He was the best interpret of german lieder to ever have lived. Some did not like his very intellectual approach to singing, thought he was too controlled. But his results are unmatched.
@@dfwm6660 I do not think German is a horrible hard language. It is so "cliché" to think so. It is a great culture language. We should not forgot that a lot of great musician were german speakers (Bach, Haendel, Beethoven, Haydn, Mozart, Brahms, Wagner, Schuman, Schubert, Schöneberg, etc. etc. : a lot, and very talented, probably the greatest musicians). Why German language should ruins music ? : it is a big part of western music. What would be music without magic flute, lieders or Wagner's opera ? hard to say. German language can be very soft, as very hard, it modulates quite well (listen once "Die Dreigroschenoper" von Brecht and Weil to see how German is powerful and great). PS: I'm not German speaker (neither English speaker), and I've to admit I prefer to listen an opera which is written in German than in English : it is (for my ear) way more beautiful to listen. On an other and, I would prefer to speak English or to watch movies in English. Stange !
I attended a concert he gave of Winterreise at Carnegie Hall. The singing itself was masterful, but so was his physical expression of the drama. Toward the end of a particularly dramatic song he went on a journey from mid-stage to the very edge of the apron. Spellbinding!
Yeah, Schubert is great at this sort of stuff. He could write very complex music but when it was fitting, he'd also go for a very simple compositional style. And whether complicated or simple, his music is always touching and emotional on a level that I rarely find in other composers. His early death was a tragedy, especially considering that he wrote some of his greatest music in the last year of his life. The last three piano sonatas, the Winterreise and Schwanengesang song cycles, etc. It's painful to think about all the great works we don't have because his life was cut short.
It is a quite common interpretation that the Leiermann is a metaphor or a personification of death. At least thats what we learnd in german and music class in school. Nobody wants to see or hear the hurdy gurdy man as well well as nobody wants to see death. Text and music are part of the german romanticism. An indication for that is the fact that in the end the singer has a longing ir desire for death, he wants to go with the Leiermann. Beautiful piece of art Sorry for bad spelling 😅
Thank you for mentioning the evident. This nice young lady is doing her best, but unfortunately she lacks both an intellectual as well as an artistic dimension. At least she seemed to be touched, which is perhaps the most important.
For me that is nonsense. It is just the story about the ignorance of people who just walk past a beggar not even recognizing him as human. And the protagonist is so depressed after his "Reise", that he just wants to give up and follow the old men on his path of vanishment.
I don't think the Leiermann stands for death. In German, Leier means both lyra and hurdy-gurdy. The hurdy-gurdy was what poor street musicians would play and the lyra is the symbol of classical poetry. I think the protagonist of the Winterreise becomes mad because his love rejected him, and the author (Wilhelm Müller) draws a parallel to his own love, i.e. Poetry, that gives him a life of misery. "Quaint old man, shall I go with you? Would you like to turn your hurdy-gurdy to my songs?"
What is amazing about this is that this is the conclusion of a cycle of TWENTY FOUR songs. You try to sing 23 songs and have enough left to do everything you want to do musically on the 24th one. Fischer-Dieskau is one of the greatest singers of the 20th century. Period.
This performance of his shakes me. It is so emotional. It goes without saying his voice is beautiful and Schubert/Muller lyrics and music are intriguing. But Fischer-Dieskau is very arresting in his performance. I hope more people will hear it and be moved by it.
This interpretation of "Der Leiermann" is probably the best ever! Fischer-Dieskau range of color, and nuances is stunning. It's a very haunting piece, and an extraordinary interpretation.
What I love is watching this vid right after watching your commentary on Pavarotti singing Nessun Dorma in Central Park. The similarities are striking between the singers: they both stand still and upright, the sound is solidly supported by a column of air they have total control over, the sound vibrating up out of them through their controlled throat muscles, and their heads are mostly down with the jaw dropping for the big sounds but otherwise the mouth is simply pronouncing/shaping the lyrics. The essence of focus and control of these elements by each singer is the same. Their faces have expression with the lyrics, but not lots of flexing and no sign of strain with the voice. Simply complete intent and solid performance. Wonderful.
Thank you for posting this. I saw Fischer-Dieskau sing Die Winterreise in the Edinburgh Usher Hall in the mid 1970s. He also sang some of Schubert’s Heine Lieder which is some of the most powerful music and words ever written.
I grew up with my parents playing the great singers, FD included. My dad used to call him Saint FD! In this interpretation, it is easy to see why. His Schubert is unparalled. Thrilled to have found this channel.
I'm frankly jealous. Schubert managed to make us feel two unique characters with so few words! I would take 5000 words to paint that word picture, and still fall short. Fischer-Dieskau's quiet, masterful performance and Schubert's own music take those few words to the next level. It's not just the singer's exquisite baritone quality, it's also his intense facial expression. His eyes are haunting. It's too glib to say that actors do that sort of thing all the time. They *try.* Few succeed at Fischer-Dieskau's level. You were moved by the song. So was I, and I enjoyed sharing these emotions with you, Linor, however dislocated the sharing was in space and time. Your technical commentary was just as interesting. Thank you.
Linor! What a moving interpretation! This masterfully poignant vocalization brought me to tears. I greatly appreciate your feedback and breakdown of the performance. Thank you. You're a goddess!
Thanks for introducing us to someone new. I know you will be receiving a lot of requests for certain popular artists. I myself have been watching various people react to dimash or jessie j....but i hope that you will also introduce us to more music that you know and we may not. Especially if you know more pieces with this kind of emotional power.
I've always loved this heavenly interpretation of this masterpiece. Absolutely stunning. And you are wonderful, and I love you exciting and moving while watching this piece of Art. Thank you.
I'm surprised how many people can't tell the difference between jealousy and envy. He doesn't want to be the hurdy-gurdy, he wants to be the man, he is envious. Love your commentary, I envy your talent.
Watching you at 9:44 was something else. I don't get this music but I get music and I get people. That was special, I felt like I have missed out. I will stick head phones on and listen to some of this.
This is the last, final song of Wintereise, Winter's Journey, the famous Schubert song cycle. It's about an organ grinder. It is a symbol of isolation and despair, ending a long winter journey of discontent. Fischer-Dieskau is the greatest lieder artist of the 20th century, the greatest baritone specializing in art songs. Her commentary is hardly needed. The performance says it all. Note the bare piano part.
i knew this song from the 2008 film "In Bruges" with Colin Farell. But the Fischer-Dieskau version is beautiful. i also like these kind of melancholy songs. Smashing pumpkins. some Sinead O'Connor songs. thats my stuff. thanks for showing me Fischer-Dieskau and your emotional rollercoaster on this reaction :)
La composizione di Schubert è un mirabile viaggio strumentale e vocale i quel percorso che porta alla morte appena intravista a sfiorata nell'ultima lieder che viene qui rappresentata. Il suonatore dell' organetto è il doppelganger della tradizione teutonica. Una presenza che si dice predire le malattie ed il trapasso
I love listening to Fischer-Dieskau: lieder from Schubert and Schumann, Bach's cantatas and different roles in the St Mattaeus Passion, Mahler's Die Kinder Toten Lieder, etc. It's a very narrow preference, but I most love to hear him from the 1958 St Mattaeus Passion directed by Richter singing Am Abend da es kuehle war followed by Mache Dich, Mein Herze, Rein.
This live performance by Fischer-Dieskau is by far the best I've ever heard/seen imho... those eyes and that voice: WOW!. I'm a big fan of Müller's poetry, especially 'die Winterreise'. I believe 'der Leiermann' is considered as the personification of (the fear of) death: "Keiner mag ihn hören. Keiner sieht ihn an." The singer is staring at the inevitability of death: "Dreht, und seine Leier steht ihm nimmer still." But 'der Leiermann' is also Schubert's evocation of self-doubt in his considering the value of his songs/works in the last year of his life: "Wunderlicher Alter! Soll ich mit dir geh'n? Willst zu meinen Liedern deine Leier dreh'n?" This poem/song is so powerful, beautiful, sad and even creepy all at the same time. It is a wonderful collision of emotions condensed into one amazingly compact poem.
I lOVE your observations. Thanks so much for doing these! I am fascinated by your thoughts and also your passion for the music. I have always been affected deeply by music from my earliest memories as a kid. It is so interesting to hear your thoughts about the artist and their art. Bravo, I am hooked!
I'm looking at you that way too, Linor. Just love your passion for your craft. Knowing so little about classical Opera, your insights have truly deepened my appreciation for these great talents.
Thank you so much for these thoughts! Your connection with the emotion together with your understanding of the performance is so strong. I would however like to modestly suggest to you an additional and perhaps less depressing way of reading the intent of the song text. This was all written in 1828, at the height of Romanticism. Pessimism was in the air. But many thinkers and artists saw a way out into the light, and that way is Art. Schopenhauer and Keats are two great examples. Schubert and Müller, the poet, certainly were in tune with this spirit of the time, and I think they found the same answer. After twenty-four sad songs, upon hearing the Leiermann, the singer realises that together they can go that way, and enter into the pride and eternity of Art. Because even though it is about lost love and loneliness, it is still Art.
dear linor, your analyssis is astonishing. the great D.F.D puts in every word his special meaning. maria callas used to say singer should not overinterpret, just sing what the composer wrote, it containes already all the feelings. did she mean by exageration that you may not know the meaning of the words ???
This is taken from a full performance of Die Winterreise, and is the last song in the opus. Fischer-Dieskau had to be exhausted already, and this incredible song had to completely drain him.
This was beautiful! Thank you, Linor! Please feature more German artists. I think they are so dedicated to the music - above celebrity. That is my opinion. :) No, I'm not German. :)
The profundity of this man's intelligence is manifest in his every performance. For years I wished I had this quality of singing, whether as tenor or baritone. If only! I don't crave beautiful high notes. It's this musicality and interpretive genius that eludes me. I'll stick with early choral music...
What a frisson of terror! Maybe it is FD's dead eyed gaze along with the haunting melody and his intense voice. Then again, it could be my age (83) and much introspection about the close of life. The gold standard for Germanic gloom. Thanks for posting this masterpiece.
A few ... interpretations ... (a) Since he says "und sein kleiner Teller bleibt WIE IMMER leer" it is not the first time he notices the empty tray but is well aware of the fact that people don't give money to the man (or men of this type in general). "Wie immer" = "as usal/always". I also think the English translation is a tad off - "Keiner mag ihn hören" is translated with "No one wants to hear him" - in older style German "mag" is possibly more related to "vermag" (can/does) than to "mögen" (want/like) - so it is not that they do not WANT to hear him but that they just don't hear him (due to being busy with their own lifes, running their own errands, etc.- in other words: He's invisible to them, not because they dislike him (active decision) but because he's a fixture of daily life so that noone notices the poor sod and his plight (passive)). I'm not interpreting the part of the handle turning as you do - the first line shows that the man has given up on life, as he is adrift in it "the world does as it will" (the English version is slightly less resigned in tone than the German original) and he kind of turns the handle as he has nothing else to do - no alternative. The "Wunderlicher Alter, soll ich mit Dir gehen" - is a difficult one but it ties in with the rest of the voyage and the voyager - who, himself, is drifting aimlessly through life. So the idea he is pondering with might be that two aimless, drifting people might - through co-operation, perhaps gain a meaning to their lifes - one singing the songs and the other prividing the music. Not to mention the political sub-note to the song , but let's not get into German history - just enough to remind people that back in 1827 when this was composed there was NO Germany (due to the confessional wars between the Catholic League and the Protestant movement which split Germany into many individual, small countries) and the political bigwigs (who were usually also sponsors of the artists) did all they could to keep it divided so that they did not lose power - very much against the will of the population who was more interested in a re-unified nation. It was also composed one year before Schubert's death which might reflect on the emotional side as well.
Just a few nitpicks regarding your otherwise excellent post- the line is not "...bleibt wie immer leer", but "...bleibt ihm immer leer", which makes your interpretation not quite applicable. Also, I don't think that "Keiner mag ihn hören" is incorrectly translated. He's being willfully ignored rather than being invisible; people are aware of his existence, but actively choose not to acknowledge it for the reasons you listed.
@@jimsollars8377 I agree, she is very charming and melts ice. A person that makes you feel comfortable. But due to her religion, she will never marry you.
DFD’s Winterreise is certainly a lovely thing, but for my money even better is the gravelly, sonorous, grave, rendition, delivered by Josef Greindl. He has Fischer Dieskau’s subtlety of interpretation without the frills and affectation that Fischer-Dieskau allows into so much of his work.
My interpretation of that "hurdy-gurdy" part is, that equal if no one cares for the old man, he keeps rotating his Leier in hope of someone to notice him. Wich sadly never happens. I can't listen to that part of Winterreise without tears. Well not only that part. :) I guess being German myself does not really help here. lol
Wow, the commentary around 10:30! Your interpretation of the performance brings a lot for people like me who have never heard this song or seen this performer.
please teach me and describe how i can sing and sound like Alison Krause. A lot of singers from the southern states make fun of what they call "round mouth" singing , i guess that means they take pride in their sound coming from their chest, a truer sound as opposed to falsetto. Alison Krause has such precise control over every note, i love it and i MUST sing like this. there are times i can do it and feel it happening. it's like a change in my mouth takes place. The music seems to be coming from the front of my mouth.
Please react to "You take my breath away" by Queen (Live at Hyde Park), I would really love to hear your insight into Freddie's vocals during his early days! I love to see your reactions, keep up the great work :)
Schubert's friends always said that the music of this cycle contributed to the composer's early death. The simple piano accompaniment imitating the old hurdy gurdy suggest a cold abandonment, physical and emotional. The composer sees in the old man a reflection of himself; nobody wants to hear his music and nobody loves him. But the most heartbreaking part is that his question remains without answer.
Schubert was already near death when he wrote this - he actually finished editing the complete song cycle of which this is the final part for publication one month before he died. To appreciate this particular lieder you need to understand the whole cycle which is about a young man's despair at finding the love of his life actually loves another.
No please he would look into those gorgeous brown eyes and just melt ,you are a singer and a voice teacher and incredible B- - - - -UL sorry i know you are married but you are so correct this performance is so highly charged ,love your video.thank you paul
Linor, I wanted to clarify. Its your heart that is so beautiful. That is what shows most in this video. This is a very depressing song yes. You have the god given ability to feel this mans performance and the song. Dont you find that to be so inspiring? Because I find it so inspiring to watch you move through your own personal feelings . To me, this is the most attractive quality any person can have...and you do it. And I would love to get to know you. Anyway, jsut a clarification. I hope you have a great night.
He was great. Emotion and story are key. Technique is a toolset to be used - or not, to evoke that emotion, imo. I find singing or other music uninteresting, no matter how technically skilled it is, if the emotional content is weak or absent.
Linor, are you familiar with young Aksel Rykkvin? He is Norwegian, has already had an illustrious treble career (albeit, a bit short due to male hormones!) and is now working with a baritone voice since it changed in November of 2017. There is little available, yet, as a baritone because he is still protecting his voice. (I honestly have no clue what a young male singer must do to transition his voice well). He has publicly sung a few Schubert lieder (which he enjoys) and most recently performed as soloist for a performance of Brahm's Ein Deutsches Requiem. He said his voice teacher felt it would be fine for him to sing this as it was a one-time charity performance. I would love for you to react to his singing. I have learned so much from your videos already. And, as a "patron of the art", whatever I learn about 'behind the scenes' of a singing voice, the more I am able to hear in their singing, and appreciate it as well. There are a number of professionally recorded treble performances of his, but I have chosen the song he performed in Jan. 2017 for the 80th birthday party of the King and Queen of Norway. He certainly captivated a room stuffed with European royalty! :D The camera keeps cutting away to their reactions, but it is also on Aksel plenty enough. And even though his treble voice is no longer, I'm sure there is much for me to learn about his technique that will carry over. Here is that video: czcams.com/video/pYPVn0wURt4/video.html And here is the excerpt video from the recently sung Requiem. His singing goes from the beginning to 1:59, then again from 3:45 to 4:52. It sounds like his voice is gaining resonance with time, but I'm sure you are able to hear if it is still "young". Aksel wants to sing opera (already has) and he enjoys the German lieder, taking German in school to improve his diction. Here is the Requiem video: czcams.com/video/9-_JLMJnH3U/video.html&list=PLdtT-KNylspR4vbtFlMD4DUVjFVLJxSf_&index=6 Thank you for your videos!
I saw him when I was a teenager and he was at the end of his career. Unfortunately, I did not really understand who or what I was seeing. In those years, I was able to see such singers as Prey, De Los Angeles, Sutherland, Bergonzi, Kraus. I knew who they were from their records, but to me, all I could see was the old people in front of me.
It kind of reminds me of the movie 'Midnight Cowboy' where two down and outer's join together in their misery to give each other the human kindness and belonging necessary to survive. Like the song there is a whole melancholy feel to the movie. The song, I am guessing, is written in a minor key. The movie derives it's down feeling from the desperation in the two main characters. I know that everybody experiences that kind of loneliness, or says they have, though I doubt it is the soul crushing kind like this is. In the song, as in the movie, two mortally desperate people seek the comfort they think everyone else has. Neither wants to die alone, and death they know is coming sooner, than later. I am surprised with your level of empathy as I cannot believe you would ever find yourself without friends and others who care about you. I do know how losing everything feels like. I have been on the, 'it;s your fault' side of every relationship whether it is a friend or someone closer. Apparently, I do not have a sympathetic personality. I have the last part of sym-pathetic personality down to perfection.
![🇩🇪 GERMAN Baritone: Dietrich Fischer-Dieskau Schubert - Der Erlkönig [魔王] (complete version)](http://i.ytimg.com/vi/GaEMs8lMA2M/mqdefault.jpg)
I also give online lessons. Let me help you reach your singing goal, however modest or ambitious
singwell.eu/singing-lessons/
Wow, it’s my first time hearing this singer. He is so intense and dramatic. It was absolutely beautiful.
He was the best interpret of german lieder to ever have lived. Some did not like his very intellectual approach to singing, thought he was too controlled. But his results are unmatched.
Dietrich Fischer-Dieskau was considered one of the best, maybe the best of all Schubert-Interprets in History.
Singing in German ruins it its such a horrible hard language...
@@dfwm6660 I do not think German is a horrible hard language. It is so "cliché" to think so. It is a great culture language. We should not forgot that a lot of great musician were german speakers (Bach, Haendel, Beethoven, Haydn, Mozart, Brahms, Wagner, Schuman, Schubert, Schöneberg, etc. etc. : a lot, and very talented, probably the greatest musicians). Why German language should ruins music ? : it is a big part of western music. What would be music without magic flute, lieders or Wagner's opera ? hard to say. German language can be very soft, as very hard, it modulates quite well (listen once "Die Dreigroschenoper" von Brecht and Weil to see how German is powerful and great). PS: I'm not German speaker (neither English speaker), and I've to admit I prefer to listen an opera which is written in German than in English : it is (for my ear) way more beautiful to listen. On an other and, I would prefer to speak English or to watch movies in English. Stange !
I attended a concert he gave of Winterreise at Carnegie Hall. The singing itself was masterful, but so was his physical expression of the drama. Toward the end of a particularly dramatic song he went on a journey from mid-stage to the very edge of the apron. Spellbinding!
No, Schulsnus was better
The quiet simplicity of the piano melody simply adds to the emotionality of this exquisitely beautiful piece....
Yeah, Schubert is great at this sort of stuff. He could write very complex music but when it was fitting, he'd also go for a very simple compositional style. And whether complicated or simple, his music is always touching and emotional on a level that I rarely find in other composers. His early death was a tragedy, especially considering that he wrote some of his greatest music in the last year of his life. The last three piano sonatas, the Winterreise and Schwanengesang song cycles, etc. It's painful to think about all the great works we don't have because his life was cut short.
It is a quite common interpretation that the Leiermann is a metaphor or a personification of death. At least thats what we learnd in german and music class in school. Nobody wants to see or hear the hurdy gurdy man as well well as nobody wants to see death. Text and music are part of the german romanticism. An indication for that is the fact that in the end the singer has a longing ir desire for death, he wants to go with the Leiermann. Beautiful piece of art
Sorry for bad spelling 😅
Thank you for mentioning the evident. This nice young lady is doing her best, but unfortunately she lacks both an intellectual as well as an artistic dimension. At least she seemed to be touched, which is perhaps the most important.
For me that is nonsense. It is just the story about the ignorance of people who just walk past a beggar not even recognizing him as human. And the protagonist is so depressed after his "Reise", that he just wants to give up and follow the old men on his path of vanishment.
@@mfd1512 wow, you sure are quick to talk shit about someone you dont know anything about.
Pretty disgusting
I don't think the Leiermann stands for death. In German, Leier means both lyra and hurdy-gurdy. The hurdy-gurdy was what poor street musicians would play and the lyra is the symbol of classical poetry.
I think the protagonist of the Winterreise becomes mad because his love rejected him, and the author (Wilhelm Müller) draws a parallel to his own love, i.e. Poetry, that gives him a life of misery.
"Quaint old man, shall I go with you?
Would you like to turn your hurdy-gurdy to my songs?"
I had the honor/privilege to see him at the Munich opera house. It was a performance of the tempest. He was one of the greats.
I saw him as Moses and Schoenberg's "Moses and Aaron". Even though that part is declamatory only without singing, it was brilliantly done.
What is amazing about this is that this is the conclusion of a cycle of TWENTY FOUR songs. You try to sing 23 songs and have enough left to do everything you want to do musically on the 24th one.
Fischer-Dieskau is one of the greatest singers of the 20th century. Period.
@@Spo-Dee-O-Dee Yeah, but how many brilliant live recitals did he give of these cycles? I mean WOW.
This performance of his shakes me. It is so emotional. It goes without saying his voice is beautiful and Schubert/Muller lyrics and music are intriguing. But Fischer-Dieskau is very arresting in his performance. I hope more people will hear it and be moved by it.
This interpretation of "Der Leiermann" is probably the best ever! Fischer-Dieskau range of color, and nuances is stunning. It's a very haunting piece, and an extraordinary interpretation.
What I love is watching this vid right after watching your commentary on Pavarotti singing Nessun Dorma in Central Park. The similarities are striking between the singers: they both stand still and upright, the sound is solidly supported by a column of air they have total control over, the sound vibrating up out of them through their controlled throat muscles, and their heads are mostly down with the jaw dropping for the big sounds but otherwise the mouth is simply pronouncing/shaping the lyrics. The essence of focus and control of these elements by each singer is the same. Their faces have expression with the lyrics, but not lots of flexing and no sign of strain with the voice. Simply complete intent and solid performance. Wonderful.
Thank you for posting this. I saw Fischer-Dieskau sing Die Winterreise in the Edinburgh Usher Hall in the mid 1970s. He also sang some of Schubert’s Heine Lieder which is some of the most powerful music and words ever written.
You were right on. Made this 50 year old man cry even though I've seen this video at least 100 times...
Great singer. He had a heck of a life. Served in the Wehrmacht in the infantry during WWII, while his disabled brother was killed by the nazis.
I didn't know this! Thank you!
I grew up with my parents playing the great singers, FD included. My dad used to call him Saint FD! In this interpretation, it is easy to see why. His Schubert is unparalled. Thrilled to have found this channel.
I loved your analysis, very insightful. And I liked Fischer-Dieskau's interpretation of this piece, it has such an emotional impact.
My voice teacher showed him to me and said "That's how you want to sing in your baritone range". So great that you're reviewing him! Thanks!:)
Watching this interpretation of Winterreise is the most spiritual experience I have ever had in my entire life.
I'm frankly jealous. Schubert managed to make us feel two unique characters with so few words! I would take 5000 words to paint that word picture, and still fall short.
Fischer-Dieskau's quiet, masterful performance and Schubert's own music take those few words to the next level. It's not just the singer's exquisite baritone quality, it's also his intense facial expression. His eyes are haunting.
It's too glib to say that actors do that sort of thing all the time. They *try.* Few succeed at Fischer-Dieskau's level.
You were moved by the song. So was I, and I enjoyed sharing these emotions with you, Linor, however dislocated the sharing was in space and time. Your technical commentary was just as interesting. Thank you.
Bone-chilling song.... but very beautiful! Thanks for the review.
Very touching indeed. He truly was a great artist. Such a lovely warm voice too, and wonderful control of it.
Linor! What a moving interpretation! This masterfully poignant vocalization brought me to tears. I greatly appreciate your feedback and breakdown of the performance. Thank you. You're a goddess!
Thanks for introducing us to someone new. I know you will be receiving a lot of requests for certain popular artists. I myself have been watching various people react to dimash or jessie j....but i hope that you will also introduce us to more music that you know and we may not. Especially if you know more pieces with this kind of emotional power.
@Calvinjones: Yes, yes, precisely! 😊
I've always loved this heavenly interpretation of this masterpiece. Absolutely stunning. And you are wonderful, and I love you exciting and moving while watching this piece of Art. Thank you.
i think that dude super-glued his upper eyelids! You see a guy with that look you do not wait around to see if he can sing - you run :)
I watched the whole video just because of you. The context you provided made it interesting.
I'm surprised how many people can't tell the difference between jealousy and envy. He doesn't want to be the hurdy-gurdy, he wants to be the man, he is envious. Love your commentary, I envy your talent.
Can someone explain to me what a hurdy-gurdy is ? Sorry I'm french speakin and I have not the darnest clue.
Sehr intensiv, sehr schön
Not just the dramatical acting but he also doesn’t blink once during the song! That’s so powerful and heart touching!
I saw a blink around the 4:08 mark ;)
Fischer-Dieskau singing Schuberts Serenade is spine tingling.
Amazing technique and dramatic talent. Thanks for this
Watching you at 9:44 was something else. I don't get this music but I get music and I get people. That was special, I felt like I have missed out. I will stick head phones on and listen to some of this.
This is the last, final song of Wintereise, Winter's Journey, the famous Schubert song cycle. It's about an organ grinder. It is a symbol of isolation and despair, ending a long winter journey of discontent. Fischer-Dieskau is the greatest lieder artist of the 20th century, the greatest baritone specializing in art songs. Her commentary is hardly needed. The performance says it all. Note the bare piano part.
Fischer-Dieskau had the voice of an angel!
100% understand and appreciate this review. Great emotions!
Legendary! I love the whole Winterreise Cycle but cannot hear it too often.
It makes you depressive.
It's really the 19th Century emo music. ;)
Because winter symbolizes loneliness and barrenness.
i knew this song from the 2008 film "In Bruges" with Colin Farell. But the Fischer-Dieskau version is beautiful. i also like these kind of melancholy songs. Smashing pumpkins. some Sinead O'Connor songs. thats my stuff. thanks for showing me Fischer-Dieskau and your emotional rollercoaster on this reaction :)
I will watch your videos ,its very rare for me to find someone with a high quality culture. I want to say thank you sincerly.
thank you Linor for introducing me to this great singer. Your face says it all
Unforgetable and unique! Thank you dear Linor Oren!
La composizione di Schubert è un mirabile viaggio strumentale e vocale i quel percorso che porta alla morte appena intravista a sfiorata nell'ultima lieder che viene qui rappresentata. Il suonatore dell' organetto è il doppelganger della tradizione teutonica. Una presenza che si dice predire le malattie ed il trapasso
I love listening to Fischer-Dieskau: lieder from Schubert and Schumann, Bach's cantatas and different roles in the St Mattaeus Passion, Mahler's Die Kinder Toten Lieder, etc. It's a very narrow preference, but I most love to hear him from the 1958 St Mattaeus Passion directed by Richter singing Am Abend da es kuehle war followed by Mache Dich, Mein Herze, Rein.
WELL DONE!!! Thank you
This live performance by Fischer-Dieskau is by far the best I've ever heard/seen imho... those eyes and that voice: WOW!. I'm a big fan of Müller's poetry, especially 'die Winterreise'. I believe 'der Leiermann' is considered as the personification of (the fear of) death: "Keiner mag ihn hören. Keiner sieht ihn an." The singer is staring at the inevitability of death: "Dreht, und seine Leier steht ihm nimmer still." But 'der Leiermann' is also Schubert's evocation of self-doubt in his considering the value of his songs/works in the last year of his life: "Wunderlicher Alter! Soll ich mit dir geh'n? Willst zu meinen Liedern deine Leier dreh'n?" This poem/song is so powerful, beautiful, sad and even creepy all at the same time. It is a wonderful collision of emotions condensed into one amazingly compact poem.
Dank je vel! Nice to see such technical and emotional analysis!
Greetings from Hamburg
I lOVE your observations. Thanks so much for doing these! I am fascinated by your thoughts and also your passion for the music. I have always been affected deeply by music from my earliest memories as a kid. It is so interesting to hear your thoughts about the artist and their art. Bravo, I am hooked!
I'm looking at you that way too, Linor. Just love your passion for your craft. Knowing so little about classical Opera, your insights have truly deepened my appreciation for these great talents.
9:30 ...I'm crying too ...Kisses from Buenos Aires, Linor
You are a true artist! Great to see somebody with that much passion!
Your commentary is as astonishing as the music; thank you so much.
Thank You "Ich habe das dunkle entdeckt" finally, very good lesson to us all. Human complexity.
Linor, you should react to Barcelona by Freddie Mercury and Montserrat Caballé. Keep up the great content!
yessss
Linor. You are so beautiful.
She did, but had a guest who kept talking over Freddie and Montserrat!
Thank you so much for these thoughts! Your connection with the emotion together with your understanding of the performance is so strong.
I would however like to modestly suggest to you an additional and perhaps less depressing way of reading the intent of the song text. This was all written in 1828, at the height of Romanticism. Pessimism was in the air. But many thinkers and artists saw a way out into the light, and that way is Art. Schopenhauer and Keats are two great examples. Schubert and Müller, the poet, certainly were in tune with this spirit of the time, and I think they found the same answer. After twenty-four sad songs, upon hearing the Leiermann, the singer realises that together they can go that way, and enter into the pride and eternity of Art. Because even though it is about lost love and loneliness, it is still Art.
Thank you Linor for reacting to classical music too.
dear linor, your analyssis is astonishing. the great D.F.D puts in every word his special meaning. maria callas used to say singer should not overinterpret, just sing what the composer wrote, it containes already all the feelings.
did she mean by exageration that you may not know the meaning of the words ???
thanks for this … to acknowledge another's existence … is a very powerful thing … the essence of community …
This is taken from a full performance of Die Winterreise, and is the last song in the opus. Fischer-Dieskau had to be exhausted already, and this incredible song had to completely drain him.
What a legend
I feel it in my heart that this makes you want to cry. Please cry. You treasure something that so many would say is just a song. Mmm
If you like the Fischer-Dieskau interpretation you have to look for Thomas Quasthoff.
As compensation for his Illness God gave him such a great Voice.
There are also some good interpretations by Herman Prey
This was beautiful! Thank you, Linor! Please feature more German artists. I think they are so dedicated to the music - above celebrity. That is my opinion. :) No, I'm not German. :)
איזו בחירה נפלאה של מבצע ין ויצירה! תודה רבה, לא הכרתי את שניהם . הוא שר נפלא.
The profundity of this man's intelligence is manifest in his every performance. For years I wished I had this quality of singing, whether as tenor or baritone. If only! I don't crave beautiful high notes. It's this musicality and interpretive genius that eludes me. I'll stick with early choral music...
What a frisson of terror! Maybe it is FD's dead eyed gaze along with the haunting melody and his intense voice. Then again, it could be my age (83) and much introspection about the close of life. The gold standard for Germanic gloom. Thanks for posting this masterpiece.
Franz Schubert and Wilhelm Müller... this collaboration was a bit like Morrissey and Johnny Marr, really. A marriage made in heaven...
That is beautiful, I was not aware of this cycle. I will check it out.
Dime dime,Jose Reyes,what a performance,,awsome,a must see.
"Will you grind your organ for my songs?" He's almost begging, it's fascinating. I would have never seen or sensed that if not for your commentary.
John Browning Rh The composer identifies himself with the lot of the beggar. Like Dante said in the Canto from Inferno,"misery loves company".
Thank you, I went and got this CD I love it
A few ... interpretations ... (a) Since he says "und sein kleiner Teller bleibt WIE IMMER leer" it is not the first time he notices the empty tray but is well aware of the fact that people don't give money to the man (or men of this type in general). "Wie immer" = "as usal/always". I also think the English translation is a tad off - "Keiner mag ihn hören" is translated with "No one wants to hear him" - in older style German "mag" is possibly more related to "vermag" (can/does) than to "mögen" (want/like) - so it is not that they do not WANT to hear him but that they just don't hear him (due to being busy with their own lifes, running their own errands, etc.- in other words: He's invisible to them, not because they dislike him (active decision) but because he's a fixture of daily life so that noone notices the poor sod and his plight (passive)). I'm not interpreting the part of the handle turning as you do - the first line shows that the man has given up on life, as he is adrift in it "the world does as it will" (the English version is slightly less resigned in tone than the German original) and he kind of turns the handle as he has nothing else to do - no alternative. The "Wunderlicher Alter, soll ich mit Dir gehen" - is a difficult one but it ties in with the rest of the voyage and the voyager - who, himself, is drifting aimlessly through life. So the idea he is pondering with might be that two aimless, drifting people might - through co-operation, perhaps gain a meaning to their lifes - one singing the songs and the other prividing the music.
Not to mention the political sub-note to the song , but let's not get into German history - just enough to remind people that back in 1827 when this was composed there was NO Germany (due to the confessional wars between the Catholic League and the Protestant movement which split Germany into many individual, small countries) and the political bigwigs (who were usually also sponsors of the artists) did all they could to keep it divided so that they did not lose power - very much against the will of the population who was more interested in a re-unified nation. It was also composed one year before Schubert's death which might reflect on the emotional side as well.
Harald Schuster God that’s even more depressing. But also hopeful in a way. Through cooperation they could maybe give each other purpose in life.
Just a few nitpicks regarding your otherwise excellent post- the line is not "...bleibt wie immer leer", but "...bleibt ihm immer leer", which makes your interpretation not quite applicable. Also, I don't think that "Keiner mag ihn hören" is incorrectly translated. He's being willfully ignored rather than being invisible; people are aware of his existence, but actively choose not to acknowledge it for the reasons you listed.
He makes you feel this song.
Dont know about the song. I cant stop looking at you. My goodness you're beautiful. Im already on one knee. 👍😃
You and me both. The things I would do for this woman cannot be spoken of here. ♥♥♥♥♥♥♥
She's also very intelligent. Oh, and talented. Well, my friend, that's the trifecta! Good luck.
@@Baccus93 But she's already in love with Elvis Presley! No chance, boys!
Amen. In love but never met her😘
@@jimsollars8377 I agree, she is very charming and melts ice. A person that makes you feel comfortable. But due to her religion, she will never marry you.
Your feelings show so much, you look very fragile (in a good way), thanks for sharing them
DFD’s Winterreise is certainly a lovely thing, but for my money even better is the gravelly, sonorous, grave, rendition, delivered by Josef Greindl.
He has Fischer Dieskau’s subtlety of interpretation without the frills and affectation that Fischer-Dieskau allows into so much of his work.
My interpretation of that "hurdy-gurdy" part is, that equal if no one cares for the old man, he keeps rotating his Leier in hope of someone to notice him. Wich sadly never happens. I can't listen to that part of Winterreise without tears. Well not only that part. :) I guess being German myself does not really help here. lol
Wow, the commentary around 10:30! Your interpretation of the performance brings a lot for people like me who have never heard this song or seen this performer.
It's beautiful
Thank you for explaining this to me.
please teach me and describe how i can sing and sound like Alison Krause. A lot of singers from the southern states make fun of what they call "round mouth" singing , i guess that means they take pride in their sound coming from their chest, a truer sound as opposed to falsetto. Alison Krause has such precise control over every note, i love it and i MUST sing like this. there are times i can do it and feel it happening. it's like a change in my mouth takes place. The music seems to be coming from the front of my mouth.
Very sad, haunting, but beautiful.
Please react to "You take my breath away" by Queen (Live at Hyde Park), I would really love to hear your insight into Freddie's vocals during his early days! I love to see your reactions, keep up the great work :)
Very mature commentary, refreshing!
Schubert's friends always said that the music of this cycle contributed to the composer's early death. The simple piano accompaniment imitating the old hurdy gurdy suggest a cold abandonment, physical and emotional. The composer sees in the old man a reflection of himself; nobody wants to hear his music and nobody loves him. But the most heartbreaking part is that his question remains without answer.
Schubert was already near death when he wrote this - he actually finished editing the complete song cycle of which this is the final part for publication one month before he died. To appreciate this particular lieder you need to understand the whole cycle which is about a young man's despair at finding the love of his life actually loves another.
Youre reactions are inspiring
I love Winterreise...
No please he would look into those gorgeous brown eyes and just melt ,you are a singer and a voice teacher and incredible B- - - - -UL sorry i know you are married but you are so correct this performance is so highly charged ,love your video.thank you paul
Married?! (heart instantly shatters into a billion tiny little pieces)
Dime dime,guitar festival ,what a singer,jose ...
Linor, I wanted to clarify. Its your heart that is so beautiful. That is what shows most in this video. This is a very depressing song yes. You have the god given ability to feel this mans performance and the song. Dont you find that to be so inspiring? Because I find it so inspiring to watch you move through your own personal feelings . To me, this is the most attractive quality any person can have...and you do it. And I would love to get to know you. Anyway, jsut a clarification. I hope you have a great night.
I love your passion
He was great. Emotion and story are key. Technique is a toolset to be used - or not, to evoke that emotion, imo. I find singing or other music uninteresting, no matter how technically skilled it is, if the emotional content is weak or absent.
Jussi Björling, please!
And Lauri-Volpi, Schipa and Gigli.
Linor, are you familiar with young Aksel Rykkvin? He is Norwegian, has already had an illustrious treble career (albeit, a bit short due to male hormones!) and is now working with a baritone voice since it changed in November of 2017. There is little available, yet, as a baritone because he is still protecting his voice. (I honestly have no clue what a young male singer must do to transition his voice well). He has publicly sung a few Schubert lieder (which he enjoys) and most recently performed as soloist for a performance of Brahm's Ein Deutsches Requiem. He said his voice teacher felt it would be fine for him to sing this as it was a one-time charity performance.
I would love for you to react to his singing. I have learned so much from your videos already. And, as a "patron of the art", whatever I learn about 'behind the scenes' of a singing voice, the more I am able to hear in their singing, and appreciate it as well.
There are a number of professionally recorded treble performances of his, but I have chosen the song he performed in Jan. 2017 for the 80th birthday party of the King and Queen of Norway. He certainly captivated a room stuffed with European royalty! :D The camera keeps cutting away to their reactions, but it is also on Aksel plenty enough. And even though his treble voice is no longer, I'm sure there is much for me to learn about his technique that will carry over. Here is that video:
czcams.com/video/pYPVn0wURt4/video.html
And here is the excerpt video from the recently sung Requiem. His singing goes from the beginning to 1:59, then again from 3:45 to 4:52. It sounds like his voice is gaining resonance with time, but I'm sure you are able to hear if it is still "young". Aksel wants to sing opera (already has) and he enjoys the German lieder, taking German in school to improve his diction. Here is the Requiem video:
czcams.com/video/9-_JLMJnH3U/video.html&list=PLdtT-KNylspR4vbtFlMD4DUVjFVLJxSf_&index=6
Thank you for your videos!
In English a leier is called a hurdy-gurdy. The piano part imitates its sound.
From a wonderful man, who had to die just 31 years old...
Top Spin sorry to burst your bubble but he died at 86.
Zachary I mean the composer Franz Schubert 😉.
Top Spin dang! I had no idea he died that young. Thanks for teaching me something today!
Dear Linor. You uploaded that at 09.12.2018, but i still want to hug you
I saw him when I was a teenager and he was at the end of his career. Unfortunately, I did not really understand who or what I was seeing. In those years, I was able to see such singers as Prey, De Los Angeles, Sutherland, Bergonzi, Kraus. I knew who they were from their records, but to me, all I could see was the old people in front of me.
Amazing
Although, I love the Entrance ,Composition.He Have That Anger On himself.Sadness too.
This recording was very powerful in the film In Bruges..
Leaving a sub, hoping you will stay to your selections of pieces.
It kind of reminds me of the movie 'Midnight Cowboy' where two down and outer's join together in their misery to give each other the human kindness and belonging necessary to survive. Like the song there is a whole melancholy feel to the movie. The song, I am guessing, is written in a minor key. The movie derives it's down feeling from the desperation in the two main characters. I know that everybody experiences that kind of loneliness, or says they have, though I doubt it is the soul crushing kind like this is. In the song, as in the movie, two mortally desperate people seek the comfort they think everyone else has. Neither wants to die alone, and death they know is coming sooner, than later. I am surprised with your level of empathy as I cannot believe you would ever find yourself without friends and others who care about you. I do know how losing everything feels like. I have been on the, 'it;s your fault' side of every relationship whether it is a friend or someone closer. Apparently, I do not have a sympathetic personality. I have the last part of sym-pathetic personality down to perfection.
I would love to see more of these... we need Schumann and wolf