BaL 23.04.22 - Zemlinsky: Lyric Symphony

[Barbirollians]

This is the thing - the two vocalists have to be well matched, since (unlike in Das Lied von der Erde) they're the protagonists of a single narrative, and while DFD is as good as anyone could be, Schäfer and Goerne together are something else.

In the Gramophone Collection RW thought Goerne and Schafer had few peers but commented adversely on the balance between orchestra and singers and the “ somnolent “ tempo for the fourth movement.

[RichardB]

the “ somnolent “ tempo for the fourth movement.

Unlike most of the score, the fourth movement contains very few tempo directions: "langsam" at the beginning, "etwas zurückhaltend" after a while, and later on "noch ruhiger", all of which together with the text does point in the direction of "somnolent" if you ask me!

[richardfinegold]

Unlike most of the score, the fourth movement contains very few tempo directions: "langsam" at the beginning, "etwas zurückhaltend" after a while, and later on "noch ruhiger", all of which together with the text does point in the direction of "somnolent" if you ask me!

I have the Beaumont on CD, and trot it out about every 5 years or so. I have to admit this is a work that grabs my attention at the beginning and then has me nodding off by the end.

[Bryn]

On the basis of this forthcoming BaL, I ordered a couple of "Used - Very Good" condition recordings under the baton of Michael Gielen. That with Elisabeth Söderström, Thomas Allen and the BBCSO ('live') was delivered a few minutes ago. The other, with Vlatka Orsonic, Jame Johnson and the SWFSO is due to arrive by 8 pm.



Less than £9, including p&p for the pair of them. Does anyone here know either of these? Not sure when I can make time to listen to them, yet.

[Master Jacques]

This is the thing - the two vocalists have to be well matched, since (unlike in Das Lied von der Erde) they're the protagonists of a single narrative, and while DFD is as good as anyone could be, Schäfer and Goerne together are something else.

I quite agree with you about Schäfer and Goerne, the most magical partnership on record (the work is a personal obsession of mine, and I've heard most available versions at some point or other.) The 4th movement in the Eschenbach performance has a rapt, timeless quality which is spellbinding. It sounds as if Richard Whitehouse didn't quite get the point, here.

It's interesting that you talk about a "single narrative", because Zemlinsky cleverly chose disparate Tagore poems to suggest one, although in fact the six songs don't literally fit together as a narrative sequence. They do, though, make a supreme emotional sequence, following the progress and extinction of sexual love.

[RichardB]

It's interesting that you talk about a "single narrative", because Zemlinsky cleverly chose disparate Tagore poems to suggest one, although in fact the six songs don't literally fit together as a narrative sequence.

What I meant was that Zemlinsky fits them together into a narrative sequence, not just by choosing and ordering the poems in the way he does, but also by the way the music is structured.

[Master Jacques]

What I meant was that Zemlinsky fits them together into a narrative sequence, not just by choosing and ordering the poems in the way he does, but also by the way the music is structured.

You're right to point to the musical narrative, which does - as the title might lead us to expect - provide a truly symphonic logical progression, to mirror the emotional journey of six very disparate texts. What a fabulously well-wrought work it is!

For what it's worth, my 'must-have' list contains Beaumont (especially for the rugged wisdom of Grundheber, greatest of Wozzecks), Conlon (for rich sonics and Isokowski's opulent beauty) as well as Eschenbach - a clear first with me, given the best-matched vocal couple around, in Goerne's piercing intelligence and Schäfer's heart-rending fragility. Eschenbach best captures the music's operatic, as well as its symphonic, dimension. It's a staging for the mind.

[RichardB]

You're right to point to the musical narrative, which does - as the title might lead us to expect - provide a truly symphonic logical progression, to mirror the emotional journey of six very disparate texts. What a fabulously well-wrought work it is!

For what it's worth, my 'must-have' list contains Beaumont (especially for the rugged wisdom of Grundheber, greatest of Wozzecks), Conlon (for rich sonics and Isokowski's opulent beauty) as well as Eschenbach - a clear first with me, given the best-matched vocal couple around, in Goerne's piercing intelligence and Schäfer's heart-rending fragility. Eschenbach best captures the music's operatic, as well as its symphonic, dimension. It's a staging for the mind.

Very well put. I liked the Beaumont recording but I haven't yet heard Conlon, which omission I shall be putting right in the coming days.

[BBMmk2]

Very well put. I liked the Beaumont recording but I haven't yet heard Conlon, which omission I shall be putting right in the coming days.

I didn’t know that!

[RichardB]

I haven't yet heard Conlon, which omission I shall be putting right in the coming days.

Bo Skovhus doesn't do much for me I'm afraid, I find his approach too operatic and not sufficiently liedermässig, although as MJ says Soile Isokoski is superb.

[BBMmk2]

Bo Skovhus doesn't do much for me I'm afraid, I find his approach too operatic and not sufficiently liedermässig, although as MJ says Soile Isokoski is superb.

Do you know Chailly’s recording? If so what’s your opinion, please?

[Joseph K]

Do you know Chailly’s recording? If so what’s your opinion, please?

See #8.

[Goon525]

I’m guessing that there won’t be the customary arguments with Levi’s choice this time - seems a popular one around here.

[Bryn]

I’m guessing that there won’t be the customary arguments with Levi’s choice this time - seems a popular one around here.

Indeed, though I was a little disappointed that Gielen was only represented by his studio recording and not by either of the 'live' performances (both still available, either "new" or "used").

[mahlerfan]

Indeed, though I was a little disappointed that Gielen was only represented by his studio recording and not by either of the 'live' performances (both still available, either "new" or "used").

Agreed, but I did find the Johanna Winkel, Michael Nagy, Polish National Radio Symphony Orchestra, Alexander Liebreich excerpts very engaging........