Richard Strauss accompanies
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss
Label: Preiser
Magazine Review Date: 6/1990
Media Format: CD or Download
Media Runtime: 38
Mastering:
Mono
ADD
Catalogue Number: 93261
Tracks:
| Composition | Artist Credit |
|---|---|
| (5) Lieder, Movement: No. 5, Heimkehr (wds. A F von Schack) |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Piano Richard Strauss, Composer |
| (6) Lieder, Movement: No. 1, Seitdem dein Aug' in meines schaute |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Piano Richard Strauss, Composer |
| Schlichte Weisen, Movement: No. 1, All' mein Gedanken, mein Herz und mein Sinn |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Composer Richard Strauss, Piano |
| Schlichte Weisen, Movement: No. 2, Du meines Herzens Krönelein |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Composer Richard Strauss, Piano |
| Schlichte Weisen, Movement: No. 3, Ach Lieb, ich muss nun scheiden |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Composer Richard Strauss, Piano |
| Schlichte Weisen, Movement: No. 4, Ach weh, mir unglückhaften Mann |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Composer Richard Strauss, Piano |
| (6) Lieder, Movement: No. 1, Glückes genug (wds. Liliencron: 1898) |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Piano Richard Strauss, Composer |
| (8) Lieder, Movement: No. 2, In goldener Fülle (wds. P Remer: 1901) |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Composer Richard Strauss, Piano |
| (5) Lieder, Movement: No. 2, Sehnsucht (wds. Liliencron) |
Richard Strauss, Composer
Anton Dermota, Tenor Richard Strauss, Piano Richard Strauss, Composer |
| (5) Kleine Lieder, Movement: No. 5, Schlechtes Wetter (wds. Heine) |
Richard Strauss, Composer
Hilde Konetzni, Soprano Richard Strauss, Composer Richard Strauss, Piano |
| (3) Lieder |
Richard Strauss, Composer
Hilde Konetzni, Soprano Richard Strauss, Composer Richard Strauss, Piano |
| (6) Lieder aus Lotusblättern, Movement: No. 1, Wozu noch, Mädchen, soll es Frommen |
Richard Strauss, Composer
Alfred Poell, Baritone Richard Strauss, Composer Richard Strauss, Piano |
| (4) Lieder, Movement: No. 1, Das Rosenband (wds. Klopstock: 1897, orch 1897) |
Richard Strauss, Composer
Alfred Poell, Baritone Richard Strauss, Piano Richard Strauss, Composer |
| (5) Lieder, Movement: No. 5, Winterliebe (wds. Henckell: orch 1918) |
Richard Strauss, Composer
Alfred Poell, Baritone Richard Strauss, Composer Richard Strauss, Piano |
| (4) Lieder, Movement: No. 1, Ruhe, meine Seele (wds. K Henckell: orch 1948) |
Richard Strauss, Composer
Alfred Poell, Baritone Richard Strauss, Composer Richard Strauss, Piano |
| (4) Lieder, Movement: No. 3, Heimliche Aufforderung (wds. J H Mackay) |
Richard Strauss, Composer
Alfred Poell, Baritone Richard Strauss, Piano Richard Strauss, Composer |
Author: Alan Blyth
During 1942 and 1943, Strauss recorded some 36 songs with five singers from the ensemble of the Vienna State Opera. These were issued on two Preiser LPs a few years ago. This issue is a direct transfer to CD of the first of those records, offering rather poor value—surely both LPs could have been squeezed on to one CD: in any case, I hope that the second LP, recorded in 1942 and the more satisfying of the two, will soon appear in CD format.
The performances included here were all given in 1943. The readings provide some insights into Strauss's approach to his own songs. As I have pointed out before, Strauss here, as on his much earlier Polydor 78rpm records with Schlusnus and Hutt, favoured reasonably swift tempos for his songs, thus quite avoiding the tendency to sentimentality that slower speeds suggest. In Heimliche Aufforderung andRuhe, meine Seele, they are appreciably faster than those we are accustomed to from modern interpreters. Not that Strauss seems to have been dogmatic about the matter: the former song also appears on the first LP with Dermota as soloist, and there the tempo is marginally slower. Nor was the composer that didactic about his own notes. The piano interpretations here, notably the spread chords at the start of Ruhe, meine Seele, are free, though he does not indulge in the improvisations that were a feature of his playing in earlier years.
This disc is also historically invaluable from another viewpoint. In Vienna, the composer lived near the Belvedere Park, and that is reflected in the very late song, Blick vom oberen Belvedere. This was composed in 1941 to celebrate the fiftieth birthday party of the poet Weinheber. The first performance was given by Konetzni and Strauss. The song is somewhat diffuse but has some typically soaring phrases, which Konetzni fills with warm tone. For the rest she seems confined by the intimacy of Lieder, and tends to scoop uncomfortably: she was happier with her Leonores and Sieglindes at the State Opera. Like her, Alfred Poell is sometimes vague over pitch, but his forthright, communicative singing is otherwise a source of pleasure. He offers the impetuous outpouring of love, Winterliebe, which contains a phrase foretelling some of the Empress's music from Act 3 of Die Frau ohne Schatten. The extremely young Anton Dermota sings All mein Gedanken and the gorgeous In goldener Fulle with appropriate ardour and scrupulous musicality. The recordings are forward and occasionally distort the voices.'
The performances included here were all given in 1943. The readings provide some insights into Strauss's approach to his own songs. As I have pointed out before, Strauss here, as on his much earlier Polydor 78rpm records with Schlusnus and Hutt, favoured reasonably swift tempos for his songs, thus quite avoiding the tendency to sentimentality that slower speeds suggest. In Heimliche Aufforderung and
This disc is also historically invaluable from another viewpoint. In Vienna, the composer lived near the Belvedere Park, and that is reflected in the very late song, Blick vom oberen Belvedere. This was composed in 1941 to celebrate the fiftieth birthday party of the poet Weinheber. The first performance was given by Konetzni and Strauss. The song is somewhat diffuse but has some typically soaring phrases, which Konetzni fills with warm tone. For the rest she seems confined by the intimacy of Lieder, and tends to scoop uncomfortably: she was happier with her Leonores and Sieglindes at the State Opera. Like her, Alfred Poell is sometimes vague over pitch, but his forthright, communicative singing is otherwise a source of pleasure. He offers the impetuous outpouring of love, Winterliebe, which contains a phrase foretelling some of the Empress's music from Act 3 of Die Frau ohne Schatten. The extremely young Anton Dermota sings All mein Gedanken and the gorgeous In goldener Fulle with appropriate ardour and scrupulous musicality. The recordings are forward and occasionally distort the voices.'
Richard Strauss accompanies
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