Deeply moving- what London conveys is so beyond words- it (simply) needs this fusion of Schubert's composition and the singer's performance and resonates inside those who listen
Ja, wenn Lieder vom Franz Schubert gesungen und nicht gesäuselt werden, klingen sie noch viel schöner! Intellektueller Todschlag, mangels Stimme, machen diese herrlichen Lieder sicher nicht schöner! Schubert wäre sicher begeistert von George London gewesen!
Du holde Kunst, in wieviel grauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb entzunden, Hast mich in eine beßre Welt entrückt, In eine beßre Welt entrückt! Oft hat ein Seufzer, deiner Harf entflossen, Ein süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du holde Kunst, ich danke dir dafür, Du holde Kunst, ich danke dir!
London could have done this one a half-step higher (B major instead of the B-flat major he used here) to advantage. The slides he puts in when descending a minor sixth are too obtrusive for comfort. But he does convey the meaning of the song convincingly, and this catches him in his best years (approximately 1949-1957).
I just played through London's performance of "Der Zwerg", a song that should be heard more often. For my impression, please read the comments I posted on your upload of that performance.
Also if you compare- or rather just listen- to Wunderlich and London you notice the tremendous difference in interpretation of two marvelous renditions...
@@ColonelFredPuntridge Yes, indeed...leading to such different views/perspectives with the very same notes and words...it's fascinating and a good example of how much the singer contributes to the perception. It is so exciting to listen to several recordings of one written piece...worlds
The timbre is sumptuous but I don't get much feeling of interpretive joy that the piece should covey. Also the legato line isn't exactly prominent. (I do wish audiences would allow the song or aria to completely finish before they applaud...)
Yeah, I see what you mean, especially when I compare his delivery of this piece to someone like Fritz Wunderlich. On the other hand, the words are like the musings an old man recalling happy times of his past, so maybe a bit of restraint is appropriate. This lied would fit better in "Winterreise" than in "Die Schöne Müllerin". Have you heard Hans Hotter's recording?
What a gorgeous voice!
This is one of the best singers singing one of Schubert's best. Thank you for sharing.💖🌷
Deeply moving- what London conveys is so beyond words- it (simply) needs this fusion of Schubert's composition and the singer's performance and resonates inside those who listen
What a grand tone...
Ja, wenn Lieder vom Franz Schubert gesungen und nicht gesäuselt werden, klingen sie noch viel
schöner! Intellektueller Todschlag, mangels Stimme, machen diese herrlichen Lieder sicher nicht schöner! Schubert wäre sicher begeistert von George London gewesen!
MARVELOUS DIVINE🙏😇🕊️🎶
Fantastic. Thank you for posting this.
Superb.
Пение его настоящая стихия. Прекрасная школа иголос от бога
Du holde Kunst, in wieviel grauen Stunden,
Wo mich des Lebens wilder Kreis umstrickt,
Hast du mein Herz zu warmer Lieb entzunden,
Hast mich in eine beßre Welt entrückt,
In eine beßre Welt entrückt!
Oft hat ein Seufzer, deiner Harf entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür,
Du holde Kunst, ich danke dir!
Gran bajo. Imponente voz.
London could have done this one a half-step higher (B major instead of the B-flat major he used here) to advantage. The slides he puts in when descending a minor sixth are too obtrusive for comfort. But he does convey the meaning of the song convincingly, and this catches him in his best years (approximately 1949-1957).
I agree. Let me know what you think of his rendition of "Der Zwerg".
I just played through London's performance of "Der Zwerg", a song that should be heard more often. For my impression, please read the comments I posted on your upload of that performance.
Also if you compare- or rather just listen- to Wunderlich and London you notice the tremendous difference in interpretation of two marvelous renditions...
It's hard to think of two singers as different as Wunderlich and George London!
@@ColonelFredPuntridge Yes, indeed...leading to such different views/perspectives with the very same notes and words...it's fascinating and a good example of how much the singer contributes to the perception. It is so exciting to listen to several recordings of one written piece...worlds
The timbre is sumptuous but I don't get much feeling of interpretive joy that the piece should covey. Also the legato line isn't exactly prominent.
(I do wish audiences would allow the song or aria to completely finish before they applaud...)
Yeah, I see what you mean, especially when I compare his delivery of this piece to someone like Fritz Wunderlich. On the other hand, the words are like the musings an old man recalling happy times of his past, so maybe a bit of restraint is appropriate. This lied would fit better in "Winterreise" than in "Die Schöne Müllerin". Have you heard Hans Hotter's recording?
Who is the pianist?
OK, found him under "Show More"
Exquisite lied & interpretation!