Customer Reviews

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

5 star:		(22)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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.

This disc is surely one of the most heavenly, inspired recordings in the catalogue. And at mid-price!!

Most people adore Schwarzkopf, the light and shadow, subtle inflections of tone, her beautiful, radiant voice bringing them to raptures of delight. Some can't stand her, finding her over-interpreting everything and not letting the music speak for itself. I fall very firmly into the former category.

People will always argue whether this performance of the Four Last Songs or the one she made 12 years earlier with Ackerman is superior. Let me be very clear - both are sublime, both are different, and if you can afford it, get both, like you would two recordings from different singers. If you can't afford both, get either. The earlier recording is more impassioned, fresher voiced. The latter recording (here) is more intelligent - it is hard to imagine more insights being poured into every word. It has a restrained, elegant passion that can only come from the years of experience Schwarzkopf garnered in these songs.

You will do well supplementing a Schwarzkopf four last songs with a larger voice like Norman or Studer, and a cleaner, purer, more silvery voice like Janowitz or Auger. But Schwarzkopf is the best place to start.

The vier letzte lieder aren't the only thing on this disc. The other Strauss lieder are just as delightful. Every time I return to this disc I'm struck afresh by just how indescribably beautiful her renditions are. Every time I see this disc in the CD shop I feel tempted to buy it again. I'm not normally that irrational but it's a reflection of how much I love this recital. This should be in every music-lovers collection. Obviously, you needn't hesitate!!

One of the landmark opera albums of the 1960s', Elisabeth Schwarzkopf's recording of Strauss' "Four Last Songs"; and the twelve Lieder songs of Burger, Dehmel, Bierbaum and others, is beautifully-remastered here for compact disc.

Schwarzkopf was in her fifties when she recorded these works, and there is a lot to be said for the mature, knowing performance from a soprano voice of that age. It speaks of life's joys and heartaches, and a heart still longing for youthful romance. I seriously doubt that anyone will ever fully eclipse Elisabeth's sheer dramatic intensity in this recording. She transforms herself back into a young girl, yet still retains the dramatic use of her maturity.

This recording has been remastered using Abbey Road's Prism SNS system, which gives the recording a natural soundscape, free of annoying echo or reverb, allowing Schwarzkopf's voice to come forth with astonishing clarity. Simply, it's the best this recording has ever sounded. A bargain price too.

[EMI Classics 7243 5 66908 2 0]

The "Gramophone" magazine reviewer couldn't have put it better:- "a heavenly record, so beautiful that I find it goes against the grain to attempt to analyse it". A must-have for any self-respecting classical record collection.

Four decades later this remains one of the greatest recordings of this final, transcendent Richard Strauss masterpiece. Some have shown preference for the earlier Schwarzkopf sung, Otto Ackermann conducted EMI record. I can't imagine why someone would want that mono recording over this gorgeous stereo version. Schwarzkopf here is just as radiant if not more so, the speeds are perfectly judged by Szell and everything has an luminous glow about it. The fact that 12 extra Strauss songs are here too puts this CD over the top, a must buy.

There have been plenty of great versions of the Four Last Songs since Schwarzkopf, the likes of Gundula Janowitz with Herbert Von Karajan and especially the spectacular Jessye Norman with Kurt Masur, yet the Schwarzkopf account can still match any other version in the catalogue for sheer beauty, the tender articulation of words and deep understanding of the music. Jessye Norman surpasses Elizabeth Schwarzkopf for operatic splendour and voluptousness of sound so you definitely need to get that version too. Having several performances of this immortal masterwork is a must!

There is no doubt; this is the most superbly meaningful recording of the Four Last Songs that I have ever heard. Not only does it profoundly affect the soul by the wonderfully expressed text brought to life in the music, but Elisabeth Schwarzkopf's tone is achingly beautiful.

There are some very good recordings available of the Four Last Songs - each of them brings something unique to the songs. Among my favourites are Soile Isokoski's (for the radiant silver of her voice - Strauss suits her so well), Jessye Norman's (such a voluptuous expansive voice! She does such justice to the almost unbearable length of the vocal lines), Janowitz's (extremely pretty), Barbara Bonney's (a great deal of thought went into this interpretation, and how courageous to sing it with piano rather than orchestra), Kiri Te Kanawa (a perfect Strauss voice of the rich lyric kind)...

... but none of these finds the kernel of meaning which Schwarzkopf gives these songs.

Mannered? No. How bizarre that anyone could write that. There is a chasm of difference between being mannered and being intensely interpretative, and when Schwarzkopf sings in the German language, she is NEVER mannered. The poetry of these beautiful Lieder seems to shimmer with loveliness, sadness, meaning...

Schwarzkopf is a true, a genuine artist. Fellow reviewers might ponder this point: there is no rule that states it is impossible to be a detailed interpreter with great concern for the meaning AS WELL as to be a marvellous singer with lovely tone. For those who cannot hear the beauty of Schwarzkopf's voice, what can I say but that I am astounded...?

Please be aware that I speak as a professional singer myself. I grew up speaking German among other languages. Thus I approach these songs (in listening to others perform them, in discussing them, in singing them myself) both as a musician and as a native German speaker. On both counts, Schwarzkopf's performance of these Lieder is overwhelmingly moving to me.

I sincerely recommend this particular recording of the Four Last songs above any other. Of course, ideally one should collect almost every recording of these, but if you only want one recording of the Strauss Lieder, let me put it this way: I'd take this particular one above and beyond any other I possess.

Allow me to correct one of the statements made in one of the reviews here: no singer or student of Strauss Lieder could agree that these are Strauss's best songs, not after studying Strauss's entire Lieder repertoire. They are truly masterpieces, but Strauss wrote many masterpieces... and with the recent release of volume 1 in the Hyperion Complete Strauss Songs, those interested will be able to collect the complete set. There are also some wonderful recital CDs around of Strauss Lieder, all of which demonstrate that Strauss's genius was not restricted to the Four Last Songs, but glows unmistakably through his entire oeuvre.

The songs of Strauss are rich, melodic and passionate and no where else is there a better interpreter than the gifted Elisabeth Schwarzkopf. The detail and tenderness that are brought to the songs are a delight to listent to and the Four last songs are truly heavenly in this version. Szell allows the music to speak and never swamps Schwarzkopf. The addition of the other lesser known Strauss songs are a bonus rather than the early symphonic Death and Transfiguration and suit the mood better. Recording is a bit thin but nevertheless truly historic.

Elizabeth Schwarzkopf lived these songs and her poised tone and sensitivity to text and shading are what make this the greatest vocal interpretation. There are things to criticize otherwise, for example, the downward semi-tone transpostion of Fruling, and her non-interpretational shifting of vocal colors as she approaches the lower register.

Many prefer her earlier recording, but she, herself, prefers this version. I prefer this version also because she is more able to express the progression of life. The warm lilting tone, word inflection, breath control, and her facility in full support pianissimo singing create a vocal miracle. Never once are her soft passages given to mezza voce, they are all firmly set in the intercostals. Furthermore, the tone is never spread but consistently softly pointed. She must have been exhausted after she finished.

You may have Te Kanawa for a more generically beautiful delivery, Norman's version is more grand, I enjoyed Birgit Nilsson's singing of it, but here Schwarzkopf is in a class by herself. She could easily get ten stars.