Schubert Winterreise

Record and Artist Details

Composer or Director: Franz Schubert

Media Format: Vinyl

Mastering:

DDD

Catalogue Number: C27 162/3

Tracks:

Composition Artist Credit
(Der) Geistertanz Franz Schubert Composer
Norman Shetler
Siegfried Lorenz
Wiegenlied Siegfried Lorenz
Franz Schubert Composer
Norman Shetler
Wandrers Nachtlied I Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Der) Tod und das Mädchen Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
Winterreise Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
Auf dem Wasser zu singen Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
(Die) Forelle Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
Jägers Abendlied (second version) Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
(Der) König in Thule Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Der) Sänger Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Geheimes Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Willkommen und Abschied Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
(Der) Jüngling an der Quelle Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
(Der) Musensohn Siegfried Lorenz
Franz Schubert Composer
Norman Shetler
Heidenröslein Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Erlkönig Franz Schubert Composer
Norman Shetler
Siegfried Lorenz

Composer or Director: Franz Schubert

Media Format: Cassette

Mastering:

DDD

Catalogue Number: CC27 162/3

Tracks:

Composition Artist Credit
Erlkönig Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Der) Geistertanz Siegfried Lorenz
Franz Schubert Composer
Norman Shetler
(Der) König in Thule Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
(Der) Tod und das Mädchen Franz Schubert Composer
Norman Shetler
Siegfried Lorenz
Wiegenlied Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Heidenröslein Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Die) Forelle Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Der) Musensohn Siegfried Lorenz
Franz Schubert Composer
Norman Shetler
Willkommen und Abschied Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Auf dem Wasser zu singen Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
(Der) Jüngling an der Quelle Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
(Der) Sänger Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
Jägers Abendlied (second version) Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Geheimes Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Winterreise Franz Schubert Composer
Norman Shetler
Siegfried Lorenz
Wandrers Nachtlied I Franz Schubert Composer
Siegfried Lorenz
Norman Shetler

Composer or Director: Franz Schubert

Label: Références

Media Format: CD or Download

Mastering:

ADD

Catalogue Number: 761002-2

Tracks:

Composition Artist Credit
Winterreise Hans Hotter
Gerald Moore
Franz Schubert Composer

Composer or Director: Franz Schubert

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: 10 162/3

Tracks:

Composition Artist Credit
Auf dem Wasser zu singen Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Willkommen und Abschied Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Erlkönig Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
(Die) Forelle Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Heidenröslein Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Wiegenlied Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
(Der) Musensohn Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
Winterreise Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
(Der) Jüngling an der Quelle Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Jägers Abendlied (second version) Norman Shetler
Franz Schubert Composer
Siegfried Lorenz
(Der) König in Thule Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
(Der) Sänger Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
(Der) Geistertanz Norman Shetler
Siegfried Lorenz
Franz Schubert Composer
Geheimes Siegfried Lorenz
Norman Shetler
Franz Schubert Composer
Wandrers Nachtlied I Franz Schubert Composer
Siegfried Lorenz
Norman Shetler
(Der) Tod und das Mädchen Franz Schubert Composer
Norman Shetler
Siegfried Lorenz
It is remarkable and surprising just how many versions of this cycle are already available on CD (four others besides those listed above). Any of the five discussed here are worthy of consideration, so are—for different reasons—the two LP-only versions. No single approach can be described as definitive, each is worthy of the great work itself.
When the Hotter first came out in 1955, Alec Robertson, happily free from having to take rivals into account, could recommend it unreservedly, finding Hotter's dark, world-weary tones ideal to convey the winter wanderer's lone journey, which is now heard with that much more immediacy in the excellent transfer to a single CD. Then came Fischer-Dieskau's first recording (EMI mono ALPS1298, ALP1299, 11/55—nla), and a rejected lover of a more youthful kind, bitterly railing against his fate. You could make your choice between two equally valid approaches, both superbly accompanied by Moore, and be happy, or rather sad if you were to identify, as both do so closely, with the rejected man's fate. Then came Sir Peter Pears on Decca (LP only) with yet another marvellous interpretation, now in the keys in which Schubert conceived the work and with Britten re-thinking, in his own creative way, the piano's role. Much more recently we have had Richter for Schreier (Philips), slow, deep and stark, and Brendel (in Fischer-Dieskau's latest rendering, also on Philips), searching and detailed, offering yet further perspectives and Schreier peering perhaps even more agonizingly into the meaning of both text and music.
Which leaves poor Siegfried Lorenz with pretty stiff competition. That he emerged from my comparisons with such credit is due not a little to the same vocal attributes and interpretative perceptions that he brought to his recommendable Schwanengesang (Capriccio 27 112, 10 097 9/87), a field in which competition is less formidable. As there, he sings with pleasing, consistently firm tone and with an enviable control of line and dynamics. The range of his voice is not so large as Fischer-Dieskau's, a singer from whom he has learnt so much, but within its smaller compass he can achieve almost the same power and intensity, as in the whole of ''Erstarrung'' and at the climax, ''Erkennst du nun dein Bild'' of ''Auf em Flusse''. Some songs, ''Der Lindenbaum'' and ''Der Wegweiser'', are taken slowly, more slowly than by Hotter, but by dint of the concentration of his singing they do not drag, and his ''Nebensonnen'' and ''Leiermann'', though not so world-weary or intimate as Hotter's, carry their own validity in terms of word-painting and inner tensions.
Part of the reason for some want of intimacy is the rather too reverberant church acoustic, the 1954 Walter Legge mono recording for Hotter seems to me ideal in bringing the artists into the room with you. I say 'artists' in the plural because I have so far not mentioned Norman Shetler's acute, positive and finely chiselled playing—listen to the way he depicts the bare wretchedness of the falling leaves in ''Letzte Hoffnung'' or the tired plodding in ''Der Wegweiser''. Moore, a shade more self-effacing, still boasts that unique touch of his, so often referred to by JW in his reviews of this work and other Schubert songs. The References CD, reprehensibly, has no text or translation, the Capriccio only the German words.
Lorenz stretches the cycle on to a second CD, but that is very satisfyingly filled with 15 further Lieder, nine of them to Goethe texts and including a thrillingly incisive Erlkonig, and more than worthwhile versions of such old favourites as Die Forelle and Der Jungling an der Quelle. It is unusual to hear a man tackle Der Tod und das Madchen and Auf dem Wasser zu singen, both successes here. But maybe this baritone, though he is to my mind quite Olaf Bar's equal as an interpreter, does not have quite the personality of his predecessors'.
Hotter's Winterreise remains a model of dark-toned, refined, melancholic feeling expressed usually in transpositions downwards of a third, in his own very special kind of verbal accentuation. I wouldn't be without it, especially in its new and faithfully reproduced form, but neither would I be without at least one Fischer-Dieskau version and the Schreier. And, to complete my picture of the work, I would need Wilson-Johnson's edition (Hyperion—LP only), less well sung than Lorenz's but with the songs re-ordered as Muller intended and with music sung in a style closer (probably) to that of Schubert's time and with a fortepiano as partner. Great works benefit from this variety of achievement. However, if I had to have just two versions, say, they would be Schreier's and Hotter's.'

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