > thoughts? Thanks
> As far as I know, "Songs of a Wayfarer" was composed simply for VOICE and
> orchestra; either baritone or mezzo-soprano can be employed. Personally,
> I think this piece is better when sung by a baritone (especially Thomas
> Hampson or even Dietrich Fischer-Dieskau).
>
> Robert Ramirez
https://www.wfmt.com/2023/04/30/highlights-of-warner-classics-compilation-of-furtwangler-recordings