Customer Reviews

Richard Strauss - Ein Heldenleben, Four Last Songs / Auger, Previn

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3 star:		(1)
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Although perhaps not as known as Herbert von Karajan or Georg Solti for interpretations of Richard Strauss, Andre Previn also specializes in music by the late German Romantic composer. Although his interpretation of "Ein Heldenleben" (A Hero's Life) does not quite play with nuances in quite the same way as Karajan and Solti, Previn conducts a very fine interpretation with dedicated playing from the Vienna Philharmonic and an atmosphere of grandeur befitting this piece. Unfortunately, there are no track cues for the separate sections of Strauss' quasi-autobiographical, but ultimately tongue-in-cheek, tone poem.

As a side note, many people mistaken "Heldenleben" for an ego trip. Actually, it is Strauss' ironic play on the whole idea of artist as hero. (Strauss was into irony and self-parody long before it became popular among my contemporaries.) Although he considered himself as worthy a musical subject as "Napoleon or Alexander the Great," Strauss told his friend Romain Rolland, "I am not a hero. I haven't got the necessary strength; I am not cut out for battle; I prefer to withdraw, to be quiet, to have peace..." (For more, see Michael Kennedy's excellent 1999 biography "Richard Strauss: Man, Musician, Enigma.") Perhaps he intended most of "Heldenleben" to be ironic, but the pastoral conclusion may have resonated more deeply with him.

As an appropriate segue, Strauss' "Four Last Songs" (written nearly 50 years after "Heldenleben") follows the pastoral section of Strauss' irony-laced musical autobiography. I have yet to hear an interpretation that matches the spiritual beauty and intensity of theone on this recording. Kurt Masur's interpretation with Jessye Norman's golden voice may be beautiful, but it moves a bit too slowly. Although one would expect much from Karajan, his version with Gundula Janowitz seems to lack the dreamy twilight quality that makes these songs so special. Listening to Previn's interpretation with Arleen Auger as soloist, I feel like I've entered that dreamy twilight world. Never too fast nor too slow, Auger and the Vienna Philharmonic flow quite naturally with the music's "geist" under Previn's lead. This interpretation should put to rest the allegation that Strauss' music lacks a spiritual element. And like any true spiritual experience, words are inadequate to describe the profound beauty of this interpretation of Strauss' final gift to the world.

Previn is understandably proud of his Strauss recordings. This recording includes Ein Heldenlaben and it compares favorably with the famous Reiner/CSO album from the '50's. The real show stopper here is the Songs, and I'm sure it'll be compared with the Karajan/Janowitz performance. For one thing,Auger's voice isn't as powerful(Some people call it "creamy",whatever that is.)as Janowitz's. Auger's voice has a more tender, human quality that's a pleasure to hear. For another,Previn's tempos are different than Karajan's. Im Adendrot,for instance,is a full minute slower than Karajan's But, you're gonna love that extra minute! It's truly majestic. The recorded sound is up to Telarc's high standard. There's something about it that makes you want to TURN IT UP. I'm not trading in my Karajan CD,but this one stays as well.

The Ein Heldenlieben is a fine recording, but I am primarly recommending this disc because of the wonderful performance of the Four Last Songs. Previn and the Vienna Philharmonic achieve an incredible orchestral beauty and intensity, and Auger doesn't fudge a single note. I frequently play this recording multiple times in a single sitting just to make sure I am not dreaming. Very highly recommended.

I have to start with Auger's "Beim Schlafengehen" and the incredible violin solo. There is something to be said about Auger's incredible reading of this music but much more can be praised about her exquisite intonation. She takes us into her longing for the starry night and lumbering sleep with incredible skill and passion. And isn't there something so ethereal about hearing a viennese violinist traverse that gorgeous solo like no other? Just the right vibrato and plenty of phrasing. And this is only 5 minutes of this impeccable album. Every song on this album is a testament to rest for weary souls by Hermann Hesse and Joseph Eichendorff and this team of Previn, Arleen Auger, and the Vienna Philharmonic gift us with an unforgettable performance.

Previn has recorded Richard Strauss' music for years, some of it good, some bad. His TELARC sets are quite interesting. This set of "Vier letzte Lieder" and "Ein Heldenleben" appearing amongst over a dozen other interpretations easily stands out for many reasons such as Auger's incredible pitch and Previn's passion for this music. I never feel as satisfied with other renditions of these lieder because I don't feel the soloists are on pitch. Yes, the passion is there, but so must be the musicianship! Previn is not his usual boring, suffocating self like he was with his EMI/Angel Strauss. This is impassioned and profound music making recorded nearly 20 years ago!!

Auger embraces the libretto with care, tenderness, and love like no other on record. I'd say she surpasses my all-time favorite reading with Janowitz in both technique and profundity.

I hope this disc is readily available for many generations to come because it deserves such a place in recorded history.

Educated opinions will vary, and I own three other performances of Four Last Songs, but I have listened to Auger's performance so many times that there is cause to question my mental status. There is an emotional video-only version I saw by Renee Fleming (I think not the one on YouTube as of this writing) that comes close, and the work is so compelling that there is room for many performances yet to come. But this one is special. Auger was once a violinist, and it shows here, with her careful vibrato and accuracy of pitch.

I bought this CD primarily for Arleen Auger's version of the Vier Letzte Lieder and I was not disappointed. She sings them simply and allows her highly feminine voice to get right to the heart of the poetry and music. You will weep after listening to it! I did!

A good, if not remarkable performance. My problem is with the recording. Yes, I know Telarc has always been highly regarded, and the recording is very clean sounding. But it's got that typical modern digital sound; flat and two-dimensional. The more remastered analog recordings I hear from that golden era of 1955-1965 (Mercury, RCA, Decca), the more I realize just how lifeless and flat modern digital recordings are. It's a shame, really.