Robert Schumann – Dichterliebe and Liederkreis

★★★★✰

   Song cycle was undoubtedly the crowning artistic form in early romantic music, in the times of growing importance of bourgeoisie and in consequence the great social change of culture and music. Most popular romantic cycles of songs were composed by Franz Schubert, Robert Schumann, Hector Berlioz and later by Johannes Brahms, Hugo Wolf, Richard Wagner and Gustav Mahler but there were many more composers all over the Europe and Americas. Even in late romanticism, when symphonic poem became trendy the idea of cyclic musical form based on song was alive. New cycles of songs were still created in the twentieth century but rather for public performances since there was no longer social background for societal performing practice. 

   This high artistic position of song cycle was also preserved by social practice. While in many homes of 19th century singing was common activity, wealthier part of societal life was animated by professional and semiprofessional private concerts. Romantic song was form derived both from earlier aria da capo and from the idea of a narrative ballad so significant in folk music and in romantic ideas. Based on romantic song form, song cycles were heard only during very special evenings, as requiring professional shape of singer and accompanist. Such singing performances were central event in many societal occasions.

Robert Schumann – Diechterliebe and Liederkreis op. 24 (1965)

   After his marriage with Clara Wieck, Robert Schumann has devoted almost exclusively to one type of musical works and for one year he was consecutively composing song cycles. One of very first in this Liederjahr series was Liederkreis op. 24, cycle of nine songs to poems by Heinrich Heine. During the same ‘year of songs’ Schumann composed his most famous cycles Liederkreis op. 39 (to poems by Joseph von Eichendorff), Frauenliebe und –leben op. 42 (to poems by Adelbert von Chamisso) and Dichterliebe op. 48 cycle of sixteen songs to texts taken from Lyrisches Intermezzo by Heinrich Heine. Dichterliebe (Poet’s Love) became one of most popular cycles in history of the genre. One of best recordings awarded with Orphee D’or was 1957 recording by Dietrich Fischer-Dieskau with Jörg Demus for Deutsche Grammophon Gesellschaft and published with 6 Songs by Johannes Brahms (18370). This recording was reedited in 1965 with Schumann’s Liederkreis op. 24 (LPM 39 109). This way two song cycles by Heine and Schumann were bound in one album.

Robert Schumann – Die alten, bösen Lieder (1957)

   Last song of the Dichterliebe cycle (No 16) was also the last poems of Heinrich Heine’s Lyrisches Intermezzo (No 65). In this song called Die alten, bösen Lieder (The Old Bad Songs) poet says it’s time to bury old bad songs with angry and bitter dreams in great and heavy coffin which could contain all his love and suffering. This form of poetic imagery shows how much romantic poets were reliant of folk inspirations. Comparing to other romantic composers, Schumann gives piano more autonomous role in creating emotional narration and in construction of the composition. One of effects was two minute piano coda in last song of the cycle, where he gives an instrumental commentary to the song.

   As love was main thematic background of whole romantic culture, song merging poetry and music was perfect construction for emotional content. While many songs and musical compositions were devoted to different feelings and stories, in cycles of songs love is dominant theme. It can be brotherly love or parents’ love to children. But what makes this subject so significant from social point of view, love is an element of personal freedom or expression of rebellion against unjust societal rules. This was one of elements in cultural movement strengthened the position of new social force which has changed the history of whole human civilization.

Giuseppe Verdi Festival

THE 200th ANNIVERSARY OF GIUSEPPE VERDI'S BIRTH

   Among many musical theatre composers the two dominated the opera scene in 19th century were Giuseppe Verdi and Richard Wagner – both were born the same year and this was the only common point of these two. Giuseppe Verdi (1813-1901) was a child of the era. He was composer of extended romantic style with tendencies to popular music and in later works to the post-romantic ideas, partly as reaction to Wagner’s drama. He is probably most celebrated composer of the century. Main part of his work consists of nearly three dozens of operas and revisions. He has written also some songs and sacred works with highly valued Requiem. Although shortly after his death he was detronised by Giacomo Puccini, he should be remembered as the greatest opera composer of opulent era. 

   There are thousands of Verdi recordings, from life performances and complete opera albums to fragments in recitals of many composers and performers. And it’s negligible if there is full Verdi’s work or only short fragment. One of features of composers output is this simple fact, every work has highlights playing the role of hits in romantic music culture. No wonder there are many concert programs and records showing only these fragments. One of such was Verdi Festival published as the Capriccio Club Edition in 1985 with fragment of Giovanni Boldini’s famous portrait of 71 year old Verdi. This is very well pressed, introducing quite good performances and well edited choice, so it deserves three and a half of the five star scale.

Giuseppe Verdi Festival (1985)

   The Capriccio Verdi album is very good starting point for somebody who needs short introduction to best achievements of Giuseppe Verdi. It’s opened with La forza del destino overture in nice rendition of Budapest State Opera Orchestra conducted by Trikolidisz Karolosz. Than come full version of Va pensiero choir from Nabucco and ballet scene from Aida performed by London Symphony Orchestra with Laurence Siegel and Di quella pira from Il trovatore sung with brave by Ludovic Spiess. Second side comprises Intermezzo from La Traviata again with Budapest Opera and Karolosz, gypsy chorus from Il trovatore performed by Chor und Orchester Der Staatsoper Berlin conducted by Otmar Suitner and two fragments from Don Carlos – duet of Don Carlos and Rodrigo Carlo Bergonzi and Dietrich Fischer-Dieskau, air Ella giammai m’amo sung by Nicola Rossi.
   Second record of the album starts with Triumphal March from Aida continued with Zitti, zitti, noviamo a vendetta from Rigoletto and soldiers chorus from Il trovatore. These fragments were recorded by ensemble of Staatsoper Berlin under Otmar Suitner. In this choice there have to be some arias and great vocal performances. Nicola Herlea in Di provenza il mar from La Traviata, Eva Marton sings Pace, pace from La forza del destino and Sylvia Sass with Giorgio Lamberti duet from Ernani. The fourth part concluding the choice comprises three spectacular arias: Cortigiani from Rigoletto sung by Nicola Herlea, Mia madre aveva una povera ancella from Othello perfectly exposed by Anna Tomova-Sintov, and Studia il passo from Macbeth performed by Boris Christoff. These fragments are framed by Prelude to 3rd Act of Aida (Staatsoper Berlin, C. Litvin) and Matador Choir from La Traviata (Opera Bukarest, J.Bobescu). I have to admit it's quite a nice program for birthday celebration.

Hugo Wolf – Mörike-Lieder – Dietrich Fisher-Dieskau & Svjatoslav Richter

   Romantic period delivered not as many new musical forms as preceded eras of Classicism or Baroque, the characteristic of 19th century was rather to make new use of many older constructive ideas than to create them from the beginning. Musical form was less important than emotional content and musical psychology took primate over intellectual constructions. Many historic forms were still in use, but with new esthetical attitude and in more flexible meaning, from sonata form, through symphony, to concerto and opera. Some more ideas have been developed from previous forms. Most independent and new forms were symphonic poem and romantic song. While first form has limited scope only, song became the hallmarks of the time. Since Schubert, Chopin, Schuman, through Wagner, Brahms and Tchaikovsky to Mahler and Strauss, song remained primary language of romantic music.
   Romantic song was not only a popular way of organizing musical material in composition. Second element of the song was lyrical content which in fact usually took over the overriding role in construction. Such idea was a foundation of solo songs by Hugo Wolf who was composing his songs in predominantly through-composed form. He was strongly affected by Richard Wagner’s solutions, in many fragments he used lots of chromaticisms and nonperiodic phraseology. Hugo Wolf was one of most talented lieder composers of romantic era, he composed 250 songs in 10 years period from 1888 to 1897. He didn’t wrote typical cycles of songs, but he focused on one composer or one set of poetry at a time, so he composed songs to Eduard Mörike (Mörike-Lieder) in 1888, Joseph Freiherr von Eichendorff (Eichendorff-Lieder) in 1889, Johann Wolfgang von Goethe (Goethe-Lieder) in 1890 and Michelangelo Buonarrotti (Michelangelo Lieder) in 1897. He was also author of Spanisches Liederbuch (1891) and Italienisches Liederbuch (1892, 1896).

Hugo Wolf: Mörike-Lieder – D. Fisher-Dieskau & S. Richter (1973)

   Probably most praised phonographic release of Wolf’s songs is life recording of great tenor and congenial interpreter of romantic song Dietrich Fisher-Dieskau and Svjatoslav Richter – pianist of unlimited possibilities, one of those few presenting comprehensive profile of technical, intellectual and emotional qualities in piano art. Their Innsbruck recital in October 1973 was great success although it wasn’t only one success of this duo, they were acting together a lot and publishing recordings with Schubert and Brahms recitals. The record published two years after Innsbruck recital by Deutsche Grammophon (2530 584) is one of greatest positions in Wolf’s discography. It captures the atmosphere of live performance and renders its dramatic tension.
   This selection comprises 18 most characteristic songs out of 53 songs contained in 4 volumes of complete collection of Mörike-Lieder cycle. Preserving the original idea of Hugo Wolf, artists had been trying to construct recital basing on the same opening and closing songs and common highlights. Perfect example is Der Feuerreiter, the song that requires virtuoso technique and dramatic skills of both musicians. This is also the one clearly showing the New German School impact on artistic song and its consequences in Wolf’s style. About 30 years after Liszt and Wagner’s songs, Slovenian composer establishing new relations between words and music made next step towards expression and modernism. The importance of Hugo Wolf’s songs is undeniable. Fortunately there are singers performing and recording these works, Wolf is present in concert and in radio programs. Recorded recital belongs to events of great artistic importance – for its unique qualities and for giving Hugo Wolf the place in our memory it deserves four stars.

Mozart – Requiem – Daniel Barenboim

   In the history of music many masterpieces are clearly unappreciated while many are just over-valued. Some works are more significant in public memory than it’s justified by their technical and artistic importance. Some of these works are even not finished. Most famous work by Wolfgang Amadeus Mozart, the legendary Requiem can be seen as a kind of failure. Composer started work with ambitious solutions exceeding stylistic formulas of this time. He probably stopped composing his missa pro defunctis few months before his death. Maybe the romantic legend of Mozart composing Requiem on deathbed has contributed to the consolidation of the myth of the last masterpiece and artistic testament of genius composer. Any of his last concertos, symphonies or operas is finished masterpiece. The fact Requiem is legendary reveals the rules that govern public awareness.
   Only half of musical material for whole requiem mass cycle was completed by Mozart himself. The task of the completion Constance entrusted to his deceased husband’s disciple and friend Franz Xaver Süssmayr who made every effort to finish the work in Mozart’s style. The widow forced Süssmayr to swear, he will not disclose who completed the work. The reason was common. Constance wanted to receive the remaining portion of the agreed remuneration from Count Franz von Walsegg. Although Süssmayr was proficient composer, he was not even close to Mozart’s musical invention and in place of missing fragments he inserted the repetitions of some other fragments. In fact he did the best he could preserve as much of Mozart without destroying his ideas.

Daniel Barenboim – Requiem by W. A. Mozart (1972)

   The effect of Süssmayr’s straight repetitions is weak dramatic tension in later parts of the cycle. The apprentice sacrificed his own ambitions to save the clarity of master’s invention. Such operation gives him a chance to save Mozart’s work. Nonetheless, the best performers can create the balance and develop the deeper dramatics of musical form. There are many internationally acclaimed recordings of Wolfgang Amadeus Mozart’s Requiem D minor KV 626, but the one recorded by Daniel Barenboim with English Chamber Orchestra and John Alldis Choir is the rendition perfectly catching best proportions. Released by EMI His Master’s Voice label in 1972 (C 065-02 246), this is one of most emotionally engaging performances, and probably the one closest to stylistic paradigm of mature classicism of 1790’s.
   Featured part of artistic team in Requiem is choir. Mozart gave choral parts even more weight than Handel whose oratorios were the model for classical composers. Also Chorus lead by John Alldis gives conductor full volume of vocal expression and Daniel Barenboim knows how to use it. English Chamber Orchestra played perfectly which is highly expected considering this orchestra was established to play Mozart’s music. Barenboim had also quartet of brilliant soloists – strong but subtle soprano of Sheila Armstrong, great deep mezzo-soprano of Janet Baker, clearly light tenor of Nicolai Gedda and beautiful lyrical baritone of Dietrich Fisher-Dieskau – all soloists work as one team in a rare classy performance. Every musician here is on his or her place. Barenboim leading perfect choir and perfect orchestra build this performance like it was completed by Mozart himself. The idea of taking the composition as a complete piece of art is good starting point but the way he made this mass sounds so much coherent is the secret of his great artistry.

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.