Walter Berry - Liederabend

A pair of Salzburg Festival song-cycle recordings, beautifully sung and deeply felt, by two major Lieder singers

Record and Artist Details

Composer or Director: Hans (Erich) Pfitzner, Hugo (Filipp Jakob) Wolf, Felix Mendelssohn, Gustav Mahler

Label: Orfeo d'or

Media Format: CD or Download

Media Runtime: 67

Mastering:

ADD

Catalogue Number: C520991B

Tracks:

Composition Artist Credit
(6) Lieder, Movement: No. 3, An die Entfernte (wds. Lenau) Felix Mendelssohn, Composer
Felix Mendelssohn, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(6) Lieder, Movement: No. 5, Auf der Wanderschaft (wds. Lenau) Felix Mendelssohn, Composer
Felix Mendelssohn, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(6) Lieder, Movement: No. 6, Nachtlied (wds. Eichendorff) Felix Mendelssohn, Composer
Felix Mendelssohn, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(6) Lieder, Movement: No. 6, Altdeutsches Frühlingslied (wds. Spee) Felix Mendelssohn, Composer
Felix Mendelssohn, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Goethe Lieder, Movement: Harfenspieler I (Wer sich der Einsamkeit ergibt) Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Goethe Lieder, Movement: Harfenspieler II (An die Turen) Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Goethe Lieder, Movement: Harfenspieler III (Wer nie sein Brot) Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(7) Lieder, Movement: Ist der Himmel darum im Lenz so blau (wds Leander) Hans (Erich) Pfitzner, Composer
Hans (Erich) Pfitzner, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(5) Lieder, Movement: Hast du von den Fischerkindern (wds Müller von Kter) Hans (Erich) Pfitzner, Composer
Hans (Erich) Pfitzner, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(3) Lieder, Movement: Zum Abschied meiner Tochter (wds Eichendorff) Hans (Erich) Pfitzner, Composer
Hans (Erich) Pfitzner, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
(5) Lieder, Movement: Nachts (wds Eichendorff) Hans (Erich) Pfitzner, Composer
Hans (Erich) Pfitzner, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Wer hat dies Liedlein erdacht? Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Des Antonius von Padua Fischpredigt Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Wo die schönen Trompeten blasen Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Lob des hohen Verstandes Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Revelge Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder aus 'Das Knaben Wunderhorn', Movement: Der Tamboursg'sell Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Lieder und Gesänge, Movement: No. 14, Selbstgefühl (wds. Des knaben Wunderhorn) Gustav Mahler, Composer
Gustav Mahler, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Mörike Lieder, Movement: Der Tambour Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Spanisches Liederbuch, 'Spanish Songbook', Movement: Wer sein holdes Lieb verloren (trans Geibel) Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
Spanisches Liederbuch, 'Spanish Songbook', Movement: Herz, verzage nicht geschwind (trans Heyse) Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer
Rudolf Buchbinder, Piano
Walter Berry, Baritone
A burst of applause greets another two superbly transferred Festival Documents, as they are earnestly called, from live Austrian Radio recordings in the archive of the Salzburg Festival. First, the 50-year-old, yet vocally ageless, Walter Berry in 1979, with the instinctive, sentient accompanying of Rudolf Buchbinder. Totally relaxed and unselfconscious, Berry draws in his audience at the start with the simplest of Mendelssohn's strophic songs, lingering and smiling through their confiding phrases. He then withdraws into the distant, intensely private world of the Harper from Goethe's Wilhelm Meister, in three of Hugo Wolf's settings. Berry gives each word perfectly judged weight and measure within Wolf's ardent melodic line.
Berry's baritone darkens and expands to fill the long sighs of nostalgic late romanticism in four of Hans Pfitzner's sombre intimations of mortality, before clicking his heels as a trim, highly strung, yet always tender soldier-boy in a group of songs from Mahler's Des Knaben Wunderhorn collection.
Nine years earlier, Hermann Prey and Wolfgang Sawallisch had focused on Pfitzner and Richard Strauss alone. The natural restraint and shadows of melancholy within Prey's baritone always found deep resonance and empathy with the sense of longing at the heart of the late-romantic Lied. He is entirely at one with the Weltschmerz of Pfitzner's austere Heinrich Heine settings; his baritone is all but etiolated at the end of the long bleak phrases so sensitively supported in the fingers of Sawallisch, and he knows just how to recreate the almost desperate energy of the livelier songs.
Pfitzner's setting of Eichendorff's poem Im Danzig must be a strong contender for the gloomiest song ever written, so it is with some relief that one moves on to Richard Strauss. Here, too, Prey reveals more sobriety than smiles in his choice of songs of night and solitude. Even in the tender Du meines Herzes Kronelein from Op 21 and in the warm and generous thanks-giving of his final encore, Zueignung, there is a palpable and often moving sense of the latent melancholy so distinctive to Prey's sophisticated artistry. Readers should be warned that these Festspieldokumente contain no song texts.'

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