Strauss: Four Last Songs / [12] Orchestral Songs (Great Recordings of the Century) [Original recording remastered]

Richard [1] Strauss (Composer), George Szell (Conductor), Berlin Radio Symphony Orchestra (Orchestra), Robert Heger (Orchestra), London Symphony Orchestra (Orchestra), Elisabeth Schwarzkopf (Performer) | Format: Audio CD

Product Details

• Performer: Elisabeth Schwarzkopf
• Orchestra: Berlin Radio Symphony Orchestra, Robert Heger, London Symphony Orchestra
• Conductor: George Szell
• Composer: Richard [1] Strauss
• Audio CD (January 12, 1999)
• Number of Discs: 1
• Format: Original recording remastered
• Label: EMI Classics
• ASIN: B00000GCAE
• In-Print Editions: MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (29 customer reviews)
• Amazon Best Sellers Rank: #104,798 in Music (See Top 100 in Music)
  • #42 in Music > Classical > Opera & Vocal > Featured Performers, A-Z > Q to T

Customer Reviews

Most Helpful Customer Reviews

37 of 39 people found the following review helpful:

5.0 out of 5 stars Schwarzkopf - the art of the Lied, March 26, 2000

By 

Herman D Soenario (Australia) - See all my reviews

This review is from: Strauss: Four Last Songs / [12] Orchestral Songs (Great Recordings of the Century) (Audio CD)

I have owned this recording together with her first commercial recording of the Four Last Songs with Ackermann for many years. In order to fully appreciate the art of Schwarzkopf in Lieder and in particular the Four Last Songs, the listener must understand the full meaning of each of the German words and the way Strauss phrased it. We must remember that the words came first, then they were translated into music, as is the case in most of German Lieder. Like Fischer-Dieskau, Schwarzkopf clearly understands the importance of each of the words in relation to the verses. It is sad for the listener that ES and DFD are so severely critized regarding their emphasis on the text, and I believe this criticism comes mainly from English speaking listeners. I have 8 different interpretations on CD of the Four Last Songs, and am still convinced that ES in this recording is absolutely spot on. An absolute must! It is absolutely Glorious! Herman Soenario, Lecturer Musicology at James Cook University, Cairns, Queensland Australia.

34 of 38 people found the following review helpful:

4.0 out of 5 stars Poetic and autumnal, October 29, 2000

By 

[e-mail] (Cambridge, MA USA) - See all my reviews

This review is from: Strauss: Four Last Songs / [12] Orchestral Songs (Great Recordings of the Century) (Audio CD)

This recording of Strauss's Four Last Songs is superb - for the most part. It should be said that this will not please everyone; in a way, it does not please me. But there is no truly perfect recording of these songs, and this is unquestionably one of the best. Elisabeth Schwarzkopf was fifty when she made this recording in 1965, so her voice is not as beautiful as on, say, her 1951 Beethoven Nine with Furtwängler. HOWEVER: this is only noticable in two aspects of her singing: her lower register, which has grown somewhat harsh and brittle, and her breath control, probably the most serious disappointment in this set - some of Strauss's long, long, phrases (e.g. end of September) have to be reworded so she can fit in a breath. Also, her interpretation is controversial: I think that sometimes she focuses so much on the little details in each word that we actually lose the whole picture. I think, though, that this is more of a problem in the other songs on the disc, and this problem doesn't interfere with the Four Last Songs. So for the most part, this is an outstanding performance. She is slightly brittle at the start of "Frühling," but she quickly improves. In some of the soaring, radiant phrases towards the middle, we hear her real voice come through: silvery, luminescent and soft-toned. She characterizes "September" most movingly; she pays attention to word-coloring in a way other singers seem unable to do, which makes up for not having the breath control of a Janowitz or a Norman. "Beim Schlafengehen" is excellent, but again we note the lack of breath control. "Im Abendrot," though, is the crowning glory of this recording. She is in radiant voice, and brings out all the poignancy of this astounding song. This song alone is worth the price of the set. The twelve orchestral songs also on this disc are for the most part not up to this standard. Exceptions include a hushed "Waldseligkeit," a powerful "Zueignung" and a gorgeous "Morgen." George Szell's conducting is inspired throughout, as is the playing of the Berlin Radio Symphony Orchestra. The packaging is superb and the sound is excellent. But why put the Four Last Songs at the beginning of the disc? As the best songs Strauss ever wrote, shouldn't they be saved until the end of the disc? Many CD players, however, can re-order tracks, so this isn't too much of a problem. So of the three recordings of the Four Last Songs I have heard, here are my verdicts. Janowitz (Karajan/DG): heavenly, silvery singing, the most haunting recording. Occasionally, though, I feel her interpretation leaves stones unturned; her vibrato is also obtrusive at the top of her range; Karajan's accompinament is somewhat oily. Norman (Masur/Philips): the most gorgeous, unstrained singing, with astounding breath control. If only she and Masur hadn't decided to take "Im Abendrot" at a funereal pace! Schwarzkopf (Szell/EMI): not nearly as perfect vocally as the other two, but considerably better interpretatively, in addition to boasting the best conductor. So it all really depends on what you value most. If you want my advice, I suggest you buy all three! None of them is significantly "better" than the other, and their strengths and weaknesses complement each other. Pushed further, I would award the prize to Norman, for her gloriously rich, velvety singing. But you won't go wrong with Schwarzkopf.

14 of 14 people found the following review helpful:

5.0 out of 5 stars Great interpretation, March 29, 2000

By 

Michael Newberry (Santa Monica) - See all my reviews
(REAL NAME)   

This review is from: Strauss: Four Last Songs / [12] Orchestral Songs (Great Recordings of the Century) (Audio CD)

My two choices for Four Last Songs of Richard Strauss are the Norman and the Schwarzkopf versions. Going by sound Jessye Norman and Kurt Masur combine to make beautifully phrasing-her sound is rich, pure, and arches over the heavens. By comparison Elisabeth Schwarzkopf's voice sounds a tad smaller, but her interpretation of both the music and the lyrics is integrated so well that you are swept into the conception of the piece. In song 2, SEPTEMBER, when she sings, Lange noch bei den Rosen, Bleibt er stenhen, sehnt sich nach Ruh, (Long by the roses, it tarries, yearns for rest), I can feel the length of the stem and the bloom of the rose and I feel I am calm, lying in a quiet garden. But my first choice is the Norman, my soul takes wing and I am gone! Both have good booklets, with German text and English translations, though the text and translation is not side by side in the Norman. They both included several other Strauss songs with full orchestra, equally excellent.