published: 04 Jul 2007
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![Schubert - Der Erlkönig [魔王] (complete version.)](http://web.archive.org./web/20121101074724im_/http://i.ytimg.com/vi/5XP5RP6OEJI/default.jpg "Baritone: Dietrich Fischer-Dieskau. If you don't know German, you should check out the lyrics in English. You will then be able to appreciate & enjoy the piece much more! en.wikipedia.org")
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The Bayreuth Festival () is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th century German composer Richard Wagner are presented. Wagner himself conceived of and promoted the idea of a special festival to showcase his own works, in particular his monumental cycle and Parsifal.
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Berlin (; ) is the capital city of Germany and one of sixteen states of Germany. With a population of 3.4 million people, Berlin is Germany's largest city. It is the second most populous city proper and the eighth most populous urban area in the European Union. Located in northeastern Germany, it is the center of the Berlin-Brandenburg Metropolitan Area, comprising 5 million people from over 190 nations. Geographically embedded in the European Plains, Berlin is influenced by a temperate seasonal climate. Around one third of the city's territory is composed of forests, parks, gardens, rivers and lakes.
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Cincinnati () is a city in the U.S. state of Ohio and the county seat of Hamilton County. The municipality is located north of the Ohio River at the Ohio-Kentucky border. The population within city limits was estimated to be 333,200 in 2009, making it the state's third-largest city. According to a 2008 Census Bureau estimate, the Cincinnati metropolitan area had a population of 2,155,137 making it the largest MSA in Ohio (surpassing Cleveland, which ranks 26th), and the 24th most populous in the United States. Residents of Cincinnati are called Cincinnatians.
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The Hamburg State Opera (in German: Hamburgische Staatsoper) is one of the leading opera companies in Germany.
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Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
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Royal Opera House
The Royal Opera House is an opera house and major performing arts venue in the London district of Covent Garden. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.
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The Town Hall is a performance space located at 123 West 43rd Street, between Sixth Avenue and Broadway, in New York City. It seats approximately 1,500 people.
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Vienna (; ; ) is the capital of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.7 million (2.3 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 10th largest city by population in the European Union. Vienna is host to many major international organizations such as the United Nations and OPEC.
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Alban Berg
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Alfred Brendel
Alfred Brendel KBE (born 5 January 1931) is an Austrian pianist, born in Czechoslovakia and a resident of the United Kingdom. He is also a poet and author of the surreal.
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András Schiff
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Andrés Segovia
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Anna Moffo
Anna Moffo (June 27, 1932 - March 9, 2006) was an Italian-American opera singer and one of the leading lyric-coloratura sopranos of her generation. She possessed a warm and radiant voice of considerable range and agility, and was an affecting singing-actress of great physical beauty.
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Anne-Sophie Mutter
Anne-Sophie Mutter (born June 29, 1963) is a German violin virtuoso.
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Aribert Reimann
Aribert Reimann (born 4 March 1936 in Berlin) is a German opera composer, pianist and accompanist, known especially for his literary operas. His version of King Lear was written at the suggestion of Dietrich Fischer-Dieskau who sang the title role.
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Arthur Rubinstein
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Artur Rother
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Arvo Pärt
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B.B. King
Riley B. King (born September 16, 1925), known by the stage name B.B. King, is an American blues guitarist and singer-songwriter acclaimed for his expressive singing and guitar playing.
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Benjamin Britten
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Bernard Haitink
Bernard Johan Herman Haitink, CH, KBE (born 4 March 1929) is a Dutch conductor and violinist.
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Birgit Nilsson
Birgit Nilsson (May 17, 1918 – December 25, 2005) was a celebrated Swedish dramatic soprano who specialized in operatic and symphonic works. Her voice was noted for its overwhelming force, bountiful reserves of power and the gleaming brilliance and clarity in the upper register.
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Björk
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Bob Dylan
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Bruce Springsteen
Bruce Frederick Joseph Springsteen (born September 23, 1949), nicknamed "The Boss", is an American singer-songwriter who records and tours with the E Street Band. Springsteen is widely known for his brand of Heartland rock infused with pop hooks, poetic lyrics, and Americana sentiments centered on his native New Jersey.
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Béla Bartók
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Carl Maria von Weber
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Carl Orff
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Carlo Bergonzi
Carlo Bergonzi (born 13 July 1924) is an Italian operatic tenor. Although he performed and recorded some bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of the composer's lesser-known works that he helped revive. Essentially a lyric tenor with spinto capabilities, Bergonzi was greatly admired during the peak of his career for his beautiful diction, smooth legato, warm timbre and elegant phrasing. Above all he was acclaimed for his attention to the style required in Verdi's operas.
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Carlo Maria Giulini
Carlo Maria Giulini (; May 9, 1914June 14, 2005) was an Italian conductor.
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Cecilia Bartoli
Cecilia Bartoli (; born June 4, 1966 in Rome) is an Italian mezzo-soprano opera singer and recitalist. She is best-known for her interpretation of the music of Mozart and Rossini, as well as for her performances of lesser-known Baroque and classical music. She is known for having the versatility to play both soprano and mezzo roles, and is sometimes considered a soprano with a low tessitura. Bartoli's coloratura skill has earned her the title the Queen of Agility.
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Christoph Eschenbach
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Claude Debussy
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Daniel Barenboim
Daniel Barenboim (born 15 November 1942) is an Argentine-born Israeli pianist and conductor. He is also known for his work with the West-Eastern Divan Orchestra, a Sevilla-based orchestra of young Arab and Jewish musicians.
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Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer.
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Dmitri Shostakovich
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Domenico Cimarosa
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Donald Grobe
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Elena Souliotis
Elena Souliotis (spelled Suliotis in the early part of her career; ; 28 May 1943 - 4 December 2004) was an operatic soprano initially hailed as "the next Callas." Although her opera recordings were best sellers and she quickly achieved a glamorous and busy career, unwisely, she took on certain demanding roles too early, and damaged her voice by denying it the time it needed to develop and strengthen by natural stages.
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Elisabeth Grümmer
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Elton John
Sir Elton Hercules John, CBE (born Reginald Kenneth Dwight; 25 March 1947) is an English singer-songwriter, composer and pianist. He has worked with his songwriting partner Bernie Taupin since 1967; they have collaborated on more than 30 albums to date.
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Ennio Morricone
Ennio Morricone, Grande Ufficiale OMRI (born November 10, 1928) is an Italian composer and conductor.
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Erika Köth
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Eugen Jochum
Eugen Jochum (1 November 1902 – 26 March 1987) was an eminent German conductor.
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Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy, born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 18094 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
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Ferenc Fricsay
Ferenc Fricsay (9 August 1914 – 20 February 1963) (pronounced "Ferr-'ens 'Frich-sye") was a Hungarian conductor. From 1960 until his death, he was an Austrian citizen.
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Ferruccio Busoni
Ferruccio (Dante Michelangelo Benvenuto) Busoni (April 1, 1866 – July 27, 1924) was an Italian composer, pianist, editor, writer, piano and composition teacher, and conductor.
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Franz Konwitschny
Franz Konwitschny (August 14, 1901, Fulnek, Moravia – July 28, 1962, Belgrade) was a German conductor and violist.
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Franz Schubert
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Frederick Delius
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Friedrich Nietzsche
Friedrich Wilhelm Nietzsche (; in English , ) (October 15, 1844 August 25, 1900) was a 19th-century German philosopher and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
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Fritz Busch
Fritz Busch (13 March 1890 - 14 September 1951) was a German conductor.
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Fritz Lehmann
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Gabriel Fauré
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Galina Vishnevskaya
Galina Pavlovna Vishnevskaya () (born 25 October 1926) is a Russian soprano opera singer and recitalist who was named a People's Artist of the USSR in 1966.
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Gerald Moore
Gerald Moore CBE (30 July 1899 – 13 March 1987) was an English pianist best known for his career as one of the most in-demand accompanists of his day, accompanying many of the world's most famous musicians. Moore was born in Watford but received most of his musical education in Toronto, Canada, to which country his family emigrated when he was a child, and where he was an organist at St Thomas' Church, Huron Street, in Toronto.
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Gerd Albrecht
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Giacomo Puccini
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Gidon Kremer
Gidon Kremer () (born February 27, 1947) is a Latvian violinist and conductor. In 1980 he left the USSR and settled in Germany.
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Giuseppe Verdi
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Gottfried von Einem
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Greg Sandow
Greg Sandow (born June 3, 1943) is an American music critic and composer. He is a graduate of Harvard University, with a bachelor's degree in government, and of Yale University, with a master's degree in composition.
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Gundula Janowitz
Gundula Janowitz (born August 2, 1937 in Berlin, Germany) is an Austrian lyric soprano singer of operas, oratorios and concerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.
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Gustav Mahler
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György Kurtág
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György Ligeti
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Hector Berlioz
Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs.
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Heinrich Schütz
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Heinz Holliger
Heinz Holliger (born ) is a Swiss oboist, composer and conductor.
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Herbert von Karajan
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Hildegard Behrens
Hildegard Behrens (9 February 1937 in Varel, Germany18 August 2009 in Tokyo, Japan) was a German soprano with a wide repertory including Wagner, Weber, Mozart, Richard Strauss, and Alban Berg roles.
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Hugo Wolf
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Igor Stravinsky
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Irmgard Seefried
Irmgard Seefried (9 October 191924 November 1988) was a distinguished German soprano who sang opera and lieder.
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Isaac Stern
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Jacques Offenbach
Jacques Offenbach (born Jacob Offenbach; 20 June 1819 – 5 October 1880) was a German-born French composer and cellist of the Romantic era and one of the originators of the operetta form. Of German-Jewish ancestry, he was one of the most influential composers of popular music in Europe in the 19th century, and many of his works remain in the repertory.
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Janet Baker
Dame Janet Abbott Baker, CH, DBE, FRSA (born 21 August 1933) is an English mezzo-soprano best known as an opera, concert, and lieder singer.
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Jean-Pierre Rampal
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Joachim Neugroschel
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Johann Strauss II
Johann Strauss II (October 25, 1825 – June 3, 1899; also known as fully Johann Baptist Strauss, and Johann Strauss, Jr., the Younger, or the Son () was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century.
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Johannes Brahms
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John Eliot Gardiner
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Joni Mitchell
Joni Mitchell, CC, (born Roberta Joan Anderson; November 7, 1943) is a Canadian musician, songwriter, and painter.
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Jordi Savall
Jordi Savall i Bernadet (born 1941, in Igualada, Catalonia, Spain) is a Spanish Catalan viol player, conductor, and composer. He has been one of the major figures in the field of early music since the 1970s, largely responsible for bringing the viol (viola da gamba) back to life on the stage. His characteristic repertory ranges from Medieval to Renaissance and Baroque music, though he has occasionally ventured into the classical or even the romantic period.
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Josef Greindl
Josef Greindl (born 23 December 1912 in Munich - 16 April 1993 in Vienna, Austria) was a German operatic bass.
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Josef Keilberth
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Joseph Haydn
Franz Joseph Haydn (31 March 173231 May 1809), known as Joseph Haydn (; ), was an Austrian composer, one of the most prolific and prominent composers of the classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
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Joseph Keilberth
Joseph Keilberth (April 19, 1908July 20, 1968) was a German conductor who specialized in opera.
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José Antonio Abreu
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Jussi Björling
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Karl Böhm
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Karl Engel
:For the footballer with the same name, see Karl Engel (Footballer)
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Keith Jarrett
Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who has performed in both jazz and classical music.
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Krystian Zimerman
Krystian Zimerman (born December 5, 1956) is a Polish classical pianist who is widely regarded as one of the finest pianists alive.
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Kurt Eichhorn
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Kurt Masur
Kurt Masur (born 18 July 1927) is a German conductor, particularly noted for his interpretation of German Romantic music.
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Leonard Bernstein
Leonard Bernstein (, ; August 25, 1918 – October 14, 1990) was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim. He was probably best known to the public as the longtime music director of the New York Philharmonic, for conducting concerts by many of the world's leading orchestras, and for writing the music for West Side Story, Candide, Wonderful Town, and On the Town. Bernstein was the first classical music conductor to make numerous television appearances between 1954 and 1989. He had a formidable piano technique and as a composer also wrote symphonies and other concert music. According to The New York Times, he was "one of the most prodigiously talented and successful musicians in American history."
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Lorin Maazel
Lorin Varencove Maazel (born March 6, 1930) is a conductor, violinist and composer.
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Ludwig van Beethoven
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Maria Callas
Maria Callas () (December 2, 1923September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the 20th century. She combined an impressive bel canto technique, a wide-ranging voice, and great dramatic gifts. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini; further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina.
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Marie-Claire Alain
Marie-Claire Alain (born August 10, 1926) is a French organist and organ teacher best known for her prolific recording career. She is particularly known for her ability to perform substantial works entirely from memory.
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Martha Mödl
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Max Reger
Johann Baptist Joseph Maximilian Reger (born 19 March 1873 in Brand, died 11 May 1916 in Leipzig) was a German composer, conductor, pianist, organist, and academic teacher.
http://wn.com/Max_Reger -
Michala Petri
Michala Petri (born 7 July 1958 in Copenhagen, Denmark) is a Danish recorder player. Petri is sought after as a soloist with many noted orchestras, including the Academy of St. Martin in the Fields. She has released 34 recordings, toured extensively over four continents, and has had dozens of pieces written for her. Her debut as a soloist was in 1969.
http://wn.com/Michala_Petri -
Michelangelo
http://wn.com/Michelangelo -
Miles Davis
http://wn.com/Miles_Davis -
Mogens Wöldike
http://wn.com/Mogens_Wöldike -
Murray Perahia
Murray Perahia KBE (born April 19, 1947) is an American concert pianist and conductor.
http://wn.com/Murray_Perahia -
Nikolaus Harnoncourt
Nikolaus Harnoncourt ('''Count Nikolaus de la Fontaine und d'Harnoncourt-Unverzagt''') (born 6 December 1929) is an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier.
http://wn.com/Nikolaus_Harnoncourt -
Olivier Messiaen
http://wn.com/Olivier_Messiaen -
Othmar Schoeck
Othmar Schoeck (1 September 1886 – 8 March 1957) was a Swiss composer and conductor.
http://wn.com/Othmar_Schoeck -
Patti Smith
Patricia Lee "Patti" Smith (born December 30, 1946) is an American singer-songwriter, poet and visual artist, who became a highly influential component of the New York City punk rock movement with her 1975 debut album Horses. Called the "Godmother of Punk", she integrated the beat poetry performance style with three-chord rock. Smith's most widely known song is "Because the Night", which was co-written with Bruce Springsteen and reached number 13 on the Billboard Hot 100 chart in 1978. In 2005, Patti Smith was named a Commander of the Ordre des Arts et des Lettres by the French Minister of Culture, and in 2007, she was inducted into the Rock and Roll Hall of Fame.
http://wn.com/Patti_Smith -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
http://wn.com/Paul_Hindemith -
Paul McCartney
http://wn.com/Paul_McCartney -
Per Nørgård
http://wn.com/Per_Nørgård -
Peter Gabriel
http://wn.com/Peter_Gabriel -
Peter Pears
Sir Peter Neville Luard Pears CBE ( "peerz";22 June 1910 – 3 April 1986) was an English tenor and the life partner of the composer Benjamin Britten.
http://wn.com/Peter_Pears -
Peter Schreier
Peter Schreier (born July 29, 1935) is a German tenor and conductor.
http://wn.com/Peter_Schreier -
Pierre Boulez
Pierre Boulez () (born March 26, 1925) is a French composer of contemporary classical music and a conductor.
http://wn.com/Pierre_Boulez -
Pilar Lorengar
http://wn.com/Pilar_Lorengar -
Quincy Jones
http://wn.com/Quincy_Jones -
Rafael Kubelík
http://wn.com/Rafael_Kubelík -
Ravi Shankar
Ravi Shankar (; born 7 April 1920), often referred to by the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the best known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.
http://wn.com/Ravi_Shankar -
Ray Charles
Ray Charles Robinson (September 23, 1930June 10, 2004), better known by his shortened stage name Ray Charles, was an American musician. Ray was a pioneer in the genre of soul music during the 1950s by fusing rhythm & blues, gospel, and blues styles into his early recordings with Atlantic Records. He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.
http://wn.com/Ray_Charles -
Renata Scotto
Renata Scotto (born February 24, 1934) is an Italian soprano and opera director.
http://wn.com/Renata_Scotto -
Renée Fleming
http://wn.com/Renée_Fleming -
Richard Strauss
Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known particularly for his operas, Lieder, and tone poems. Strauss, along with Gustav Mahler, represents the extraordinary late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's music had a profound influence on the development of music in the twentieth century. Strauss was also a prominent conductor.
http://wn.com/Richard_Strauss -
Richard Wagner
Wilhelm Richard Wagner (, ; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
http://wn.com/Richard_Wagner -
Robert Moog
Dr. Robert Arthur Moog (, respell|), commonly called Bob Moog (May 23, 1934 – August 21, 2005) was an American pioneer of electronic music, best known as the inventor of the Moog synthesizer.
http://wn.com/Robert_Moog -
Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 181029 July 1856) was a German composer, aesthete and influential music critic.
http://wn.com/Robert_Schumann -
Rudolf Kempe
http://wn.com/Rudolf_Kempe -
Ruth Leuwerik
http://wn.com/Ruth_Leuwerik -
Samuel Barber
http://wn.com/Samuel_Barber -
Sergiu Celibidache
http://wn.com/Sergiu_Celibidache -
Siegfried Matthus
Siegfried Matthus (born 13 April, 1934, in Mallenuppen (now Zadorozhye, Ozyorsky District, Kaliningrad Oblast), Landkreis Darkehmen, East Prussia) is a German composer and opera director living in Berlin and is one of Germany's most often performed contemporary composers.
http://wn.com/Siegfried_Matthus -
Sofia Gubaidulina
Sofia Asgatovna Gubaidulina, (, ) (born October 24, 1931) is a Russian composer of half Russian, half Tatar ethnicity.
http://wn.com/Sofia_Gubaidulina -
Sonny Rollins
Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.
http://wn.com/Sonny_Rollins -
Steve Reich
http://wn.com/Steve_Reich -
Stevie Wonder
Stevland Hardaway Judkins (born May 13, 1950), name later changed to Stevland Hardaway Morris, known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind from shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.
http://wn.com/Stevie_Wonder -
Sviatoslav Richter
http://wn.com/Sviatoslav_Richter -
Thomas Beecham
http://wn.com/Thomas_Beecham -
Valery Gergiev
Valery Abisalovich Gergiev (; ; born 2 May 1953) is a Russian conductor and opera company director. He is general director and artistic director of the Mariinsky Theatre and principal conductor of the London Symphony Orchestra. Valery Gergiev is the artistic director of the White Nights Festival in St. Petersburg.
http://wn.com/Valery_Gergiev -
Vladimir Ashkenazy
http://wn.com/Vladimir_Ashkenazy -
Walter Legge
http://wn.com/Walter_Legge -
Wilhelm Furtwängler
http://wn.com/Wilhelm_Furtwängler -
Willi Boskovsky
Willi Boskovsky (16 June 1909 – 21 April 1991) was an Austrian violinist and conductor, best known as the long-standing conductor of the Vienna New Year's Day Concert.
http://wn.com/Willi_Boskovsky -
Winfried Zillig
http://wn.com/Winfried_Zillig -
Witold Lutosławski
http://wn.com/Witold_Lutosławski -
Wolfgang Sawallisch
Wolfgang Sawallisch (born 26 August 1923) is a German conductor and pianist.
http://wn.com/Wolfgang_Sawallisch -
Yehudi Menuhin
http://wn.com/Yehudi_Menuhin -
Yo-Yo Ma
Yo-Yo Ma (; born October 7, 1955) is an American cellist, virtuoso, orchestral composer and winner of multiple Grammy Awards. He is one of the most famous cellists of the modern age.
http://wn.com/Yo-Yo_Ma
Fischer-Dieskau, Dietrich Filmography
- Elisabeth Schwarzkopf (2011)
- Wagners Meistersänger, Hitlers Siegfried (2008)
- Julia Varady, ou Le chant possédé (1998)
- Harmoniques: Wolfgang Amadeus Mozart (1998)
- Dietrich Fischer-Dieskau: La voix de l'âme (1995)
- Karl Böhm bei den Proben zu 'Elektra' (1982)
- Elektra (1981)
- Das Käthchen von Heilbronn oder: Die Feuerprobe (1981)
- Le nozze di Figaro (1975)
- Novae de infinito laudes (1972)
- Giuseppe Verdi: Don Carlos (1965)
- Don Carlo (1965)
- Le nozze di Figaro (1963)
- Don Giovanni (1961)
- Arabella (1960)
RELEASE
ALBUMS
- Der Dichter, als Prolog
- Die schöne Müllerin, D 795: I. Das Wandern
- Die schöne Müllerin, D 795: II. Wohin
- Die schöne Müllerin, D 795: III. Halt!
- Die schöne Müllerin, D 795: IV. Danksagung an den Bach
- Die schöne Müllerin, D 795: V. Am Feierabend
- Die schöne Müllerin, D 795: VI. Der Neugierige
- Das Mühlenleben
- Die schöne Müllerin, D 795: VII. Ungeduld
- Die schöne Müllerin, D 795: VIII. Morgengruss
- Die schöne Müllerin, D 795: IX. Des Müllers Blumen
- Die schöne Müllerin, D 795: X. Tränenregen
- Ein ungereimtes Land
- Die schöne Müllerin, D 795: XI. Mein!
- Die schöne Müllerin, D 795: XII. Pause
- Die schöne Müllerin, D 795: XIII. Mit dem grünen Lautenbande
- Die schöne Müllerin, D 795: XIV. Der Jäger
- Die schöne Müllerin, D 795: XV. Eifersucht und Stolz
- Erster Schmerz, letzter Scherz
- Die schöne Müllerin, D 795: XVI. Die liebe Farbe
- Die schöne Müllerin, D 795: XVII. Die böse Farbe
- Blümlein Vergissmein
- Die schöne Müllerin, D 795: XVIII. Trockne Blumen
- Die schöne Müllerin, D 795: XIX. Der Müller und der Bach
- Die schöne Müllerin, D 795: XX. Des Baches Wiegenlied
- Der Dichter, als Epilog
Bach: Ich will den Kreuzstab gerne tragen, BWV 56 / Ich habe genug, BWV 82 / Brahms: Vier ernste Gesänge, Op. 121
Released [2005]
Released [2005]
- Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": I. Aria (Basso) "Ich will den Kreuzstab gerne tragen"
- Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": II. Recitativo (Basso) "Mein Wandel auf der Welt"
- Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": III. Aria (Basso) "Endlich, endlich wird mein Joch"
- Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": IV. Recitativo e Arioso (Basso) "Ich stehe fertig und bereit"
- Kantate, BWV 56 "Ich will den Kreuzstab gerne tragen": V. Chorale "Komm, o Tod, du Schlafes Bruder"
- Kantate, BWV 82 "Ich habe genug": I. Aria (Basso) "Ich habe genug"
- Kantate, BWV 82 "Ich habe genug": II. Recitativo (Basso) "Ich habe genug. Mein Trost ist nur allein"
- Kantate, BWV 82 "Ich habe genug": III. Aria (Basso) "Schlummert ein, ihr matten Augen"
- Kantate, BWV 82 "Ich habe genug": IV. Recitativo (Basso) "Mein Gott! wann kommt das schöne: Nun!"
- Kantate, BWV 82 "Ich habe genug": V. Aria (Basso) "Ich freue mich auf meinen Tod"
- Vier ernste Gesänge, Op. 121: I. Denn es gehet dem Menschen wie dem Vieh
- Vier ernste Gesänge, Op. 121: II. Ich wandte mich und sahe an alle
- Vier ernste Gesänge, Op. 121: III. O Tod, wie bitter bist du
- Vier ernste Gesänge, Op. 121: IV. Wenn ich mit Menschen und mit Engelszungen redete
- Cello Concerto in A minor, Op. 129: I. Nicht zu schnell
- Cello Concerto in A minor, Op. 129: II. Langsam, Etwas lebhafter, Schneller
- Cello Concerto in A minor, Op. 129: III. Sehr lebhaft
- Introduction and Allegro appassionato, Op. 92
- Piano Concerto in A minor, Op. 54: I. Allegro affettuoso
- Piano Concerto in A minor, Op. 54: II. Intermezzo. Andantino grazioso
- Piano Concerto in A minor, Op. 54: III. Allegro vivace
- Erwartung, Op. 2 No. 1
- Schenk mir deinen goldenen Kamm, Op. 2 No. 2
- Wie Georg von Frundsberg von sich selber sang, Op. 3 No. 1
- Die Aufgeregten, Op. 3 No. 2
- Warnung, Op. 3 No. 3
- Geübtes Herz, Op. 3 No. 5
- Deinem Blick mich zu bequemen
- Traumleben, Op. 6 No. 1
- Verlassen, Op. 6 No. 4
- Der Wanderer, Op. 6 No. 8
- Der verlorene Haufen, Op. 12 No. 2
- Ich darf nicht dankend..., Op. 14 No. 1
- Am Strande
- Sommermüd, Op. 48 No. 1
- Tot, Op. 48 No. 2
- Vielgeliebte schöne Frau, Op. 5 No. 1
- Geliebte Schöne, Op. 9 No. 2
- Schattenleben, Op. 9 No. 3
- Schlummerlose Nächte, Op. 11 No. 3
- Es wandelt, was wir schauen, Op. 12 No. 2
- Im Morgengrauen, Op. 13 No. 2
- Grabschrift, Op. 13 No. 3
- Erster Verlust, Op. 15 No. 2
- Er klaft, daß der Frühling so kortz blüht
- Über den Bergen
- Am Strande
- Sehnsucht II, Op. 5 No. 2
- Sehnsucht III, Op. 6 No. 1
- Ich liebe Dich, Op. 6 No. 2
- Ferne Leider, Op. 6 No. 3
- Regen
- Winter
- Traurigkeit
- Spaziergang
- Più non si trovano, K. 549
- Nachtviolen, D. 752
- Abschied "Le Chant du cygne", nº 7, D. 957
- Im Abendrot, D. 799
- Serate musicali, nº 9: La regata veneziana
- Serate musicali, nº 10: La pesca
- Duetto buffo di due gatti
- Der Gang zum Liebchen, Op. 48 nº 1
- Vergebliches Ständchen, Op. 84 nº 4
- Tanzlied, Op. 78 nº 1
- Er und Sie, Op. 78 nº 2
- Kennst du das Land?
- Sonne der Schlummerlosen
- Das verlassene Mägdlein
- Die Zigeunerin
- Ich woll't meine Lieb, Op. 63 nº 1
- Gruß, Op. 63 nº 3
- Lied aus "Ruy Blas", Op. 77 nº 3
- Abendlied
- Wasserfahrt
- An den Vetter
- Daphnens einziger Fehler
- An die Musik, D. 547
Beethoven: An die ferne Geliebte / 7 Lieder / Brahms: Vier ernste Gesänge / 6 Lieder
Released [1985]
Released [1985]
- An die ferne Geliebte, Op. 98
- Adelaide, Op. 46
- Zärtliche Liebe, WoO 123
- L'amante impaziente, Op. 82: No. 3 Arietta buffa
- L'amante impaziente, Op. 82: No. 4 Arietta assai seriosa
- In questa tomba oscura, WoO 133
- Maigesang, Op. 52 No. 4
- Es war einmal ein Koenig, Op. 75 No. 3
- Vier ernste Gesänge, Op. 121: I. Denn es gehet dem Menschen
- Vier ernste Gesänge, Op. 121: II. Ich wandte mich und sahe an alle
- Vier ernste Gesänge, Op. 121: III. O Tod, wie bitter bist du
- Vier ernste Gesänge, Op. 121: IV. Wenn ich mit Menschen und mit Engelszungen redete
- Heimweh II - O wüßt' ich doch den Weg zurück, Op. 63 No. 8
- Auf dem Kirchhofe, Op. 105 No. 4
- Alte Liebe, Op. 72 No. 1
- Verzagen, Op. 72 No. 4
- Nachklang, Op. 59 No. 4
- Feldeinsamkeit, Op. 86 No. 2
Born: ['1925-05-28']
Died: ['2012-05-18']
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Dietrich Fischer-Dieskau sings Im Fruhling
- Order: Reorder
- Duration: 4:47
- Updated: 26 Oct 2012
Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978
http://wn.com/Dietrich_Fischer-Dieskau_sings_Im_Fruhling
Schubert - Der Erlkönig [魔王] (complete version.)
- Order: Reorder
- Duration: 4:14
- Updated: 31 Oct 2012
Baritone: Dietrich Fischer-Dieskau. If you don't know German, you should check out the lyrics in English. You will then be able to appreciate & enjoy the piece much more! en.wikipedia.org
http://wn.com/Schubert_Der_Erlkönig_魔王_complete_version
Dietrich Fischer-Dieskau sings Gute Nacht from Winterreise
- Order: Reorder
- Duration: 5:39
- Updated: 28 Oct 2012
Well this is the legendary German lieder baritone (or I should say Bari-Tenor since his timbre has both the clarity of a tenor sound and the richly juicy bottom of a baritone sound) Dietrich Fischer-Dieskau singing Gute Nacht from Winterreise by Schubert. This is the version that I edited it using adobe audition in order to make it have better sound quality. The result come out personally think it captures his rich and clear tone even better to another level. The old recording quality does not do a lot of justice to show his fantastic tone which shows how awesome his vocal technique is. He is one of the rare singers I've heard that can sound like early to mid 30's freshness in his late 60's, just feels like his voice had never decline AT ALL. And personally I believe this recording teaches us a lesson that: 1. Sing higher is better = FALSE 2. Sing louder is better = FALSE 3. Singing is about applying the vocal instrument in a song, to make the audience FEEL the story of the text, in an artistic or even poetic way = TRUE Because now there are too many people believe in the stereotype that singing higher is better, or louder is better, that's why the music you hear on the radio right now are all those whiny male singers hitting the "ah ah yeah yeah" in high notes that sound like their balls got ripped off, or female singers that only belt through the whole song in a yelling and scratchy tone that sound like they are crying all day because somebody dumped them or their dads ...
http://wn.com/Dietrich_Fischer-Dieskau_sings_Gute_Nacht_from_Winterreise
DIETRICH FISCHER-DIESKAU - 1958 - Ständchen "Serenade" - SCHUBERT
- Order: Reorder
- Duration: 3:50
- Updated: 18 Oct 2012
Franz Schubert, Schwanengesang, D.957-IV. Ständchen "Serenade" Gerald Moore, Piano. Rec, May 1958, Berlin.
http://wn.com/DIETRICH_FISCHER-DIESKAU_1958_Ständchen_Serenade_SCHUBERT
An Die Musik, Schubert - Dietrich Fischer Dieskau
- Order: Reorder
- Duration: 2:32
- Updated: 27 Oct 2012
http://wn.com/An_Die_Musik,_Schubert_Dietrich_Fischer_Dieskau
Mondnacht
- Order: Reorder
- Duration: 4:07
- Updated: 22 Oct 2012
Dietrich Fischer-Dieskau, baritone (1974) Wolfgang Sawallisch, piano 'Mondnacht' (Text: Josef von Eichendorff) Music by Robert Schumann (1810-1856) "Dietrich Fischer-Dieskau Sings German Songs" Teldec/Erato
http://wn.com/Mondnacht
Remembering Opera Singer Dietrich Fischer-Dieskau
- Order: Reorder
- Duration: 6:14
- Updated: 23 Sep 2012
German opera singer Dietrich Fischer-Dieskau, who died Friday at age 86, was a master of the Lieder, a form of German song that he helped make popular in the 20th century. Jeffrey Brown speaks with Anne Midgette, a classical music critic for The Washington Post, about Fischer-Dieskau's legacy.
http://wn.com/Remembering_Opera_Singer_Dietrich_Fischer-Dieskau
In memoriam Dietrich Fischer-Dieskau
- Order: Reorder
- Duration: 2:54
- Updated: 27 Oct 2012
Schubert's Nachtviolen, performed by Fischer-Dieskau and Sviatoslav Richter in Salzburg in 1977
http://wn.com/In_memoriam_Dietrich_Fischer-Dieskau
Winterreise, op. 911 (89) (Dietrich Fischer-Dieskau, Alfred Brendel, 01/1979)
- Order: Reorder
- Duration: 73:31
- Updated: 27 Oct 2012
http://wn.com/Winterreise,_op_911_89_Dietrich_Fischer-Dieskau,_Alfred_Brendel,_01_1979
Die schöne Müllerin, op. 25 (795) (Dietrich Fischer-Dieskau, Andras Schiff, 20/06/1991)
- Order: Reorder
- Duration: 62:21
- Updated: 28 Oct 2012
http://wn.com/Die_schöne_Müllerin,_op_25_795_Dietrich_Fischer-Dieskau,_Andras_Schiff,_20_06_1991
Dietrich Fischer Dieskau Der Lindenbaum Die Winterreise
- Order: Reorder
- Duration: 4:52
- Updated: 31 Oct 2012
Dietrich Fischer Dieskau Der Lindenbaum Die Winterreise
http://wn.com/Dietrich_Fischer_Dieskau_Der_Lindenbaum_Die_Winterreise
Mahler: "Des Knaben Wunderhorn" Pt 3-11 Fassbaender, Fischer-Dieskau
- Order: Reorder
- Duration: 6:26
- Updated: 13 Jun 2012
Gustav Mahler (1860-1911) "Des Knaben Wunderhorn": 3. "Der Tamboursg'sell" (The Drummer Boy) Brigitte Fassbaender (mezzo-soprano) Dietrich Fischer-Dieskau (baritone) Rundfunk-Sinfonieorchester Saarbrücken Conductor: Hans Zender Recorded in April 1979 I have inserted subtitles in English from a translation by Julian Budden.
http://wn.com/Mahler_Des_Knaben_Wunderhorn_Pt_3-11_Fassbaender,_Fischer-Dieskau
DIETRICH FISCHER-DIESKAU - 1951 - Ständchen "Serenade" - SCHUBERT
- Order: Reorder
- Duration: 4:09
- Updated: 30 Oct 2012
Franz Schubert, Schwanengesang, D.957-IV. Ständchen "Serenade" Gerald Moore, Piano. Rec, October 1951, London.
http://wn.com/DIETRICH_FISCHER-DIESKAU_1951_Ständchen_Serenade_SCHUBERT
Paintings by Dietrich Fischer-Dieskau: Portraits
- Order: Reorder
- Duration: 5:43
- Updated: 09 Sep 2012
"Painting fascinated me from early on. I was encouraged by the father of my first piano teacher, Friedrich Seyer, whose huge Botticelli copies looked down on me during my lessons, and he enticed me to imitate them". ---Dietrich Fischer-Dieskau One of the things that Fischer-Dieskau enjoys doing most is painting. He has been drawing and sketching since childhood but only began painting seriously in 1960 after viewing an exhibition of the works of the Swiss painter Paul Klee. He began with portraits so that is the focus of my video. "Since my way of singing Lieder is also concentrated on the art of portrayal, it seemed only right to make this the main platform of my second profession. I longed to express that unconscious emotion within me in a figurative way". ---Dietrich Fischer-Dieskau "Seen from a technical point of view, his portraits are distinguished by a very precise awareness of line, so that they retain the action of movement and gestures, just as if they were frozen movementThis propensity for line has perhaps really got something to do with music". ---Elmar Budde as quoted in the biography of Fischer-Dieskau by Hans A. Neunzig. Music: Franz Schubert (1797-1828) Symphony No. 5 in B-flat minor, D.485: 4th movement, Allegro vivace New Philharmonia Orchestra Dietrich Fischer-Dieskau cond. Recorded 1973
http://wn.com/Paintings_by_Dietrich_Fischer-Dieskau_Portraits
Fischer-Dieskau sings "Fischerweise"
- Order: Reorder
- Duration: 3:11
- Updated: 05 Oct 2012
Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978
http://wn.com/Fischer-Dieskau_sings_Fischerweise
Dietrich Fischer-Dieskau (1925-2012)
- Order: Reorder
- Duration: 13:31
- Updated: 29 Oct 2012
In memory of this great singer, here are two examples of his art. Ruhe in Frieden! 1. "In der Nacht", op. 74-4 by Robert Schumann (translation from the Spanish by von Geibel) 2. "Ich bin der Welt abhanden gekommen" by Gustav Mahler (with text by Friedrich Rückert) link to some video footage of Fischer-Dieskau rehearsing with pianist Sviatoslav Richter: www.youtube.com
http://wn.com/Dietrich_Fischer-Dieskau_1925-2012
Dietrich Fischer-Dieskau & James King - Don Carlo Duet
- Order: Reorder
- Duration: 4:28
- Updated: 13 Oct 2012
Dietrich Fischer-Dieskau and James King sing the friendship duet from Verdi's Don Carlo: "Dio, che nell'alma infondere". In German.
http://wn.com/Dietrich_Fischer-Dieskau_James_King_Don_Carlo_Duet
Der Leiermann
- Order: Reorder
- Duration: 3:54
- Updated: 31 Oct 2012
Der Leiermann, 24th Lieder from Die Winterreise, Music by Franz Schubert to a poem by Wilhelm Muller (umlaut omitted due to laziness with ASCII characters), performed by Dietrich Fischer-Dieskau (baritone) and Alfred Brendel (pianist). If you enjoyed this and wish to see/hear more, please buy or rent a full account of the song cycle, whether it is from this specific DVD, or from another recording,
http://wn.com/Der_Leiermann
Dietrich Fischer Dieskau & Sviatoslav Richter Schubert Lieder
- Order: Reorder
- Duration: 31:07
- Updated: 25 Oct 2012
http://wn.com/Dietrich_Fischer_Dieskau_Sviatoslav_Richter_Schubert_Lieder
100 Singers - In Memoriam: DIETRICH FISCHER-DIESKAU
- Order: Reorder
- Duration: 3:23
- Updated: 28 Oct 2012
Dietrich Fischer-Dieskau, the monolith of art song, died on May 18th 2012 aged 87. If you would like to condole, please leave a comment.
http://wn.com/100_Singers_In_Memoriam_DIETRICH_FISCHER-DIESKAU
The Art of Dietrich Fischer-Dieskau: Schubert, Schumann, Wolf (Wolfgang Sawallisch, 1974)
- Order: Reorder
- Duration: 73:18
- Updated: 17 Oct 2012
http://wn.com/The_Art_of_Dietrich_Fischer-Dieskau_Schubert,_Schumann,_Wolf_Wolfgang_Sawallisch,_1974
Fischer-Dieskau Beethoven Songs
- Order: Reorder
- Duration: 27:24
- Updated: 31 Oct 2012
To the memory of Dietrich Fischer-Dieskau. Gerald Moore plays the piano.
http://wn.com/Fischer-Dieskau_Beethoven_Songs
In memoriam: Dietrich Fischer-Dieskau (28 May 1925 - 18 May 2012)
- Order: Reorder
- Duration: 4:51
- Updated: 31 Aug 2012
"Die alten, bösen Lieder" from Dichterliebe, Op. 48 by Robert Schumann English translation of text (by Heinrich Heine): "The old bad songs, and the angry, bitter dreams, let us now bury them, bring a large coffin. I shall put very much therein, I shall not yet say what: the coffin must be bigger than the 'Tun' at Heidelberg. And bring a bier of stout, thick planks, they must be longer than the Bridge at Mainz. And bring me too twelve giants, who must be mightier than the Saint Christopher in the cathedral at Cologne. They must carry the coffin and throw it in the sea, because a coffin that large needs a large grave to put it in. Do you know why the coffin must be so big and heavy? I will also put my love and my suffering into it." Baritone: Dietrich Fischer-Dieskau Piano: Jörg Demus
http://wn.com/In_memoriam_Dietrich_Fischer-Dieskau_28_May_1925_18_May_2012
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Dietrich Fischer-Dieskau (28 May 1925 – 18 May 2012[1]) was a German lyric baritone and conductor of classical music, one of the most famous Lieder (art song) performers of the post-war period, described as "one of the supreme vocal artists of the 20th century"[2] and "the most influential singer of the 20th Century".[3] Fischer-Dieskau was ranked the second greatest singer of the century (after Jussi Björling) by Classic CD (United Kingdom) "Top Singers of the Century" Critics' Poll (June 1999).
The French dubbed him "Le miracle Fischer-Dieskau" and Elisabeth Schwarzkopf called him "a born god who has it all."[4] At his peak, he was greatly admired for his interpretive insights and exceptional control of his beautiful voice. Fischer-Dieskau also performed and recorded a great many operatic roles. He was the most recorded singer of all time.[5] He dominated both the opera and concert platform for over thirty years.[6]
Recording an astonishing array of repertoire (spanning centuries) as musicologist Alan Blyth asserted, "No singer in our time, or probably any other has managed the range and versatility of repertory achieved by Dietrich Fischer-Dieskau. Opera, Lieder and oratorio in German, Italian or English came alike to him, yet he brought to each a precision and individuality that bespoke his perceptive insights into the idiom at hand." In addition, he recorded in French, Russian, Hebrew and Hungarian.
He was most admired, though, as a singer of Schubert Lieder, particularly the cycle Winterreise.[7] His recordings of Winterreise with accompanist Gerald Moore and Jörg Demus are still critically acclaimed half a century after their release.[8]
Contents |
Early years[link]
Albert Dietrich Fischer was born in 1925 in Berlin to Albert Fischer, a school principal, and Theodora (Dora) née Klingelhoffer, a teacher. In 1934, his father added the hyphenated "Dieskau" to the family name (through his mother, he was descended from the Kammerherr von Dieskau, for whom Johann Sebastian Bach wrote the "Peasant Cantata"). He started singing as a child and began formal voice lessons at the age of 16. When he was drafted into the Wehrmacht during World War II in 1943, tending horses on the Russian Front, Fischer-Dieskau had just completed his secondary school studies and one semester at the Berlin Conservatory. He was captured in Italy in 1945 and spent two years as an American prisoner of war. During that time, he sang Lieder in POW camps to homesick German soldiers. He had an infirm brother who was sent to an institution by the Nazi regime and starved to death.[9] His family home was also destroyed during the war.[10]
Singing career[link]
In 1947, he returned to Germany where he launched his professional career as a singer in Badenweiler, singing in Brahms' Ein Deutsches Requiem without any rehearsal. (He was a last-minute substitute for an indisposed singer.) He gave his first Lieder recital in Leipzig in the autumn of 1947 and followed it soon afterwards with a highly successful first concert at Berlin's Titania-Palast.
From early in his career he collaborated with famous lyric sopranos Elisabeth Schwarzkopf and Irmgard Seefried, and the recording producer Walter Legge, issuing instantly successful albums of Lieder by Schubert and Hugo Wolf.
In the autumn of 1948, Fischer-Dieskau was engaged as principal lyric baritone at the Städtische Oper Berlin (Municipal Opera, West Berlin), making his debut as Posa in Verdi's Don Carlos under Ferenc Fricsay. This company, known after 1961 as the Deutsche Oper, would remain his artistic home until his retirement from the operatic stage, in 1978.
Subsequently, Fischer-Dieskau made guest appearances at the opera houses in Vienna and Munich. After 1949 he made concert tours in the Netherlands, Switzerland, France and Italy. In 1951, he made his Salzburg Festival concert debut with Mahler's Lieder eines fahrenden Gesellen (Songs of a Wayfarer) under Wilhelm Furtwängler. That year, he also made his British debut, at the Royal Albert Hall in London during the Festival of Britain. He appeared in Frederick Delius's A Mass of Life, conducted by Sir Thomas Beecham.[11] He made regular opera appearances at the Bayreuth Festival between 1954 and 1961 and at the Salzburg Festival from 1956 until the early 1970s.
As an opera singer, Fischer-Dieskau performed mainly in Berlin and at the Bavarian State Opera in Munich. He also made guest appearances at the Vienna State Opera, at the Royal Opera House, Covent Garden in London, at the Hamburg State Opera, in Japan, and at the King's Theatre in Edinburgh, during the Edinburgh Festival. His first tour in the United States took place in 1955, when he was 29, with his concert debut in Cincinnati on 15 April (J. S. Bach's Kreuzstab cantata ) and 16 April (Ein Deutsches Requiem). His American Lieder debut, singing Franz Schubert songs, took place in Saint Paul, Minnesota, on 19 April. His New York City debut occurred on 2 May at The Town Hall, where he sang Schubert's song cycle Winterreise without an interval. Both American recitals were accompanied by Gerald Moore.
In 1951, Fischer-Dieskau made his first of many recordings of Lieder with Gerald Moore at the EMI Studios, London, including a complete Die schöne Müllerin, and they performed the work on 31 January 1952 at the Kingsway Hall, London in the Mysore Concerts of the Philharmonia Concert Society.[12] They gave recitals together until Moore retired from public performance in 1967. They continued, however, to record together until 1972, in which year they completed their massive project of recording all of the Schubert lieder appropriate for the male voice. Gerald Moore retired completely in 1972, and died in 1987, aged 87. Their recordings of Die schöne Müllerin and Winterreise are highly prized as examples of their artistic partnership.
Fischer-Dieskau also performed many works of contemporary music, including Benjamin Britten (who chose Fischer-Dieskau as the baritone soloist when writing War Requiem), Samuel Barber, Hans Werner Henze, Karl Amadeus Hartmann (who wrote his Gesangsszene for him), Ernst Krenek, Witold Lutosławski, Siegfried Matthus, Winfried Zillig, Gottfried von Einem and Aribert Reimann. He participated in the 1975 premiere and 1993 recording of Gottfried von Einem's cantata An die Nachgeborenen, written in 1973 as a commission of the UN, both with Julia Hamari and the Wiener Symphoniker conducted by Carlo Maria Giulini.[13]
Beyond his recordings of Lieder and the German opera repertoire, Fischer-Dieskau also recorded performances in the Italian operatic field. His recordings of Verdi's Rigoletto (alongside Renata Scotto and Carlo Bergonzi) and Rodrigo in Verdi's Don Carlos, are probably the most respected of these ventures. Others, such as the title role in Verdi's Macbeth (with Elena Souliotis), Giorgio Germont in Verdi's La traviata, and Scarpia in Giacomo Puccini's Tosca (with Birgit Nilsson), are not delivered by him with the same degree of effectiveness. They display his characteristic perceptiveness and intelligence but lack idiomatic Mediterranean vocal colour and temperament - perhaps, in short, seeming too Germanic.[citation needed] However, as with the operatic interpretations of Schwarzkopf and Maria Callas, Fisher-Dieskau's performances on disc always seem thought out and are often true to the score.[citation needed] As conductor Ferenc Fricsay put it, "I never dreamed I'd find an Italian baritone in Berlin." Fischer-Dieskau retired from opera in 1978, the year he recorded his final opera, Aribert Reimann's Lear, that the composer had written at his suggestion.
Throughout his career, his musicianship and technique were flawless. As Greg Sandow of Opera News put it, "Overall, his technique is breath-taking; someone should build a monument to it."[14] He retired from the concert hall as of New Year's Day, 1993, at 67, and dedicated himself to conducting, teaching (especially the interpretation of Lieder), painting and writing books. He has still performed as a reciter, reading for example the letters of Strauss to Hugo von Hofmannsthal, read by Gert Westphal, for the Rheingau Musik Festival in 1994; and both performing and recording Strauss's melodrama Enoch Arden. He is also an honorary member of the Robert Schumann Society.
As 'the world's greatest Lieder singer' (Time magazine), he regularly sold out concert halls all over the world until his retirement at the end of 1992. The precisely articulated accuracy of his performances, in which text and music were presented as equal partners, established standards that endure today. The current widespread interest in German Romantic art song is mainly due to his efforts. Perhaps most admired as a singer of Schubert Lieder, Fischer-Dieskau had, according to critic Joachim Kaiser, only one really serious competitor - himself, as over the decades he set new standards, explored new territories and expressed unanticipated feelings and emotions.[15]
Few artists achieve the level of recognition, admiration and influence of Fischer-Dieskau, and even fewer live to see that influence realised during their own lifetime. Ushering in the modern recording era, he challenged our perception and processes of how recordings could be made, explored the possibilities of modern recording and exploited the potential for the popularity of classical music - and all this while setting standards of artistic achievement, integrity, risk-taking, and of the aesthetic ideal that became our new norm. Whenever we bask in the beauty of his tone, revere the probing, questioning power of his intellect, or simply wonder at the astonishing physical abilities throughout all that he has achieved in his long recording career, we must also pause and say THANK YOU to this great artist, whose legacy, like a great and bright star lighting the way for those who follow in his passion for singing, is exemplary in every way.—Thomas Hampson, May 2012, Hall of Fame, Gramophone Magazine.
Awards[link]
- Léonie Sonning Music Prize 1975
- Ernst von Siemens Music Prize 1980
- Polar Music Prize 2005
- Gramophone Hall of Fame entrant 2012[16]
Personal life[link]
In 1949, Fischer-Dieskau married the cellist Irmgard Poppen. Together they had three sons: Mathias (stage designer), Martin (conductor), and Manuel (cellist). Irmgard died in 1963 of complications following childbirth. Afterwards, Fischer-Dieskau was married to the actress Ruth Leuwerik, from 1965 to 1967, and Christina Pugel-Schule, from 1968 to 1975. In 1977 he married the soprano Júlia Várady.
His older brother Klaus Fischer-Dieskau was a notable Berlin choral director who conducted Fischer-Dieskau several times, including in his only recording of a passion by Heinrich Schütz in 1961.
Death[link]
On Friday, 18 May 2012, Fischer-Dieskau died in his sleep at his home in Berg, Upper Bavaria, ten days before his 87th birthday.[17]
Partial discography[link]
As singer[link]
Fischer-Dieskau recorded mainly on the labels EMI, DG and Orfeo.
- Bach, 75 Cantatas, with Karl Richter on the Polygram label
- Bach, Jesus and bass parts in the Passions under a wide host of conductors, e.g. Herbert von Karajan, Otto Klemperer, Wilhelm Furtwängler, Fritz Lehmann, and Karl Richter
- Bartók, Bluebeard's Castle, with Ferenc Fricsay
- Bartók, Bluebeard's Castle, with Wolfgang Sawallisch
- Beethoven, Fidelio, with Fricsay
- Beethoven, Fidelio, with Leonard Bernstein
- Alban Berg, Wozzeck, with Karl Böhm
- Alban Berg, Lulu, with Karl Böhm
- Brahms, Ein Deutsches Requiem, with Rudolf Kempe
- Brahms, Ein deutsches Requiem, with Otto Klemperer and the Philharmonia Orchestra on the Angel label
- Brahms, Ein deutsches Requiem, with Otto Klemperer, the Philharmonia Orchestra and Elisabeth Schwarzkopf on the EMI label 1961 recorded at Kingsway Hall in March 1961
- Brahms, Liebeslieder Walzer on the Deutsche Grammophon label
- Brahms, Vier ernste Gesänge, lieder, with Jörg Demus, piano on the Deutsche Grammophon label
- Britten, War Requiem, Benjamin Britten conducting, with Galina Vishnevskaya and Sir Peter Pears
- Busoni, Doktor Faust, conductor Ferdinand Leitner
- Cimarosa, The Secret Marriage, with Daniel Barenboim
- Debussy, Mélodies, with Hartmut Höll, piano, recorded 1988 for Claves Records, available in 2006 on Brilliant Classics
- Fauré, Requiem, Op. 48 under André Cluytens on EMI
- Gluck, Orpheus ed Eurydice with Karl Richter
- Gluck, Iphigenie in Aulis with Artur Rother
- Gluck, Iphigenie in Aulis with Kurt Eichhorn and Anna Moffo
- Haydn, The Creation, with Herbert von Karajan
- Henze, Elegie für junge Liebende, with Martha Mödl, the composer conducting
- Paul Hindemith, Cardillac, with Josef Keilberth
- Paul Hindemith, Mathis der Maler, with Rafael Kubelík
- Paul Hindemith, When lilacs last in the dooryard bloom'd (Requiem "for those we love"), with Wolfgang Sawallisch
- Mahler, Das Lied von der Erde, with Leonard Bernstein and the Vienna Philharmonic
- Mahler, Lieder, with Daniel Barenboim, piano, on the EMI label
- Mahler, Lieder eines fahrenden Gesellen and Des Knaben Wunderhorn, with Daniel Barenboim, piano, on the Sony label
- Mahler, Lieder eines fahrenden Gesellen and Kindertotenlieder with orchestra, with Wilhelm Furtwängler and Rudolf Kempe, on the EMI label
- Mahler, Kindertotenlieder, with Karl Böhm
- Mahler, Rückert-Lieder, on the Deutsche Grammophon label
- Felix Mendelssohn, Lieder, with Hartmut Höll, piano, recorded 1989 and 1991 for Claves Records, available in 2006 on Brilliant Classics
- Mozart and Haydn Discoveries, with Reinhard Peters and the Vienna Haydn Orchestra on the Decca label
- Mozart, The Magic Flute with Ferenc Fricsay
- Mozart, The Magic Flute, with Karl Böhm
- Mozart, The Magic Flute, with Georg Solti (as the Sprecher)
- Mozart, The Marriage of Figaro, with Karl Böhm
- Mozart, The Marriage of Figaro, with Ferenc Fricsay
- Mozart, Don Giovanni, with Ferenc Fricsay
- Mozart, Don Giovanni, with Karl Böhm
- Mozart, Così fan tutte, at least two different recordings are available, one starring Gundula Janowitz as Fiordiligi; the other starring Irmgard Seefried, both conducted by Karl Böhm.
- Mozart, Requiem, with Daniel Barenboim
- Offenbach, Les contes d'Hoffmann, as Lindorf/Coppelius/Miracle/Dapertutto on the EMI label
- Orff, Carmina Burana, with Eugen Jochum and the Chor und Orchester der Deutschen Oper Berlin on the Deutsche Grammophon label
- Puccini, Tosca, with Birgit Nilsson, as well as excerpts in German with Anja Silja, on Decca Records
- Reger, Hebbel Requiem with the Philharmoniker Hamburg and Gerd Albrecht
- Reimann, Lear, with the Bavarian State Orchestra on the Polygram label
- Schoeck, Lebendig begraben, with Radio-Symphonie-Orchester Berlin, on the Deutsche Grammophon label
- Schoeck, Notturno, five movements für voice and string quartet, on EMI Classics
- Schoeck, Lieder, with Margrit Weber (piano) and Karl Engel (piano), on the Deutsche Grammophon label
- Schubert, Deutsche Messe, with Wolfgang Sawallisch and the Orchester des Bayerischen Rundfunks on the Capitol label
- Schubert, Winterreise, with Gerald Moore, piano, on the Deutsche Grammophon label
- Schubert, Winterreise, with Daniel Barenboim, piano, on the Deutsche Grammophon label
- Schubert, Die Winterreise, with Jörg Demus, piano, on the Deutsche Grammophon label
- Schubert, Die schöne Müllerin, with Gerald Moore, piano, on the Angel label
- Schubert, Lieder, with Gerald Moore, piano on the Deutsche Grammophon label
- Schubert, Lieder, with Sviatoslav Richter, piano on the Deutsche Grammophon label
- Schubert, Missa Solemnis and Masses in C major and E flat major, with Wolfgang Sawallisch and the Bavarian Radio Symphony Orchestra on the EMI label
- Schubert, Schwanengesang, with Gerald Moore, piano on the EMI label
- Schubert, Lieder, with Hartmut Höll, piano, recorded 1987 for Claves Records, available in 2006 on Brilliant Classics
- Schumann, Dichterliebe, Liederkreis, and the complete lieder for male voice, with Christoph Eschenbach, piano, on the Deutsche Grammophon label
- Schumann, Liederkreis, with Gerald Moore, piano, on the EMI label
- Schütz St Matthew Passion SWV 479. Berlin Hugo-Distler Chor, dir. Klaus Fischer-Dieskau Archiv LP 1961[18]
- Shostakovich, Suite on Verses of Michelangelo Buonarroti and Four Verses of Captain Lebyadkin, with Vladimir Ashkenazy and the Radio Symphony Orchestra Berlin on the Polygram label
- Shostakovich, Symphony No. 14 with Bernard Haitink and the Concertgebouw Orchestra on the Decca label
- Richard Strauss, Elektra, with Karl Böhm
- Strauss, Arabella, with Wolfgang Sawallisch
- Strauss, Die Frau ohne Schatten, with Joseph Keilberth (Deutsche Grammophon; re-released on Brilliant Classics)
- Strauss, Salome, with Karl Böhm
- Strauss, Der Rosenkavalier, with Karl Böhm
- Strauss, Ariadne auf Naxos, with Kurt Masur
- Strauss, Capriccio, with Wolfgang Sawallisch
- Johann Strauss, Die Fledermaus, with Willi Boskovsky
- Verdi, Un ballo in maschera (in German), with Fritz Busch
- Verdi, La traviata, with Lorin Maazel
- Verdi, Otello
- Verdi, Falstaff, with Leonard Bernstein
- Verdi, Macbeth, with Elena Souliotis
- Verdi, Rigoletto with Renata Scotto, Carlo Bergonzi, Rafael Kubelík and the La Scala Orchestra on the Deutsche Grammophon label
- Verdi, Don Carlos, in German, with Ferenc Fricsay and Josef Greindl, 1948 (his operatic debut)
- Verdi, Don Carlos, in Italian, with Georg Solti
- Wagner, Die Meistersinger von Nürnberg, as Hans Sachs, with Eugen Jochum and the Berliner Staatsopernorchester on the Deutsche Grammophon label
- Wagner, Die Meistersinger von Nürnberg, as Fritz Kothner the baker, with Andre Clutyens, at Bayreuth, 1956
- Wagner, Die Meistersinger von Nürnberg, as Hans Sachs, with Eugen Jochum, Chor und Orchester der Deutschen Oper Berlin, 1976, Deutsche Grammophon
- Wagner, Lohengrin with Rudolf Kempe (EMI), as Friedrich von Telramund
- Wagner, Lohengrin, with Eugen Jochum (Conductor), Bayreuth Festival Orchestra, 1954, as the Heerrufer
- Wagner, Lohengrin, with Georg Solti, Vienna Philharmonic Orchestra, as the Heerrufer (Decca)
- Wagner, The Flying Dutchman, with Franz Konwitschny (EMI)
- Wagner, Tannhäuser, with Franz Konwitschny (EMI)
- Wagner, Das Rheingold, with Herbert von Karajan (DG)
- Wagner, Götterdämmerung, with Georg Solti and the Vienna Philharmonic Orchestra on the Decca label
- Wagner, Tristan und Isolde, with Wilhelm Furtwängler
- Wagner, Tristan und Isolde, with Carlos Kleiber
- Wagner, Parsifal, with Hans Knappertsbusch (live at Bayreuth, 1956, CD manufactured by Arkadia)
- Wagner, Parsifal, in studio with Georg Solti
- Weber, Lieder, with Hartmut Höll, piano, recorded 1991 for Claves Records, available in 2006 on Brilliant Classics
- Wolf, Frühe Lieder, with Hartmut Höll, piano, recorded 1986 for Claves Records, available in 2006 on Brilliant Classics
- Zemlinsky, Lyrische Symphonie, with Lorin Maazel
As reciter[link]
- Strauss, Enoch Arden, with Burkhard Kehring, piano
On video[link]
- Schubert, Winterreise, recorded July 1990, with Murray Perahia (piano), from Sony Classical.
- Schubert, Winterreise, recorded January 1979, with Alfred Brendel (piano), Sender Freies Berlin (SFB), from TDK 2005.
- Mozart, Don Giovanni, Deutsche Oper Berlin, with Ferenc Fricsay, live performance in German, recorded September 24, 1961. Cast includes Pilar Lorengar, Elisabeth Grümmer, Walter Berry, Erika Köth, Donald Grobe, and Josef Greindl.
- Strauss (Richard), Mahler, and Schubert: "Schwarzkopf, Seefried, and Fischer-Dieskau", a DVD from EMI Classics. Includes Schwarzkopf playing the Marschallin and Fischer-Dieskau singing "Der Erlkönig".
- Mozart, Le nozze di Figaro Vienna Philharmonic Orchestra conducted by Lorin Maazel, from the Salzburg Festival, 1963. A DVD from VAI.
- Mozart, Die Zauberflöte (1971) Hamburg Philharmonic State Orchestra and Chorus of Hamburg State Opera, conducted by Horst Stein, directed by Sir Peter Ustinov. Fischer-Dieskau in a cameo non-singing role as the Speaker, with Hans Sotin as Sarastro, Nicolai Gedda as Tamino, Cristina Deutekom as Queen of the Night, Edith Mathis as Pamina, William Workman as Papageno. A DVD from Arthaus Musik GmbH, Leipzig.
As conductor[link]
- Berlioz, Harold in Italy with violist Josef Suk and the Czech Philharmonic Orchestra on the Supraphon label
- Brahms, Symphony No. 4, with the Czech Philharmonic Orchestra on the Supraphon label
- Mahler, Das Lied von der Erde with the Radio-Sinfonieorchester Stuttgart on the Orfeo label
- Schubert, Symphonies #5 and 8 "Unfinished," with the New Philharmonia Orchestra on the EMI label
- Richard Strauss, Arias from Salome, Ariadne auf Naxos, Die Liebe der Danae, and Capriccio, with Júlia Várady and the Bamberg Symphony Orchestra on the Orfeo label
- Richard Wagner, Wesendonck Lieder with Júlia Várady, Deutschland-Sinfonie-Orchester, Orfeo
Footnotes[link]
- ^ Sänger Dietrich Fischer-Dieskau gestorben Der Tagesspiegel 18 May 2012
- ^ Ted Libbey. The NPR Listener's Encyclopedia of Classical Music New York: Workman Publishing, 2006
- ^ The Guardian, May 2005
- ^ Dietrich Fischer-Dieskau: the Baritone of Our Age by Richard Wigmore 6 June 2007
- ^ Inc. Marquis Who's Who. Who's Who in the World: Marquis Who's Who., 2004
- ^ Matthew Boyden. The Rough Guide to Opera 3rd Edition London: Rough Guides Ltd., 2002
- ^ BBC obituary
- ^ Gramophone, on Fischer-Dieskau and Winterreise
- ^ "Lyrical and Powerful Baritone, and the Master of the Art Song". New York Times. : May 18, 2012. http://www.nytimes.com/2012/05/19/arts/music/dietrich-fischer-dieskau-german-baritone-dies-at-86.html?pagewanted=2&_r=1.
- ^ Daniel Lewis (May 18, 2012). "Dietrich Fischer-Dieskau, Lyrical and Powerful Baritone, Dies at 86". The New York Times. http://www.nytimes.com/2012/05/19/arts/music/dietrich-fischer-dieskau-german-baritone-dies-at-86.html?src=un&feedurl=http%3A%2F%2Fjson8.nytimes.com%2Fpages%2Farts%2Fmusic%2Findex.jsonp.
- ^ Liner notes to Portrait of Dietriech [sic] Fischer-Dieskau, HMV, released by World Record Club
- ^ Concert Programme, 31 Jan 1952.
- ^ "Einem, Gottfried von: An die Nachgeborenen". Boosey & Hawkes. http://www.boosey.com/cr/music/Gottfried-von-Einem-An-die-Nachgeborenen/6121. Retrieved 2010-06-29.
- ^ Greg Sandow. "21 Sides of Fischer-Dieskau" Opera News November 2000
- ^ www.bach-cantatas.com/Bio/Fischer-Dieskau-Dietrich.htm
- ^ "Dietrich Fischer-Dieskau (baritone)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Fischer-Dieskau. Retrieved 11 April 2012.
- ^ "Sänger Dietrich Fischer-Dieskau gestorben". ORF.at. 18 May 2012. http://orf.at/stories/2121077/. Retrieved 18 May 2012. (German)
- ^ Hans Joachim Moser Heinrich Schütz: a short account of his life and works 1967 - 121 "St. Matthew Passion (SWV 479) Soloists, Hugo-Distler-Chor, Berlin, conducted by Klaus Fischer- Dieskau Archive 198 174 (mono),"
Books[link]
- The Fischer-Dieskau Book of Lieder: The Original Texts of over 750 Songs, translated by Richard Stokes and George Bird. Random House, 1977. (ISBN 0-394-49435-0)
- Reverberations: The Memoirs of Dietrich Fischer-Dieskau, translated by Ruth Hein. Fromm International, 1989. (ISBN 0-88064-137-1)
- Robert Schumann Words and Music: The Vocal Compositions, translated by Reinhard G. Pauly. Hal Leonard, 1992. (ISBN 0-931340-06-3)
- Schubert's Songs: A Biographical Study. Alfred A. Knopf, 1977. (ISBN 0-394-48048-1)
- Wagner and Nietzsche, translated by Joachim Neugroschel. Continuum International, 1976.
- Jupiter und ich: Begegnungen mit Furtwängler, Berlin University Press, 2009.
Further reading[link]
- Neunzig, Hans A. Dietrich Fischer-Dieskau Trans. Kenneth S Whitton. Gerald Duckworth & Co, 1998. (ISBN 0-7156-2818-6)
- Whitton, Kenneth S. Dietrich Fischer-Dieskau: Mastersinger Holmes & Meier Publishers, 1981. (ISBN 0-8419-0728-5)
External links[link]
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| Persondata | |
|---|---|
| Name | Fischer-Dieskau, Dietrich |
| Alternative names | |
| Short description | German baritone and conductor |
| Date of birth | 28 May 1925 |
| Place of birth | Berlin |
| Date of death | |
| Place of death | |
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Alfred Brendel KBE (born 5 January 1931) is an Austrian pianist, born in Czechoslovakia and a resident of the United Kingdom. He is also a poet and author.
Contents |
Biography[link]
Brendel was born in Wiesenberg, Czechoslovakia, now Loučná nad Desnou, Czech Republic, to a non-musical family. They moved to Zagreb when Brendel was six, and later to Graz, where they lived during World War II, towards the end of which the 14-year old Brendel was sent to Yugoslavia to dig trenches. However, he developed frostbite and was taken to hospital. Brendel began piano lessons when he was six with Sofija Deželić, and at 14 he studied piano with Ludovica von Kaan and composition in the Graz Conservatory for the next two years, but otherwise had little formal music education.
After the war, Brendel composed music, as well as continuing to play the piano and to paint. However, he never had more formal piano lessons and although he attended masterclasses with Edwin Fischer and Eduard Steuermann, he was largely self-taught.
Brendel gave his first public recital in Graz at the age of 17.[1] He called it "The Fugue In Piano Literature", and as well as fugal works by Johann Sebastian Bach, Johannes Brahms and Franz Liszt, it included some of Brendel's own compositions. However, he gave up composing shortly after this to concentrate on the piano. In 1949 he won 4th prize in the Ferruccio Busoni Piano Competition in Bolzano, Italy and moved to Vienna the following year. At the age of 21, he made his first record, Sergei Prokofiev's Piano Concerto No. 5. He went on to make a string of other records, including three complete sets of the Ludwig van Beethoven piano sonatas (one on Vox Records and two on Philips Records). He was the first performer to record the complete solo piano works of Beethoven.[2] He has also recorded works by Liszt, Brahms (including Brahms' concertos), Robert Schumann and Franz Schubert. Unlike most classical pianists, Brendel has recorded very little by Frédéric Chopin other than the polonaises. An important collection of Alfred Brendel is the complete Mozart piano concertos recorded with Sir Neville Marriner and the Academy of St Martin in the Fields, which is included in the Phillips 180 CD complete Mozart Edition.
Brendel recorded extensively for the Vox label, providing them his first of three sets of the complete Beethoven sonatas. He did not secure a major recording contract until the 1970s, nor did he play much outside Austria. His breakthrough came after a recital of Beethoven at the Queen Elizabeth Hall in London, the day after which three major record labels called his agent. Around this time he moved to Hampstead, London, where he still resides.[1] Since the 1970s, Brendel has recorded for Philips Classics Records.[3]
Brendel has been married twice. His first marriage, from 1960 to 1972, was to Iris Heymann-Gonzala, and they had a daughter, Doris. In 1975, Brendel married Irene Semler, and the couple have three children; a son, Adrian, who is a cellist, and two daughters, Katharina and Sophie.[4]
In April 2007, Brendel was one of the initial signatories of the "Appeal for the Establishment of a Parliamentary Assembly at the United Nations".[5]
In 2009, Brendel was featured in the award-winning German-Austrian documentary Pianomania, about a Steinway & Sons piano tuner, which was directed by Lilian Franck and Robert Cibis. The film premiered theatrically in North America, where it was met with positive reviews by The New York Times[6], as well as in Asia and throughout Europe, and is a part of the Goethe-Institut catalogue.
Work[link]
Brendel is regarded as one of the most thoughtful interpreters of classical Germanic works by such composers as Beethoven, Schubert and Mozart. He plays relatively few 20th century works, but is closely associated with Arnold Schoenberg's Piano Concerto. Toward the end of his concert career he stopped playing many of the most physically demanding pieces in the repertoire, such as the Hammerklavier Sonata of Beethoven, owing to problems with arthritis.
Critical reaction to Brendel's playing has been mixed. While he has been lauded by Michael Steinberg as "the new Schnabel", critic Harold C. Schonberg noted that some critics and specialists accused the pianist of "pedanticism".[7] Brendel's playing is sometimes described as being "cerebral",[8] and he has said that he believes the primary job of the pianist is to respect the composer's wishes without showing off himself, or adding his own spin on the music:
"I am responsible to the composer, and particularly to the piece".[4]
As well as his former mentor and teacher, Edwin Fischer, he cites Alfred Cortot, Wilhelm Kempff, and the conductors Bruno Walter and Wilhelm Furtwängler as particular influences.
In recent years, Brendel has worked with younger pianists such as Paul Lewis, Mark Gasser, Roberto Carnevale, Andrew von Oeyen, Till Fellner and, most recently, Kit Armstrong.[9] He has also performed in concert and recorded with his son Adrian.[10]
In November 2007, Brendel announced that he would retire from the concert platform after his concert of 18 December 2008 in Vienna, which featured him as soloist in Mozart's Piano Concerto No. 9 in E flat; the orchestra (the Vienna Philharmonic) was conducted by Sir Charles Mackerras.[2] His final concert in New York was at Carnegie Hall on 20 February 2008, with works by Haydn, Mozart, Beethoven, and Schubert. Since his debut at the Carnegie Hall on 21 January 1973 he has appeared there 81 times, and in 1983 he became only the second pianist to perform the complete cycle of Beethoven's piano sonatas at the Hall.
Brendel has been Honorary Member of the Royal Academy of Music since 1972.[11]
Publications[link]
Brendel is also a published poet and author.[12] His books include:
- Musical Thoughts and Afterthoughts (Essays) (1976)
- Music Sounded Out (1990)
- One Finger Too Many (Poetry) (1998)
- Alfred Brendel on Music (collected essays) (2001)
- Me, of All People: Alfred Brendel in Conversation with Martin Meyer (2002) (UK edition: The Veil of Order)
- Cursing Bagels (Poetry) (2004)
Awards[link]
- Honorary Knight of the Order of the British Empire (KBE; 1989)
- Honorary Fellow of Exeter College, Oxford
- Sonning Award (2002; Denmark)
- Ernst von Siemens Music Prize (2004)
- Praemium Imperiale (2009)[13]
- Voted into the Gramophone Hall of Fame (2012)[14]
Recordings[link]
Main article: Alfred Brendel discography
- Alfred Brendel - Unpublished Live and Radio Performances 1968-2001
- Great Pianists of the 20th Century - Alfred Brendel III
References[link]
- ^ a b "Brendel, Alfred", Grove Music Online, 2007. Accessed 3 June 2007.
- ^ a b Charlotte Higgins (21 November 2007). "Alfred Brendel, piano maestro, calls time on concert career". London: The Guardian. http://www.guardian.co.uk/uk_news/story/0,,2214378,00.html. Retrieved 21 November 2007.
- ^ Anthony Holden (8 January 2006). "Alfred Brendel, A Personal 75th Birthday Selection". London: The Observer. http://arts.guardian.co.uk/reviews/observer/story/0,,1681512,00.html. Retrieved 21 November 2007.
- ^ a b Nicholas Wroe (5 October 2002). "Keeper of the flame". London: The Guardian. http://arts.guardian.co.uk/features/story/0,,804868,00.html. Retrieved 21 November 2007.
- ^ "Featured Signatories", Campaign for a UN Parliament, 2007. Accessed 5 January 2011.
- ^ {{cite news | url=http://movies.nytimes.com/2011/11/04/movies/pianomania-by-lilian-franck-and-robert-cibis-review.html
- ^ The Great Pianists from Mozart to the Present, Harold C. Schonberg, Simon & Schuster, Second Edition, 1987, ISBN 0-671-63837-8
- ^ Tom Service (16 June 2003). "Alfred Brendel (Snape Maltings Concert Hall, Suffolk)". London: The Guardian. http://arts.guardian.co.uk/reviews/story/0,,978109,00.html. Retrieved 21 November 2007.
- ^ Stephen Plaistow (15 December 2008). "'I've had a lot of fun' Alfred Brendel talks to Stephen Plaistow about inspirations, aching limbs and mastering Mozart". London: The Guardian. http://www.guardian.co.uk/music/2008/dec/15/alfred-brendel-pianist-classical-music. Retrieved 14 June 2010.
- ^ Andrew Clements (1 July 2003). "Adrian and Alfred Brendel (Wigmore Hall, London)". The Guardian. http://arts.guardian.co.uk/critic/review/0,,988659,00.html. Retrieved 24 November 2007.
- ^ "Honorary Members of the Royal Academy of Music (Oct.14, 2009)". Royal Academy of Music. 14 October 2009. http://www.ram.ac.uk/whoswho/Pages/HonRAM.aspx. Retrieved 14 October 2009.
- ^ Alfred Brendel (27 March 2004). "Hymns, Pianos and Laughing Angels". London: The Guardian. http://books.guardian.co.uk/departments/poetry/story/0,,1179003,00.html. Retrieved 21 November 2007.
- ^ Morrison, Richard (3 October 2009). "Alfred Brendel on retiring from the concert hall and his books of poetry". The Times (London). http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article6856909.ece. Retrieved 23 April 2010.
- ^ "Alfred Brendel (pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Brendel. Retrieved 11 April 2012.
External links[link]
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Wikiquote has a collection of quotations related to: Alfred Brendel |
- Interviews
- Alfred Brendel interview by Bruce Duffie
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See also: Brendel (disambiguation)
| Persondata | |
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| Name | Brendel, Alfred |
| Alternative names | |
| Short description | |
| Date of birth | 5 January 1931 |
| Place of birth | |
| Date of death | |
| Place of death | |
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Wikimedia Commons has media related to: Alfred Brendel |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
András Schiff (Hungarian pronunciation: [ˌɒndraːʃ ˈʃifː]) (born 21 December 1953) is a Hungarian-born British classical pianist and conductor, who made numerous recordings and is one of the most highly honored pianists of our time, having won numerous major awards. He has also become an outspoken critic of the Hungarian government of Viktor Orbán, whom he has publicly accused of racism, anti-Semitism, and neo-fascism, stating in January 2012 that he would never again set foot in his native country.[1]
Contents |
Biography[link]
Schiff was born in Budapest into a Jewish family and began piano lessons at the age five with Elisabeth Vadasz. He studied at the Franz Liszt Academy of Music in Budapest until 1974 and in London with George Malcolm. He was a finalist in the Leeds International Pianoforte Competition in 1975. He emigrated from Hungary in 1979.[2] He was unable to meet requirements for US citizenship because of his long absences for touring [3], and accepted Austrian citizenship in 1987 and established homes in London and Salzburg. He became a British citizen in 2001. He is married to the violinist Yuuko Shiokawa, and resides in London, England, and Florence, Italy.[4]
Awards he has won include a 1990 Grammy Award for Best Instrumental Soloist Performance (without orchestra) - English Suites by Bach; a 1990 Gramophone Award for a Schubert recital with Peter Schreier; the Bartok Prize in 1991; the Claudio Arrau Memorial Medal in 1994; the Kossuth Prize in 1996; the Léonie Sonning Music Prize in 1997; honorary membership in the Beethoven House in Bonn, awarded in 2006 in honor of his complete recording of Beethoven's piano sonatas; the Italian prize, Premio della critica musicale Franco Abbiati, also for his Beethoven cycle in 2007; also in 2007, the Royal Academy of Music Bach Prize, sponsored by the Kohn Foundation, awarded to "an individual who has made an outstanding contribution to the performance and/or scholarly study of Johann Sebastian Bach" [5]; the Wigmore Hall Medal in 2008 [6]; also in 2008, the Klavier-Festival Ruhr Prize, for outstanding pianistic achievement; the Robert Schumann Prize of the City of Zwickau in 2011; and in January 2012, the Golden Mozart Medal of the International Stiftung Mozarteum of which there have been only four previous winners in 70 years. He has been made an Honorary Professor by music academies in Budapest, Detmold and Munich, and a Special Supernumerary Fellow of Balliol College of Oxford University.
From 1989 until 1998 Schiff was Artistic Director of the "Musiktage Mondsee" chamber music festival near Salzburg. In 1995, he co- founded the "Ittinger Pfingstkonzerte" in Kartause Ittingen, Switzerland, together with the famed oboist Heinz Holliger. From 2004 to 2007 he was Artist in Residence of the Kunstfest Weimar. In the 2007-2008 season he was Pianist in Residence of the Berlin Philharmonic. In 2011-12 he was one of the "Perspectives Artists" of Carnegie Hall [7], a prestigious position.
In 1999 he formed an occasional chamber orchestra, which he named the Cappella Andrea Barca, with the name coming from an Italian translation of his last name (Barca and Schiff both mean "boat"), although he has provided a humorous pseudo-biography of the fictional Barca.[8] He has appeared as a conductor with several major orchestras, including regular appearances with Philharmonia Orchestra in London and the Chamber Orchestra of Europe.
Schiff is one of the most renowned interpreters of Bach, Mozart, Schubert and Schumann. His many recordings for the Decca label include the complete piano sonatas of Mozart and Schubert and much of the keyboard music of Bach, as well as the complete Mozart piano concertos with the Camerata Academica Salzburg led by Sándor Végh. His recordings for the Teldec label include the complete Beethoven piano concertos with the Staatskapelle Dresden led by Bernard Haitink. For the ECM label Schiff has recorded the music of Janáček and Sándor Veress, and made live recordings in the Zurich Tonhalle of all of Beethoven's piano sonatas. He gave a series of lecture-recitals on the complete Beethoven sonatas in London.[9] His live concert recordings for ECM also include his second traversals of the Bach Partitas and Goldberg Variations.
For G. Henle, he provided fingerings for new editions of Bach's Well-Tempered Clavier (published in 2006) and fingerings and missing cadenzas for a new edition of the Mozart piano concertos (begun in 2007).
He prefers to play a Bösendorfer piano rather than the more widely used Steinway, and when possible travels and performs with his own instrument. He has also recorded Mozart using Mozart's own piano.
Political views[link]
Schiff has made public statements about politics in Austria and Hungary.
- Austria
In 2000 he commented on the rise of the far right in Austria.[10]. He subsequently renounced his Austrian citizenship.
- Hungary
On 1 January 2011, Schiff published a letter in the Washington Post questioning whether "Hungary is ready and worthy to take on" the rotating presidency of the Council of the European Union, as it did that day,[11] because of "racism, discrimination against the Roma, anti-Semitism, xenophobia, chauvinism and reactionary nationalism," and "the latest media laws" (referring to new media laws passed by the government of Viktor Orbán). On 16 January 2011, Schiff told the Frankfurter Allgemeine Zeitung that he had become "persona non grata" in Hungary and would probably never perform there again "or even visit." On 17 January he joined Hungarian conductor Ádám Fischer and six other Hungarian intellectuals and artists in publishing an open letter "To the artists of Europe and the World" protesting "racism against Roma, with homophobia and with antisemitism" and saying that "the freedom of the media, of the arts and artists, and of those who could most effectively act against such tendencies is more and more curtailed." The letter appeared in German and in English,[12] with a note of support from Daniel Barenboim appended. As a result of his statements, he came under attack from Hungarian nationalists. [13] On January 14, 2012, in an interview with the German newspaper Der Tagesspiel Schiff accused the Viktor Orbán government of racism, anti-Semitism and neo-fascism, and declared that he would never set foot in Hungary again.[1][13]
References[link]
- ^ a b "Europa muss endlich Druck machen". Der Tagesspiegel. January 2012. http://www.tagesspiegel.de/kultur/rechtsruck-in-ungarn-europa-muss-endlich-druck-machen/6065504.html. Retrieved May 09, 2012.
- ^ Stephen Moss (14 May 1999). "Bach to the future". The Guardian (London). http://www.guardian.co.uk/friday_review/story/0,,296686,00.html. Retrieved 28 August 2007.
- ^ http://inspiredminds.de/detail.php?id=4
- ^ Vanessa Mock (16 January 2011). "Hungary's artists take fury at media law to Brussels". Frankfurter Allgemeine Zeitung. http://www.faz.net/s/Rub4D7EDEFA6BB3438E85981C05ED63D788/Doc~E25CEB91162734423B81753EBA198D67. Retrieved 23 January 2011. {{dead link}}
- ^ "Royal Academy of Music / Kohn Foundation Bach Prize is awarded to John Butt". http://www.ram.ac.uk/whatsnew/Pages/RoyalAcademyofMusicKohnFoundationBachPrizeisawardedtoJohnButt.aspx. Retrieved 2010.
- ^ "Wigmore Hall website - 110th anniversary and medal presentation". Wigmore-hall.org.uk. http://www.wigmore-hall.org.uk/about-us/news/?action=detail&id=31. Retrieved 8 March 2012.
- ^ http://www.carnegiehall.org/About-the-Music/Andras-Schiff-Perspectives/
- ^ "Lucerne Festival > Ensembles > Cappella Andrea Barca". Lucernefestival.ch. http://www.lucernefestival.ch/en/ensembles/cappella_andrea_barca/. Retrieved 8 March 2012.
- ^ "Andras Schiff: the lectures". The Guardian (London). http://music.guardian.co.uk/classical/page/0,,1943867,00.html.
- ^ Kate Connolly (2000-02-11),Freedom fighters, The Guardian
- ^ Andras Schiff (1 January 2011). "Hungary's E.U. role questioned". The Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2011/01/01/AR2011010102177.html. Retrieved 23 January 2011.
- ^ András Schiff, Ádám Fischer, András Adorján, Béla Tarr, Ágnes Heller, Géza Komoróczy, László Rajk, Miklós Jancsó (17 January 2001). "An die Künstler in Europa und der ganzen Welt". http://artistsagainstracism.eu/?page_id=329. Retrieved 10 May 2012.
- ^ a b Lebrecht, Norman (January 16, 2012). "Pianist: I Will Never Set Foot in Hungary Again". www.artsjournal.com. http://www.artsjournal.com/slippeddisc/2012/01/pianist-i-will-never-set-foot-in-hungary-again.html. Retrieved May 08, 2012.
External links[link]
- Andras Schiff: Beethoven Lecture-recitals at Wigmore Hall, London
- National Public Radio Article
- In Concert on National Public Radio
- Andras Schiff biography at the Pittsburgh Symphony
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| Persondata | |
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| Name | Schiff, Andras |
| Alternative names | |
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| Date of birth | 1953-12-21 |
| Place of birth | Budapest, Hungary |
| Date of death | |
| Place of death | |
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File:Sviatoslav Richter.jpg
Richter, ca. 1935
Sviatoslav Teofilovich Richter (Russian: Святослав Теофилович Рихтер Sviatosláv Teofílovich Ríkhter, Russian pronunciation: [svʲjətəsˈlaf tʲɪəˈfʲiləvʲɪtɕ ˈrʲixtər], Ukrainian: Святослав Теофілович Ріхтер; March 20 [O.S. March 7] 1915 – August 1, 1997) was a Soviet pianist well known for the depth of his interpretations, virtuoso technique, and vast repertoire.[1] He is widely considered one of the greatest pianists of the 20th century.[1]
Contents |
Biography[link]
Childhood[link]
Richter was born in Zhytomyr, Ukraine. His father, Teofil Danilovich Richter (1872–1941), was a German expatriate pianist, organist, and composer who had studied in Vienna. His mother, Anna Pavlovna (née Moskaleva; 1892–1963), was from a landowning Russian family, and at one point had been a pupil of her future husband.[2] In 1918, when Richter's parents were in Odessa, the Civil War separated them from their son, and Richter moved in with his aunt Tamara. He lived with her from 1918 to 1921, and it was then that his interest in art first manifested itself, although he first became interested in painting, which his aunt taught him.
In 1921 the family was reunited, and the Richters moved to Odessa, where Teofil taught at the Odessa Conservatory and, briefly, worked as organist of a Lutheran church. In early 1920s Richter became interested in music (as well as other art forms such as cinema, literature, and theatre) and started studying piano. Unusually, he was largely self-taught. His father only gave him a basic education in music, and so did one of his father's pupils, a Czech harpist.[3]
Even at an early age, Richter was an excellent sight-reader and regularly practiced with local opera and ballet companies. He developed a lifelong passion for opera, vocal and chamber music that found its full expression in the festivals he established in Grange de Meslay, France, and in Moscow, at the Pushkin Museum. At age 15, he started to work at the Odessa Opera, where he accompanied the rehearsals.[4]
Early career[link]
On March 19, 1934, Richter gave his first recital, at the Engineers' Club of Odessa; but he did not formally start studying piano until three years later, when he decided to seek out Heinrich Neuhaus, a famous pianist and piano teacher, at the Moscow Conservatory. During Richter's audition for Neuhaus (at which he performed Chopin's Ballade No. 4), Neuhaus apparently whispered to a fellow student, "This man's a genius". Although Neuhaus taught many great pianists, including Emil Gilels and Radu Lupu, it is said that he considered Richter to be "the genius pupil, for whom he had been waiting all his life," while acknowledging that he taught Richter "almost nothing."
Early in his career, Richter also tried his hand at composing, and it even appears that he played some of his compositions during his audition for Neuhaus. He gave up composition shortly after moving to Moscow. Years later, Richter explained this decision as follows: "Perhaps the best way I can put it is that I see no point in adding to all the bad music in the world".[5]
Behind the Iron Curtain[link]
By the beginning of World War II, Richter's parents' marriage had failed and his mother had fallen in love with another man. Because Richter's father was a German, he was under suspicion by the authorities and a plan was made for the family to flee the country. Due to her romantic involvement, his mother did not want to leave and so they remained in Odessa. In August 1941 his father was arrested, and on 6 October 1941 was shot by the Soviets as a spy. Richter didn't speak to his mother again until shortly before her death nearly 20 years later in connection with his first US tour.
In 1945, Richter met and accompanied in recital the soprano Nina Dorliak. Richter and Dorliak thereafter remained companions until his death, although they never married. She accompanied Richter both in his complex life and career. She supported him in his last sickness, and died herself a few months later, on May 17, 1998.
It was rumored that Richter was homosexual and that having a female companion provided a social front for his sexual orientation, because in the Soviet world homosexual behavior was illegal.[6][7] Richter had a tendency to be private and withdrawn and was not open to interviews. He never publicly discussed his personal life until in the last year of his life filmmaker Bruno Monsaingeon convinced him to be interviewed for a documentary.
In 1949 Richter won the Stalin Prize, which led to extensive concert tours in Russia, Eastern Europe and China. He gave his first concerts outside the Soviet Union in Czechoslovakia in 1950.[8] In 1952, Richter was invited to play Franz Liszt in a film based on the life of Mikhail Glinka, called Kompozitor Glinka (Russian: Композитор Глинка, "The Composer Glinka"; a remake of the 1946 film Glinka). The title role was played by Boris Smirnov.
On February 18, 1952, Richter made his debut as a conductor when he led the world premiere of Prokofiev's Symphony-Concerto for Cello and Orchestra in E minor with Mstislav Rostropovich as the soloist.[9]
In 1960, even though he had a reputation for being "indifferent" to politics, Richter defied the authorities when he performed at Boris Pasternak's funeral.[10] (He had played Prokofiev's Violin Sonata No. 1 at Joseph Stalin's funeral in 1953, with David Oistrakh.)
Having received the Stalin and Lenin prizes and become People's Artist of the RSFSR, he gave his first tour concerts in the USA in 1960, and in England and France in 1961.[11]
Tour in the West[link]
The West first became aware of Richter through recordings made in the 1950s. One of Richter's first advocates in the West was Emil Gilels, who stated during his first tour of the United States that the critics (who were giving Gilels rave reviews) should "wait until you hear Richter."[12]
Richter's first concerts in the West took place in May 1960, when he was allowed to play in Finland, and on October 15, 1960, in Chicago, where he played Brahms's Second Piano Concerto accompanied by the Chicago Symphony Orchestra and Erich Leinsdorf, creating a sensation. In a review, noted music Chicago Tribune critic Claudia Cassidy, who was known for her unkind reviews of established artists, recalled Richter first walking on stage hesitantly, looking vulnerable (as if about to be "devoured"), but then sitting at the piano and dispatching "the performance of a lifetime".[13] Richter's 1960 tour of the United States culminated in a series of concerts at Carnegie Hall.[14]
Richter, however, claimed to dislike performing in the United States.[15] He also claimed to dislike the high expectations of American audiences. Following a 1970 incident at Alice Tully Hall in New York City, when Richter's performance alongside David Oistrakh was disrupted by anti-Soviet protests, Richter vowed never to return.[12] Rumors of a planned return to Carnegie Hall surfaced in the last years of Richter's life, although it is not clear if there was any truth behind them.[16]
In 1961, Richter played for the first time in London. His first recital, pairing works of Haydn and Prokofiev, was received with hostility by British critics. Notably, Neville Cardus concluded that Richter's playing was "provincial", and wondered why Richter had been invited to play in London, given that London had plenty of "second class" pianists of its own. Following a July 18, 1961, concert, where Richter performed both of Liszt's piano concertos, the critics reversed course.[17]
In 1963, after searching in the Loire Valley, France, for a venue suitable for a music festival, Richter discovered La Grange de Meslay several kilometres north of Tours. The festival was established by Richter and became an annual event.
In 1970, Richter visited Japan for the first time traveling across Siberia by railway and boat as he disliked airplanes. He played Beethoven, Schumann, Mussorgsky, Prokofiev, Bartok and Rachmaninov, as well as works by Mozart and Beethoven with Japanese orchestras. Richter visited Japan eight times.
Later years[link]
While he very much enjoyed performing for an audience, Richter hated planning concerts years in advance, and in later life took to playing at very short notice in small, most often darkened halls, with only a small lamp lighting the score. Richter claimed that this setting helped the audience focus on the music being performed, rather than on extraneous and irrelevant matters such as the performer's grimaces and gestures.[18]
In 1986, Richter embarked on a six-month tour of Siberia with his beloved Yamaha piano, giving possibly as many as 150 recitals, at times performing in small towns that did not even have a concert hall. It is said that after one such concert, the members of the audience, who had never before heard classical music performed, gathered in the middle of the hall and started swaying from side to side to celebrate the performer.[19] It is said that in his last years Richter contemplated giving concerts free of charge.[20]
An anecdote illustrates Richter's approach to performance in the last decade of his life. After reading a biography of Charlemagne (he was an avid reader), Richter had his secretary send a telegram to the director of the theater in Aachen, Charlemagne's favoured residence city and his burial place, stating "The Maestro has read a biography of Charlemagne and would like to play at Aquisgrana (Aix-la-Chapelle)". The performance took place shortly thereafter.[21]
As late as 1995, Richter continued to perform some of the most demanding pieces in the pianistic repertoire, including Ravel's Miroirs cycle, Prokofiev's Second Sonata and Chopin's études and Ballade No. 4.[22][23]
Richter's last recorded orchestral performance was of three Mozart concerti in 1994 with the Japan Shinsei Symphony Orchestra conducted by his old friend Rudolf Barshai.[24]
Richter's last recital was a private gathering in Lübeck, Germany, on March 30, 1995. The program consisted of two Haydn sonatas and Reger's Variations and Fugue on a Theme by Beethoven, a piece for two pianos, which Richter performed with pianist Andreas Lucewicz.[25]
Richter died at Central Clinical Hospital in Moscow from a heart attack, after he suffered from a depressed state of mind caused by his inability to perform in public. At the time of his death, he was rehearsing Schubert's Fünf Klavierstücke, D. 459.[26]
Repertoire[link]
As Richter once put it, "My repertory runs to around eighty different programs, not counting chamber works."[27] Indeed, Richter's repertoire ranged from Handel and Bach to Szymanowski, Berg, Webern, Stravinsky, Bartók, Hindemith, Britten, and Gershwin, although the works he did not play are curious (they include Bach's Goldberg Variations, Beethoven's Waldstein and Moonlight sonatas and Fourth and Fifth piano concertos, Schubert's A-major sonata D. 959, Prokofiev's Third piano concerto, Chopin's first piano concerto and second sonata and Rachmaninoff's Piano Concerto No. 3).[28]
Richter worked tirelessly to learn new pieces. For instance, in the late 1980s, he learned Brahms's Paganini and Handel Variations, and in the 1990s, several of Debussy's études and Gershwin, and works by Bach and Mozart which he had not previously included in his programs.
Central to his repertoire were the works of Schubert, Schumann, Beethoven, J. S. Bach, Chopin, Liszt, Prokofiev and Debussy.[28] He is said to have learned the second book of Bach's Well-Tempered Clavier by heart in one month.[29]
He gave the premiere of Prokofiev's Sonata No. 7, which he learned in four days, and No. 9, which Prokofiev dedicated to Richter. Apart from his solo career, he also performed chamber music with partners such as Mstislav Rostropovich, Rudolf Barshai, David Oistrakh, Oleg Kagan, Yuri Bashmet, Natalia Gutman, Zoltán Kocsis, Elisabeth Leonskaja, Benjamin Britten and members of the Borodin Quartet. Richter also often accompanied singers such as Dietrich Fischer-Dieskau, Peter Schreier, Galina Pisarenko and his long-time companion Nina Dorliak.[30]
Richter also conducted the premiere of Prokofiev's Symphony-Concerto for cello and orchestra. This was his sole appearance as a conductor. The soloist was Rostropovich, to whom the work was dedicated. Prokofiev also wrote his 1949 Cello Sonata in C for Rostropovich, and he and Richter premiered it in 1950. Richter himself was a passable cellist, and Rostropovich was a good pianist; at one concert in Moscow at which he accompanied Rostropovich on the piano, they exchanged instruments for part of the program.
Approach to performance[link]
Richter explained his approach to performance as follows: "The interpreter is really an executant, carrying out the composer's intentions to the letter. He doesn't add anything that isn't already in the work. If he is talented, he allows us to glimpse the truth of the work that is in itself a thing of genius and that is reflected in him. He shouldn't dominate the music, but should dissolve into it."[31] Or, similarly: "I am not a complete idiot, but whether from weakness or laziness have no talent for thinking. I know only how to reflect: I am a mirror . . . Logic does not exist for me. I float on the waves of art and life and never really know how to distinguish what belongs to the one or the other or what is common to both. Life unfolds for me like a theatre presenting a sequence of somewhat unreal sentiments; while the things of art are real to me and go straight to my heart."[32]
Richter's belief that musicians should "carry ... out the composer's intentions to the letter", led him to be critical of others and, most often, himself.[31] After attending a recital of Murray Perahia, where Perahia performed Chopin's Third Piano Sonata without observing the first movement repeat, Richter asked him backstage to explain the omission.[33] Similarly, after Richter realized that he had been playing a wrong note in Bach's Italian Concerto for decades, he insisted that the following disclaimer/apology be printed on a CD containing a performance thereof: "Just now Sviatoslav Richter realized, much to his regret, that he always made a mistake in the third measure before the end of the second part of the 'Italian Concerto'. As a matter of fact, through forty years -- and no musician or technician ever pointed it out to him -- he played 'F-sharp' rather than 'F'. The same mistake can be found in the previous recording made by Maestro Richter in the fifties."[34]
Recordings[link]
Despite his large discography, Richter disliked the recording process,[35] and most of Richter's recordings originate from live performances. Thus, his live recitals from Moscow (1948), Warsaw (1954 and 1972), Sofia (1958), New York City (1960), Leipzig (1963), Aldeburgh (multiple years), Prague (multiple years), Salzburg (1977) and Amsterdam (1986), are hailed as some of the finest documents of his playing, as are other myriad live recordings issued prior to and since his death on labels including Music & Arts, BBC Legends, Philips, Russian Revelation, and more recently Ankh productions.
Other critically acclaimed live recordings by Richter include performances of Scriabin's selected etudes, preludes and sonatas (multiple performances, different years), Schumann's C major Fantasy (multiple performances, different years), Beethoven's Appassionata Sonata (Moscow, 1960), Schubert's B-flat Sonata (multiple performances, different years), Ravel's Miroirs (Prague, 1965), Liszt's B minor Sonata (multiple performances, 1965–66), Beethoven's Hammerklavier Sonata (multiple performances, 1975) and selected preludes by Rachmaninoff (multiple performances, different years) and Debussy (multiple performances, different years).[36]
However, despite his professed hatred for the studio, Richter took the recording process quite seriously.[37] For instance, after a long recording session for Schubert's Wanderer Fantasy, for which he had used a Bösendorfer piano, Richter listened to the tapes and, dissatisfied with his performance, told the recording engineer "Well, I think we'll remake it on the Steinway after all".[38] Similarly, during a recording session for Schumann's Toccata, Richter reportedly chose to play this piece (which Schumann himself considered "among the most difficult pieces ever written"[39]) several times in a row, without taking any breaks, in order to preserve the spontaneity of his interpretation.[citation needed]
According to Falk Schwartz and John Berrie's 1983 article "Sviatoslav Richter -- A Discography",[40] in the 1970s Richter announced his intention of recording his complete solo repertoire "on some 50 discs". This "complete" Richter project did not come to fruition, however, although twelve LPs worth of recordings were pressed between 1970 and 1973 and were subsequently re-issued (in CD format) by Olympia (various composers, 10 CDs) and RCA (Bach's The Well-Tempered Clavier).
In 1961, Richter's recording with Erich Leinsdorf and the Chicago Symphony Orchestra of the Brahms Piano Concerto No. 2 won the Grammy Award for Best Classical Performance - Concerto or Instrumental Soloist. That recording is still considered a landmark (despite Richter's claim he was dissatisfied with it),[41] as are his studio recordings of Schubert's Wanderer Fantasy, Liszt's two Piano Concertos, Rachmaninoff's Second Piano Concerto and Schumann's Toccata, among many others.[42]
Honours and awards[link]
- This article incorporates information from the equivalent article on the Russian Wikipedia.
- Stalin Prize (1950);
- People's Artist of the RSFSR (1955);
- Grammy Award (1960);
- Lenin Prize (1961);
- People's Artist of the USSR (1961);
- Robert Schumann Prize (1968);
- Honorary Doctor of the University of Strasbourg (1977);
- Léonie Sonning Music Prize (1986; Denmark);
- Hero of Socialist Labour (1975);
- Three Orders of Lenin (1965, 1975, 1985);
- Order of the October Revolution (1980);
- Glinka State Prize of the RSFSR (1987) - for concert programmes in 1986, performed in the cities of Siberia and the Far East;
- Order of Merit for the Fatherland, 4th class (1995);
- Russian Federation State Prize (1996);
- Commander of the Order of Arts and Letters (France)
- Doctor of Music, honoris causa Oxford University[43]
- Voted into the Gramophone Hall of Fame in 2012[44]
In film[link]
Richter appeared in a 1952 Soviet film playing Liszt in a Kompozitor Glinka, (Russian: Композитор Глинка).
Quotations[link]
Memorable statements about Richter[link]
The Italian critic Piero Rattalino has asserted that the only pianists comparable to Richter in the history of piano performance were Franz Liszt and Ferruccio Busoni.[45]
Glenn Gould called Richter "one of the most powerful communicators the world of music has produced in our time".[46]
Nathan Milstein described Richter in his memoir "From Russia to the West" as the following: "Richter was certainly a marvelous pianist but not as impeccable as he was reputed to be. His music making was too dry for me. In Richter's interpretation of Ravel's Jeux d'eau, instead of flowing water you hear frozen icicles."[47]
Van Cliburn attended a Richter recital in 1958 in the Soviet Union. He reportedly cried during the recital and, upon returning to the United States, described Richter's playing as "the most powerful piano playing I have ever heard".[48]
Arthur Rubinstein described his first exposure to Richter as follows: "It really wasn't anything out of the ordinary. Then at some point I noticed my eyes growing moist: tears began rolling down my cheeks."[46]
Heinrich Neuhaus described Richter as follows: "His singular ability to grasp the whole and at the same time miss none of the smallest details of a composition suggests a comparison with an eagle who from his great height can see as far as the horizon and yet single out the tiniest detail of the landscape."[49]
Dmitri Shostakovich wrote of Richter: "Richter is an extraordinary phenomenon. The enormity of his talent staggers and enraptures. All the phenomena of musical art are accessible to him."[50]
Vladimir Sofronitsky proclaimed that Richter was a "genius", prompting Richter to respond that Sofronitsky was a "god".[51]
Vladimir Horowitz said: "Of the Russian pianists, I like only one, Richter."[52]
Pierre Boulez wrote of Richter: "His personality was greater than the possibilities offered to him by the piano, broader than the very concept of complete mastery of the instrument."[53]
Marlene Dietrich, who was Richter's friend, wrote in her autobiography, Marlene: "One evening the audience sat around him on the stage. While he was playing a piece, a woman directly behind him collapsed and died on the spot. She was carried out of the hall. I was deeply impressed by this incident and thought to myself: “What an enviable fate, to die while Richter is playing! What a strong feeling for the music this woman must have had when she breathed out her life!” But Richter did not share this opinion, he was shaken".
Gramophone critic Bryce Morrison described Richter as follows: "Idiosyncratic, plain-speaking, heroic, reserved, lyrical, virtuosic and perhaps above all, profoundly enigmatic, Sviatoslav Richter remains one of the greatest recreative artists of all time."[54]
Memorable statements by Richter[link]
On listening to Bach: "It does no harm to listen to Bach from time to time, even if only from a hygienic standpoint."[55]
On Scriabin: "Scriabin isn't the sort of composer whom you'd regard as your daily bread, but is a heavy liqueur on which you can get drunk periodically, a poetical drug, a crystal that's easily broken."[56]
On picking small venues for performance: "Put a small piano in a truck and drive out on country roads; take time to discover new scenery; stop in a pretty place where there is a good church; unload the piano and tell the residents; give a concert; offer flowers to the people who have been so kind as to attend; leave again."[57]
On his plan to perform without a fee: "Music must be given to those who love it. I want to give free concerts; that's the answer."[58]
On Neuhaus: "I learned a lot from him, even though he kept saying that there was nothing he could teach me. Music is written to be played and listened to and has always seemed to me to be able to manage without words... This was exactly the case with Heinrich Neuhaus. In his presence I was almost always reduced to total silence. This was an extremely good thing, as it meant that we concentrated exclusively on the music. Above all, he taught me the meaning of silence and the meaning of singing. He said I was incredibly obstinate and did only what I wanted to. It's true that I've only ever played what I wanted. And so he left me to do as I liked."[59]
On playing: "...I don't play for the audience, I play for myself, and if I derive any satisfaction from it, then the audience, too, is content." [60]
Anecdotes[link]
- Richter usually refused to play piano transcriptions in concert, although on occasion he would perform opera transcriptions for his friends. In the 1940s, he apparently performed his own transcription of Wagner's Tristan und Isolde for a group of friends in one sitting. Similarly, after being a witness at Riccardo Muti's wedding, Richter played from memory the entire first act of Puccini's Madama Butterfly for a small group of wedding guests.[citation needed]
- Born in 1915 to a father of German extraction and a Russian noble mother, Richter recounts how he told Herbert von Karajan that he (Richter) was "a German, too", and Karajan replied "then I am a Chinese". Richter commented on Karajan's reaction by saying, "How do you like that?" (Karajan was of part-Greek and Slovenian descent.)
Media[link]
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In this 1963 studio recording of Schubert's Wanderer Fantasy, Richter demonstrates his barnstorming technique and ability to control all aspects of his playing to bring out the structural features of a work as he moves from the end of the third movement into the beginning of the finale.
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References[link]
- ^ a b Great Pianists of the 20th Century
- ^ Fanning, David. "Sviatoslav (Teofilovich) Richter", Grove Music Online, ed. L. Macy (accessed 2 December 2006), grovemusic.com (subscription access).
- ^ Monsaingeon 2001, pp. 12–14
- ^ Monsaingeon 2001, p. 20
- ^ Kevin Bazzana - Sviatoslav Richter (1915-1997), Notes to Richter in Leipzig, Music & Arts CD 1025.
- ^ Benjamin Ivry (5 January 2005). "from Russia with (forbidden) love". salon. http://www.salon.com/ent/music/feature/1999/01/05feature.html. Retrieved 2007-09-08.
- ^ letter from Nicolas Nabokov to Igor Stravinsky, February 3, 1963, Stravinsky, selected correspondence, Vol II ISBN 0-394-52813-1 "We are writing to you from a concert by Sviatoslav Richter, who is playing Bach and Schubert brilliantly. He is a flaming fag."
- ^ "Sviatoslav Richter Chronology - 1950". trovar.com. 22 February 2001. http://www.trovar.com/str/dates/a1950.html. Retrieved 2007-09-08.
- ^ Liner notes for Deutsche Grammophon 449 821-2
- ^ Coleman, Alexander (October 1997). "Sviatoslav Richter, 1915-1997". The New Criterion 16 (2). http://www.newcriterion.com/archive/16/oct97/coleman.htm. Retrieved 2007-09-08.
- ^ Vadim Mogilnitsky, "Sviatoslav Richter" / Вадим Могильницкий, из книги "Святослав Рихтер", (see link: http://www.sviatoslavrichter.ru/chronograph.php)
- ^ a b Michael Kimmelman (22 June 1997). "The Reputation Is Legendary, The Playing Unpredictable". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9807EEDB1F3FF931A15755C0A961958260. Retrieved 2007-08-28.
- ^ Claudia Cassidy, Chicago Tribune, 1960.
- ^ http://www.trovar.com/str/dates/a1960.html.
- ^ "America is standardized. It's all the same. I don't like it" says Richer in Monsaingeon's documentary "Richter, The Enigma", op.cit.
- ^ Kevin Bazzana - Sviatoslav Richter (1915-1997), Notes to Richter in Leipzig, Music & Arts CD 1025
- ^ David Fanning, Notes to Sviatoslav Richter performs Chopin and Liszt, BBC Legends CD 2000.
- ^ Monsaingeon, p. 108, "That's why I now play in the dark, to empty my head of all non-essential thoughts and allow the listener to concentrate on the music rather than on the performer. What's the point of watching a pianist's hands or face, when they only express the efforts being expended on the piece?"
- ^ Transsiberian Express, Le Monde de la musique, May 1989.
- ^ Kevin Bazzana - Sviatoslav Richter (1915-1997); Bruno Monsaingeon: Introduction to Sviatoslav Richter -- Notebooks and Conversations p. XX.
- ^ Piero Rattalino, Sviatoslav Richter - Il Visionario.
- ^ "Sviatoslav Richter Recital, Museo Del Prado, Madrid". Sviatoslav Richter Chronology. trovar.com. 16 February 1995. http://www.trovar.com/str/dates/95Madrid.html. Retrieved 2007-09-08.
- ^ "Sviatoslav Richter Recital, Santuario de la Bien Aparecida, Santander, Spain". Sviatoslav Richter Chronology. trovar.com. 18 January 1995. http://www.trovar.com/str/dates/95Santander2.html. Retrieved 2007-09-08.
- ^ http://www.trovar.com/str/dates/a1994.html
- ^ Sviatoslav Richter Chronology - 1995
- ^ Richter International Piano Competition
- ^ Monsaingeon, p. 143.
- ^ a b Monsaingeon, pp. 383-406.
- ^ Monsaingeon, p. 48
- ^ Monsaingeon, p. 413.
- ^ a b Monsaingeon, p. 153.
- ^ Mervyn Horder (May 1994). "A Richter Rehearsal at the Barbican,". Contemporary Review. http://www.encyclopedia.com/doc/1G1-16044498.html. Retrieved 2007-09-08.
- ^ Monsaingeon, p. 313 ("When I asked him why he didn't do the repeat of the exposition in the B minor Sonata, he seemed surprised and exclaimed 'But no one does it'".).
- ^ Richter's comment on inner sleeve of Stradivarius CD 33323.
- ^ Falk Schwartz & John Berrie, Sviatoslav Richter -- A Discography, Recorded Sound, July 1983 ("[Richter] repeated[ly] assert[s] that he dislikes the recording studio").
- ^ "Review Digest for Performances by Sviatoslav Richter". ClassicsToday. http://www.classicstoday.com/digest/pdigest.asp?perfidx=2239. Retrieved 2007-09-08.
- ^ Falk Schwartz & John Berrie, Sviatoslav Richter – A Discography, Recorded Sound, July 1983.
- ^ Arnold, Sue (2001-03-11). "I've already found my programme of the year - all five hours of it". The Guardian (London). http://www.guardian.co.uk/Archive/Article/0,4273,4149810,00.html. Retrieved 2010-05-24.
- ^ Robert Schumann's correspondence, about 1832
- ^ Recorded Sound, July 1983.
- ^ Bruno Monsaingeon, Sviatoslav Richter -- Notebooks and Conversations, p. 108 ("There was also the recording of Brahms's Second Concerto with Erich Leinsdorf, one of my worst records, even though people still praise it to the skies. I can't bear it.")
- ^ See, e.g., www.classicstoday.com.
- ^ http://www.trovar.com/str/dates/OXFORD.htm.
- ^ "Sviatoslav Richter (pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Richter. Retrieved 12 April 2012.
- ^ See Piero Rattalino, Pianisti e Fortisti, Il terzo Uomo ("How many pianists can claim today to be at [Richter's] level? How many are his peers, in the whole history of piano playing? Although I may appear unduly selective, only two names come to mind: Franz Liszt and Feruccio Busoni. The first was born in 1811; the second in 1866, fifty-one years later. And Richter was born in 1915, forty-nine years after Busoni.).
- ^ a b Bruno Monsaingeon, The Enigma (film biography of Richter).
- ^ Milstein, Nathan. From Russia to the West the musical memoirs and reminiscences of Nathan Milstein. New York: H. Holt, 1990. p. 222
- ^ CNN. http://www.cnn.com/SPECIALS/1997/year.ender/obit/arts/index.html. [dead link]
- ^ Portrait of an Artist, by Heinrich Neuhaus, available at http://www.trovar.com/str/neuhaus.html.
- ^ Foreword to V.I. Delson, Sviatoslav Richter, Moscow 1961, partial translation available at www.sonybmgmasterworks.com/artists/sviatoslavrichter/.
- ^ Vladimir Sofronitsky
- ^ Harold C. Schonberg, Horowitz -- His Life and Music, Simon & Schuster, 1992.
- ^ Ðóññêèé Óçåë - Ôàéë íå íàéäåí
- ^ Bryce Morrison, Gramophone review of Sviatoslav Richter's Schumann EMI CD 62961.
- ^ Monsaingeon, p. 196.
- ^ Monsaingeon, p. 267.
- ^ Alain Lompech - A Free Spirit Among Artists, A Protean Pianist, Notes to Richter Performs Beethoven, Philips 438 624-2.
- ^ Bruno Monsaingeon: Introduction to Sviatoslav Richter -- Notebooks and Conversations p. XX.
- ^ Monsaingeon, p.28/9.
- ^ Monsaingeon, p.61.
Further reading[link]
- Rasmussen, Karl Aage (2007). Svjatoslav Richter - Pianist. Gyldendal, Copenhagen. ISBN 978-87-02-03430-1.
- Rasmussen, Karl Aage (2010). Szvjatoszlav Richter - A zongorista. Rozsavolgyi es Tarsa, Budapest. ISBN 978-963-87764-8-8.
- Rasmussen, Karl Aage (2010). Sviatoslav Richter - Pianist. Northeastern University Press, Boston. ISBN 978-1-55553-710-4.
- Monsaingeon, Bruno (2001). Sviatoslav Richter: Notebooks and Conversations. Princeton University Press. ISBN 0-571-20553-4.
- Monsaingeon, Bruno (1998), Richter, the Enigma. Video interview-documentary. OCLC 41148757
- Rattalino, Piero (2005). Sviatoslav Richter. Il Visionario. Zecchini Editore. ISBN 88-87203-35-0.
External links[link]
- Sviatoslav Richter at the Internet Movie Database
- Sviatoslav Richter at Find a Grave
- Website dedicated to Sviatoslav Richter, includes an extensive discography
- RECORDED RICHTER, complete discography that includes currently unavailable recordings and private recordings
- Brief obituary of Nina Dorliak
- Paul Geffen, 1999: Vita of Sviatoslav Richter
- Pete Taylor, 2010: Concert list program with Google Earth maps
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| Persondata | |
|---|---|
| Name | Richter, Sviatoslav |
| Alternative names | |
| Short description | |
| Date of birth | 1915 |
| Place of birth | |
| Date of death | August 1, 1997 |
| Place of death | |
http://wn.com/Sviatoslav_Richter
Related pages:
http://it.wn.com/Svjatoslav Teofilovič Richter
http://cs.wn.com/Svjatoslav Richter
http://es.wn.com/Sviatoslav Richter
http://ru.wn.com/Рихтер, Святослав Теофилович
http://nl.wn.com/Svjatoslav Richter
http://pt.wn.com/Sviatoslav Richter
http://pl.wn.com/Światosław Richter
http://fr.wn.com/Sviatoslav Richter
http://de.wn.com/Swjatoslaw Teofilowitsch Richter
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Wolfgang Sawallisch (German: [ˈvɔlfɡaŋ zaˈvalɪʃ]; born 26 August 1923) is a retired German conductor and pianist.
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Biography[link]
Sawallisch was born in Munich, and studied composition and pianoforte there privately: at the conclusion of the war, in 1946 he continued his studies at the Munich High School for Music and passed his final examination for conducting.[1] He began his career at the opera house in Augsburg in 1947.[2] There he became first coach and later principal conductor: in 1952–53 he was personal assistant to Igor Markevitch at the International Summer Academy Mozarteum, Salzburg.[1]
When he debuted at the Bayreuth Festspielhaus conducting Tristan und Isolde in 1957, he was the youngest conductor ever to appear there.
From 1960 to 1970 he was Principal Conductor of the Vienna Symphony. From 1971 to 1992, Sawallisch was Music Director of the Bavarian State Opera, and for several years from 1983, concurrently was the general manager of the company.
From 1993 to 2003 he was Music Director of the Philadelphia Orchestra, and is currently its Conductor Laureate. He is also Honorary Conductor Laureate of the NHK Symphony Orchestra, Tokyo. He was the recipient of a Suntory Music Award in 1993.
After his tenure with the Philadelphia Orchestra, Sawallisch returned for guest-conducting appearances in Philadelphia and at Carnegie Hall.[3] However, ill health related to orthostatic hypotension prevented Sawallisch from conducting in subsequent years.[4] In an article from The Philadelphia Inquirer of 27 August 2006, Sawallisch himself stated his retirement from the concert podium:
"It can happen without announcement that my blood pressure is too low. This instability gives me the necessity to finish my career after 57 years of concert and opera conducting."[5]
Sawallisch and his wife Mechthild were married for 46 years until her death in 1998.[6] They had a son, Jörg. Sawallisch is an honorary member of The Robert Schumann Society. In 2003, Sawallisch helped to establish a music school in Grassau, Bavaria, naming the school the Wolfgang Sawallisch Stiftung (Wolfgang Sawallisch Foundation).
Prominent interpretations[link]
Sawallisch has been acclaimed as an interpreter of the music of Richard Strauss.[7][8][9] As a pianist, he has accompanied a number of prominent singers in lieder, including Dietrich Fischer-Dieskau, Dame Elisabeth Schwarzkopf and Dame Margaret Price. He has also been acclaimed for his interpretations of the symphonies of Anton Bruckner.[10]
Sawallisch has also recorded, as piano accompanist, Franz Schubert's Winterreise and Robert Schumann's Liederkreis and other songs with Thomas Hampson. One of his most celebrated live concert appearances as a pianist was on 11 February 1994 in Philadelphia, when Sawallisch substituted for the Philadelphia Orchestra at an all-Wagner concert on the night that a severe snow storm prevented much of the orchestra from arriving at the Academy of Music.[11][12][13]
Recording highlights[link]
His other recordings for EMI include highly regarded issues of Richard Strauss's Capriccio and the four symphonies of Robert Schumann with the Dresden Staatskapelle. He made a quadrophonic stereo album (probably the only one ever made) of Mozart's The Magic Flute in 1973 for EMI, starring Peter Schreier as Tamino, Walter Berry as Papageno, Edda Moser as the Queen of the Night, Anneliese Rothenberger as Pamina, and Kurt Moll as Sarastro. Other recordings (EMI, Orfeo, Phillips, and Sony) include:
- Ludwig van Beethoven's nine symphonies with the Royal Concertgebouw Orchestra, Amsterdam
- Johannes Brahms' Ein Deutsches Requiem with the Bavarian Radio Symphony Orchestra and Chorus
- Johannes Brahms's four symphonies with the London Philharmonic Orchestra
- Johannes Brahms's four symphonies with the Wiener Symphoniker
- Anton Bruckner's Symphonies 1, 4, 5, 6 & 9
- Antonín Dvořák's Requiem, and Stabat Mater, both with the Czech Philharmonic; Symphonies Nos. 7–9 and Cello Concerto with the Philadelphia Orchestra
- Felix Mendelssohn's Symphony No. 2 with the Berlin Philharmonic and Düsseldorf Chorus
- Franz Schubert's 9 Symphonies with Staatskapelle Dresden; Sacred Choral Works with the Bavarian Radio Symphony Orchestra and Chorus
- Richard Strauss's Intermezzo, Elektra, Friedenstag and Die Frau ohne Schatten, Arabella with the Bavarian State Opera
- Richard Strauss's Ein Heldenleben, Symphonia domestica, and Also sprach Zarathustra with The Philadelphia Orchestra
- Richard Strauss's Horn Concertos, with Dennis Brain and the Philharmonia Orchestra
- Giuseppe Verdi's Macbeth (live recording, Salzburg Festival)
- Richard Wagner's Der Ring des Nibelungen, Die Meistersinger von Nürnberg, Die Feen with the Bavarian State Opera; The Flying Dutchman (Bayreuth Festival and Bavarian State Orchestra, the latter filmed) and Lohengrin (Bayreuth Festival)
- Richard Wagner's Wesendonck Lieder with Marjana Lipovsek and The Philadelphia Orchestra
One of his final concert and recording projects in Philadelphia focused on the music of Robert Schumann.[14]
References[link]
- ^ a b Antonin Dvořák Symphony No. 4, Op. 88 (Philharmonia Orchestra), Columbia Records LP 33 SX 1034, sleevenote
- ^ Stephen Moss (19 May 2000). "Old school titan". The Guardian (UK). http://www.guardian.co.uk/friday_review/story/0,,222312,00.html. Retrieved 8 August 2007.
- ^ Anthony Tommasini (15 January 2004). "Channeling Bruckner, Maestro Illuminates Elusive Score". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C05E7DB1030F936A25752C0A9629C8B63. Retrieved 8 August 2007.
- ^ Ben Mattison (31 March 2006). "Report: Wolfgang Sawallisch Has Retired". Playbill Arts. http://www.playbillarts.com/news/article/4251.html. Retrieved 11 January 2008.
- ^ Peter Dobrin, "At home with the maestro". Philadelphia Inquirer, 27 August 2006.
- ^ James R. Oestreich (4 May 2003). "A 79-Year-Old Champion of Youth". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9403E0D6133CF937A35756C0A9659C8B63. Retrieved 11 January 2008.
- ^ Edward Rothstein (17 May 1995). "A Cheery, Old-World 'Ariadne'". New York Times. http://query.nytimes.com/gst/fullpage.html?res=990CEFD6113EF934A25756C0A963958260. Retrieved 8 August 2007.
- ^ Anne Midgette (5 August 2001). "Music: A Musical Capital Looks to America". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9E03E7DB1F3DF936A3575BC0A9679C8B63&sec=travel&spon=&pagewanted=all. Retrieved 8 August 2007.
- ^ Paul Horsley (1 April 2003). "A Hero's Tenure". Playbill Arts. http://www.playbillarts.com/features/article/199.html. Retrieved 11 January 2008.
- ^ Anthony Tommasini (15 January 2004). "Channeling Bruckner, Maestro Illuminates Elusive Score". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C05E7DB1030F936A25752C0A9629C8B63. Retrieved 11 January 2008.
- ^ Lesley Valdes and Peter Dobrin (13 February 1994). "Snow or no snow, the show went on". Philadelphia Inquirer.
- ^ Tom Di Nardo (28 February 1994). "Bons mots instead of notes from Maestro". Philadelphia Daily News.
- ^ Nadine Brozan (15 February 1994). "Chronicle". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9905E4D81E38F936A25751C0A962958260. Retrieved 11 January 2008.
- ^ Allan Kozinn (19 October 2002). "Back to Schumann, With Care and Passion". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9A00E1DF103DF93AA25753C1A9649C8B63. Retrieved 8 August 2007.
External links[link]
- Wolfgang Sawallisch at Allmusic
- Wolfgang Sawallisch at The Remington Site
- Wolfgang Sawallisch Foundation
- František Sláma (musician) Archive. More on the history of the Czech Philharmonic between the 1940s and the 1980s: Conductors
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| Persondata | |
|---|---|
| Name | Sawallisch, Wolfgang |
| Alternative names | |
| Short description | German conductor and pianist |
| Date of birth | 26 August 1923 |
| Place of birth | Munich |
| Date of death | |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
