Great Singers of Our Century - Hans Hotter
A fine remainder of the artistry of the great Hans Hotter caught on the wing in recital in works that often exist in studio versions
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert, (Johann) Carl (Gottfried) Loewe, Johannes Brahms, Richard Strauss, Hugo (Filipp Jakob) Wolf
Label: Orfeo
Magazine Review Date: 7/2000
Media Format: CD or Download
Media Runtime: 67
Catalogue Number: C507991B
Tracks:
| Composition | Artist Credit |
|---|---|
| Grenzen der Menschheit |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Wandrers Nachtlied I |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Geheimes |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Prometheus |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Sei mir gegrüsst |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Am Bach im Frühling |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| (Des) Fischers Liebesglück |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Alinde |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| Gruppe aus dem Tartarus |
Franz Schubert, Composer
Franz Schubert, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| (5) Lieder, Movement: No. 4, Auf dem Kirchhofe (wds. Liliencron) |
Johannes Brahms, Composer
Hans Hotter, Bass-baritone Johannes Brahms, Composer Walter Martin, Piano |
| (5) Lieder, Movement: No. 4, Sapphische Ode (wds. Schmidt) |
Johannes Brahms, Composer
Hans Hotter, Bass-baritone Johannes Brahms, Composer Walter Martin, Piano |
| (5) Lieder, Movement: No. 1, Botschaft (wds. Daumer after Hafis) |
Johannes Brahms, Composer
Hans Hotter, Bass-baritone Johannes Brahms, Composer Walter Martin, Piano |
| (5) Lieder, Movement: No. 3, Sonntag (wds. Uhland) |
Johannes Brahms, Composer
Hans Hotter, Bass-baritone Johannes Brahms, Composer Walter Martin, Piano |
| Goethe Lieder, Movement: So lang man nüchtern ist |
Hugo (Filipp Jakob) Wolf, Composer
Hans Hotter, Bass-baritone Hugo (Filipp Jakob) Wolf, Composer Walter Martin, Piano |
| Goethe Lieder, Movement: Ob der Koran von Ewigkeit sei? |
Hugo (Filipp Jakob) Wolf, Composer
Hans Hotter, Bass-baritone Hugo (Filipp Jakob) Wolf, Composer Walter Martin, Piano |
| Eichendorff Lieder, Movement: Der verzweifelte Liebhaber |
Hugo (Filipp Jakob) Wolf, Composer
Hans Hotter, Bass-baritone Hugo (Filipp Jakob) Wolf, Composer Walter Martin, Piano |
| (3) Balladen, Movement: No. 3, Erlkönig (wds. Goethe) |
(Johann) Carl (Gottfried) Loewe, Composer
(Johann) Carl (Gottfried) Loewe, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| (3) Balladen, Movement: No. 1, Hochzeitlied |
(Johann) Carl (Gottfried) Loewe, Composer
(Johann) Carl (Gottfried) Loewe, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| (3) Balladen, Movement: No. 3, Die wandelnde Glocke |
(Johann) Carl (Gottfried) Loewe, Composer
(Johann) Carl (Gottfried) Loewe, Composer Hans Hotter, Bass-baritone Walter Martin, Piano |
| (5) Lieder, Movement: No. 5, Himmelsboten (wds. Des Knaben Wunderhorn) |
Richard Strauss, Composer
Hans Hotter, Bass-baritone Richard Strauss, Composer Walter Martin, Piano |
| Schlichte Weisen, Movement: No. 4, Ach weh, mir unglückhaften Mann |
Richard Strauss, Composer
Hans Hotter, Bass-baritone Richard Strauss, Composer Walter Martin, Piano |
| (8) Lieder aus Letzte Blätter, Movement: No. 2, Nichts |
Richard Strauss, Composer
Hans Hotter, Bass-baritone Richard Strauss, Composer Walter Martin, Piano |
Author: Alan Blyth
With retrospectives imminent from Music & Arts (two CDs, 1942-45) and Testament (three CDs, 1946-57), containing studio performances either unpublished or never before on CD, and this issue from Orfeo, Hotter is being deservedly remembered in his 92nd year. By 1961 when this recital was given in Hanover, his voice had appreciably darkened and, in the theatre King Mark (rather than Kurwenal), Pogner (rather than Sachs) and Gurnemanz (rather than Amfortas) were becoming his Wagnerian roles of preference. Here, in superb, steady voice, the dark richness of tone and the relish of his declamation make true bass songs such as Schubert’s Grenzen der Menschheit, Prometheus (the Wolf settings will appear on Testament) and Gruppe aus dem Tartarus commanding in every way. The same is true of Loewe’s Erlkonig, which Wagner, among others, preferred to Schubert’s setting.
Yet, extraordinarily, Hotter was able to fine down his huge voice to the intimate dynamics of songs such as Geheimes, Am Bach im Fruhling and Wandrers Nachtlied (D224), always favourites in his recitals. Even more arresting is the soft beguiling touch given Des Fischers Liebesgluck, that enchanting barcarolle, matched only by his account of another barcarolle, the smiling Alinde, where Hotter serenades in the most seductive manner. In spite of the downward transpositions, these represent Lieder singing of the most intelligent and winning kind.
The Brahms and Wolf choices are or will be available in other, studio renderings by the singer, but these encounters with the songs in hand have that extra frisson a live occasion offers. The consoling section of Auf dem Kirchhofe and the joy of Sonntag are alone worth the disc’s price. Add to that the fun Hotter always had with Loewe’s cautionary tale, Die wandelnde Glocke and Strauss’sAch weh, mir ungluckhaften Mann and the excellent mono sound, and the full price is justified in spite of the absence of texts and translations. Martin is an accommodating rather than illuminating partner for the great man.'
Yet, extraordinarily, Hotter was able to fine down his huge voice to the intimate dynamics of songs such as Geheimes, Am Bach im Fruhling and Wandrers Nachtlied (D224), always favourites in his recitals. Even more arresting is the soft beguiling touch given Des Fischers Liebesgluck, that enchanting barcarolle, matched only by his account of another barcarolle, the smiling Alinde, where Hotter serenades in the most seductive manner. In spite of the downward transpositions, these represent Lieder singing of the most intelligent and winning kind.
The Brahms and Wolf choices are or will be available in other, studio renderings by the singer, but these encounters with the songs in hand have that extra frisson a live occasion offers. The consoling section of Auf dem Kirchhofe and the joy of Sonntag are alone worth the disc’s price. Add to that the fun Hotter always had with Loewe’s cautionary tale, Die wandelnde Glocke and Strauss’s
Great Singers of Our Century - Hans Hotter
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