BaL 29.04.17 - Schumann: Liederkreis (Op.24)

[ferneyhoughgeliebte]

Stokowski, Philadelphia SO 1927

[gurnemanz]

Yes - this sums up my own usual reaction to Bostridge, and not merely on repeated hearing: the squeezed notes, the precious, affected phrasing ... the hammy "acting" that gets between me and the Music. I am with the Bostridge-allergic company, and would merely alter gurne's comment here to remove the penultimate "slightly".

But, Mark Padmore and Christopher Maltman both sounded splendid to me, and their names have gone on "the list"

Happy to withdraw "slightly".

[Stanley Stewart]

Listened with rapt attention as I recorded the Bostridge/Drake, Schumann, Liederkreis, Op 24, before sitting outdoors in the morning sunshine to 'think on' as I revisted the indispensable Songs of Robert Schumann, Eric Sams, (Faber&Faber, 1993 expanded edition which also has the merit of Gerald Moore's original Foreword), "...Schumann himself defines his music for us. 'Everything that happens in the world affects me, politics, literature, people; I think it all over in my own way, and then it has to find a way out through music...' "...In his songs (as in most songs) the meaning of the music takes precedence. Sometimes the meaning of the two are in phase, so that the expression is enhanced; sometimes they are out of phase, so that new patterns and tensions are created from the interaction of music and words. The latter is typical Schumann; original, rewarding infinitely expressive of the composer, his life and his world....".

Each poem is carefully analysed and I'm ready to listen again, part of the learning curve I acquired as a thesp, returning to my digs after a fruitful rehearsal when I would instantly clarify in my mind and firm-up what the creative juices had freshly unearthed, a new dimension discovered, ripe for development. An essential part of the peaks and troughs of rehearsal.

Re Ian Bostridge, I recall a Wigmore Hall recital where I could no longer watch his contortions and listened to him with head lowered. My rudimentary knowledge of Laban notation classified him as "bound - restricted" in intention, but, watching him in rehearsal and performance with Colin Davis - Britten's Serenade, July, 1999, Blythburgh Church in Suffolk, he seemed 'adream' - relaxed. Glad to make shelf space for his Schubert 3CD set + DVD of Winterreise, NVC Arts, along with a delightful Noel Coward miscellany on CD. May he continue to prosper.

[ardcarp]

I can't match Stanley's analysis of Bostridge, but I too listened to Liederkreis this morning, and in simple innocence, enjoyed it.

[Barbirollians]

I see I already own the winner .

[vinteuil]

Really surprised that Christian Geraher & Gerold Huber don't get a look in either in this BAL or on Alpie's list --...

... I thought Gerhaher had only done the op 39 [Eichendorff] set - not the op 24 [Heine].

[Maclintick]

... I thought Gerhaher had only done the op 39 [Eichendorff] set - not the op 24 [Heine].

Correct, Vinteuil -- I'm getting my Eichendorff & Heine mixed up. Post duly deleted, although I have to say Geraher & Huber's approach to Schumann is much more to my taste than that of the BAL choice.

[gurnemanz]

... I thought Gerhaher had only done the op 39 [Eichendorff] set - not the op 24 [Heine].

I think you're right. Not on his 13CD Art of Song box I got not long ago. (Price has gone silly). I see he's doing it at Schwarzenberg this summer (quite a programme!). He may get around to recording it.

[Barbirollians]

Bostridge is as I said on the other thread a Marmite singer - rather like Pears and Deller for example . Indeed , Callas and Ferrier even fall into that category for some .

I like his voice , I don't necessarily like everything he does with it but I think his Liederkreis is very fine .