Dietrich Fischer-Dieskau: The Soloist

 Fischer-Dieskau

 

Comments and Opinions 
Works Performed (A Selection) 
Premieres

 

the young Fischer-Dieskau In addition to his activities in art song and opera, Dietrich Fischer-Dieskau devoted a considerable amount of his time to singing solo parts in oratorios and similar vocal works. This was true from the beginning of his career, when he sang in performances of Brahms' "A German Requiem," Bach's "Saint Matthew Passion," and recorded the bass parts of many Bach Cantatas for RIAS Berlin. In addition to works of the baroque and classical eras (Bach, Buxtehude, Schuetz, Handel, Haydn, Mozart, Beethoven, Schubert), he also sang oratorios of the Romantic period, such as Mendelssohn's "Elijah" and "St.Paul," and Schumann's "Scenes from Goethe's Faust."

Fischer-Dieskau and Aribert Reimann In 20th century music, he sang solo parts in works by Mahler, Schoenberg, Hindemith, and Stravinsky, as well as contemporary works by Henze, von Einem, Britten, Tippett, and Reimann. Brahms' "German Requiem" was part of his active repertory from the very beginning of his career (Badenweiler 1947) to the very end (Tokyo 1992), and he continues to be the baritone soloist against whom all others are compared. 

Fischer-Dieskau

Fischer-Dieskau

Here, as in many other areas of his career, Fischer-Dieskau participated in first performances or first recordings of many new or forgotten works, for which he helped to gain the attention of professionals and audiences alike. Benjamin Britten wrote to Fischer-Dieskau to ask him to assume the baritone part in his "War Requiem," a work that the singer performed many times during the remainder of his career, under many different conductors. Shortly thereafter, Fischer-Dieskau also sang under the direction of Benjamin Britten in concert performances and a recording of Schumann's "Scenes from Goethe's Faust," a long-neglected work. In contrast, Mahler's "Das Lied von der Erde" had been performed and recorded often before Fischer-Dieskau made his first recording in 1961, under the direction of Paul Kletzki (EMI). Here, the novelty was having a baritone sing the low-voice solos, a virtually unheard of proposition, even though Mahler expressly specified that the work was for tenor and baritone or mezzo soprano. At the time, the idea of having the solos in "Das Lied" sung by two male singers was greeted with skepticism, but for many Fischer-Dieskau's interpretation was convincing enough that an exception was made for him, if for no other baritone. Today, however, a young generation of baritones (Thomas Hampson, Roman Trekel, Thomas Quasthoff, Bo Skovhus) are following in Fischer-Dieskau's footsteps, singing in both live and recorded performances of "Das Lied von der Erde."

 

 

Comments and Opinions

"Bach's fusion of the spiritual and the sensual is probably unique in the history of music. Naturally, you have to distinguish among the most various realms of expression. The concerto-like, instrumental Bach requires flexibility and elasticity, the Bach of the great vocal line permits bel-canto sweetness, the narrative-instructing Bach must be sung with the appropriate distance but never with indifference." (Dietrich Fischer-Dieskau, Interview)

Fischer-Dieskau

"But then there was the sound of Ben's music [the War Requiem], in which I was to sing one of the two soldiers. The male solos were contrasted to the liturgy (soprano and chorus). The work seemed to breathe great seriousness and was bursting with new melodic ideas. Various stylistic influences were evident. I heard Auerbach, the photographer who was snapping away during the rehearsals, jeer, "I thought we'd already had Orff's Carmina." And the most fortissimo passages reminded me of William Walton's excesses of this kind. But the work as a whole was imbued with Britten's highly personal expression; it was remarkable how often he managed to engage the emotions and occupy the mind at the same time." (Dietrich Fischer-Dieskau, Reverberations)

 

Fischer-Dieskau in rehearsal  "While not every aspect of his two recordings [of Mahler's "Das Lied von der Erde"] makes a convincing case for the substitution [of baritone for mezzo soprano] -- there are a few phrases, especially in "Der Einsame im Herbst" where the lower tessitura tends to mask important instrumental detail and the vocal line is not picked out in sharp enough relief-- much of his singing is a revelation, uncovering elements of all three songs that only one mezzo or contralto (Brigitte Fassbänder on Giulini's otherwise unexceptional performance) comes near to matching. Some may find his approach too knowing, his treatment of words mannered, but he brings the poems to dramatic life in an unprecedented way. No one else in my experience gets the crucial change of mood in "Der Einsame", at the beginning of the third stanza, exactly right: the phrase "Mein Herz ist müde" is inflected with all the monochrome weariness towards which the first half of the song has inevitably been leading; no one else (again apart from Fassbänder) manages to point out the contrast in the central section of "Von der Schönheit" with such clarity and vigour. In "Der Abschied" the climactic high G's may sound a little strained (one can imagine all too easily how a less exceptional baritone would struggle there) but the conception of the movement as a whole is flawless, the sense of a sharply conveyed narrative from "Es wehet kühl" onwards marvelously conveyed." (Andrew Clements, Song on Record, Vol.1)

 

"The Brahms Requiem has . . . been a regular feature in Fischer-Dieskau's repertoire, and he has sung the work under all the great conductors. I shall never forget the performance with Bruno Walter at the 1953 Edinburgh Festival, and the reader might remember that he chose this work-- along with Bach's Kreuzstabkantate-- for his USA debut in Concinnati on 15 April 1955. In 1972 he went on to take part in a much-lauded performance at the Berliner Festwochen on 23 and 24 September (with Gundula Janowitz and the Berlin Philharmonic Orchestra under Herbert von Karajan) and in Tel Aviv 1976. After performing the work at the 1978 Edinburgh Festival (under Carlo Maria Giulini) on 25 and 26 August, he included it in his 1980 American tour, singing in Detroit (on 26 April), New York (16 May) and Washington (17 May), under the baton of Antal Dorati. It is clearly one of his favorite works." (Kenneth Whitton, Dietrich Fischer-Dieskau: Mastersinger)

Fischer-Dieskau and Diether Warneck
travalling with his former secretary Diether Warneck

"In 1986, he sang Karl Amadeus Hartmann's Gesangsszene (1963), which he himself had premiered in Frankfurt in 1964. Instead of the "still the same" type of comment, the critic Karl Schumann employed the more elegant "now as before" (Süddeutsche Zeitung 5 Feb 1986):

 Just as then, here is that thundering and whispering interpreter, climbing up into tenorial heights and conjuring these as well as the operatic aspects of this vision of doom. In the great sweeps in the recitatives, hardly ever, or at times, not accompanied, and in the spoken words of the finale ("Es ist ein Ende der Welt! Das traurigste von allen"), he maintains a simply breath-taking tension, and, where Hartmann's passionate music demands it, he offers the extreme in espressivo.

(Hans A. Neunzig, Dietrich Fischer-Dieskau: A Biography)

Fischer-Dieskau with Wolfgang Sawallisch

Works Performed (A Selection)

Bach, Cantatas  Faure, Requiem  Mahler, Eighth Symphony  Penderecki, Magnificat 
Bach, St. Matthew Passion  Handel, Apollo e Dafne  Martin, Jedermann-Monologe  Rossini, Petite Messe Solennelle 
Bach, Christmas Oratorio  Haydn, The Creation  Martin, Golgotha  Schubert, Lazarus
Bach, St. John Passion  Haydn, The Seasons  Mendelssohn, Elijah  Schumann, Scenes from "Faust"
Bartok, Cantata Profana  Hindemith, Das Unaufhörliche  Mendelssohn, St. Paul  Shostakovich, 14th Symphony 
Beethoven, Ninth Symphony  Hindemith, Requiem (Walt Whitman)  Mozart, Requiem  Shostakovich, Michelangelo-Suite 
Brahms, A German Requiem  Mahler, Das Lied von der Erde  Orff, Carmina Burana   Zemlinsky, Lyric Symphony

Fischer-Dieskau with Daniel Barenboim


Dietrich Fischer-Dieskau: Uraufführungen • Premières

Barber, Samuel (1910-1981): Three Songs, op. 45 for voice and piano
1974-04-30 New York. DFD, Charles Wadsworth (piano).
Now Have I Fed and Eaten Up the Rose, op.45,1 A Green Lowland of Pianos, op. 45,2
O Boundless, Boundless Evening, op. 45,3  
  Words (En): Gottfried Keller, trans. James Joyce;
Jerzy Harasymowicz, trans. Czeslav Milosz;
Georg Heym, trans. Christopher Middleton  
Commissioned by The Chamber Music Society o f Lincoln Center

Blacher, Boris (1903-1975): Drei Psalmen (Three Psalms) for baritone and piano
1962-10-04 Berlin. DFD, Aribert Reimann (piano).
Psalm 121 Ich hebe meine Augen auf Psalm 141 Herr, ich rufe zu dir
Psalm 142 Ich schreie zum Herrn

Britten, Benjamin (1913-1976): Cantata misericordium, op. 69
1963-09-01 Genf. Pears, Peter (T), DFD, Orchestre de la Suisse Romande, Choeur "Le Motet de Genève", Ernest Ansermet (conductor). Latin Text by Patrick Wilkonson. A commission from the Red Cross in honour of their centenary in 1963.

Britten, Benjamin (1913-1976): Songs and Proverbs of William Blake, op. 74 for baritone and piano
1965-06-24 Aldeburgh. DFD, Benjamin Britten (piano).
Proverb I
London
Proverb II
The Chimney-sweeper
Proverb III
A Poison Tree
Proverb IV
The Tyger
Proverb V
The Fly
Proverb VI
Ah, Sun-flower
Proverb VII
Every Night and every Morn
From the 'Songs of Experience', the 'Auguries of
Innocence', and the 'Proverbs of Hell' selected by Peter Pears (En). "For Dieter: the past and the future." First German performance 1986-09-21 Berlin (Aribert Reimann (piano))



Britten, Benjamin (1913-1976): War Requiem, op. 66
1962-05-30 Coventry. Harper, Heather (S), Pears, Peter (T), DFD, Melos Ensemble, Coventry Festival Choir, City of Birmingham Orchestra, Davies / Britten (conductors). Words from the Missa pro Defunctis and the poems of Wilfred Owen (En/Lat). "In loving memory of Roger Burney, Sub-Lieutenant, Pièrs Dunkerley, Captain, David Gill, Ordinary Seaman, Michael Halliday, Lieutenant"

Dallapiccola, Luigi (1904-1975): Preghiere for baritone and chamber orchestra
1965-03-19 Köln. DFD, Kölner Rundfunksinfonieorchester, Christoph von Dohnányi (conductor). Texts by Murilo Mendes.

Döhl, Friedhelm (geb. 1936): "...wenn aber..." 9 Fragmente
1970-11-21 Berlin . DFD, Aribert Reimann (piano).
Tende Strömfeld (Fantasia I)
Süß ist's (Canto I)
Dem dunklen Blatte (Ornamento I)
Zu Rossen (Rondo I)
Heimat / "Schlechthin..."
Lied des Schweden (Rondo II)
An (Canto II)
Sybille (Fantasia II)
An meine Schwester (Ornamento II)
Words by Friedrich Hölderlin

Einem, Gottfried von (1918-1996): An die Nachgeborenen, op. 42. Kantate für Mezzosopran, Bariton, gemischten Chor und Orchester. 1975-10-24 New York. Hamari, Julia (M), DFD, Temple University Concert Choir, Wiener Symphoniker, Carlo Maria Giulini (conductor).
I. Psalm 90
II. Sophocles - Hölderlin
III. Hölderlin
IV. Bertolt Brecht
V. Hölderlin
VI. Sophocles - Buschor
VII. Psalm 121
(To Posterity) (A La Postérité) "dedicated to Lotti and Friedrich Dürrenmatt". Composed in 1972/1973. Commissioned by the
Secretary-General of the United Nations, Kurt Waldheim, for the 30th anniversary of the founding of the UN.


Einem, Gottfried von (1918-1996): Leb wohl, Frau Welt, op. 43
1977-03 Berlin. DFD, Karl Engel (piano).
Im Nebel
Vorfrühling
Der Brief
Wache Nacht
Traurigkeit
Nacht
Leb wohl, Frau Welt
Poems by Hermann Hesse. Recorded for Deutsche Grammophon (2530 877). No public performance by Dietrich Fischer-Dieskau.

Einem, Gottfried von (1918-1996): Rosa Mystica, op. 40 for solo voice and orchestra
1973-06-04 Wien. DFD, Wiener Philharmoniker, Karl Böhm (conductor). Words by H.C. Artmann (G).Eight songs for medium voice and orchestra.

Fortner, Wolfgang (1907-1987): Der Wald
1953-06-24 Frankfurt. Danco, Suzanne (S), Haefliger, Ernst (T), DFD, Sinfonieorchester des Hessischen Rundfunks, Ernest Bour (conductor), directed by Gert Westphal. Words (G): Frederico Garcia Lorca, trans. Enrique Beck (really Heinrich Beck).
In 1957 Fortner adds 'Der Wald' as 6th scene to his opera "Bluthochzeit".

Fortner, Wolfgang (1907-1987): Terzinen
1970-10-05 Berlin. DFD, Aribert Reimann (piano).
Über Vergänglichkeit
Die Stunden!
Wir sind aus solchem Zeug
Zuweilen kommen niegeliebte Frauen
Words by Hugo v. Hofmannsthal


Fortner, Wolfgang (1907-1987): The Creation für eine mittlere Singstimme und Orchester
1955 Basel. DFD, Paul Sacher (conductor). By James Weldon Johnson. Translation into German by Eva Hesse. "Paul Sacher gewidmet"

Hamel, Peter Michael (geb. 1947): Passion
1997-02-13 München. Husmann, Maria (S), Kösters, Johannes M. (Bar), DFD (Sprechgesang), via-nova-Chor München, Jugendchor Landsberg, Bayerische Kammerphilharmonie, Michael Helmrath (conductor). Words by Walter Flemmer. "In memoriam Gerda (1906-1995) und Günter (1907-1995) Bialas".


Hartig, Heinz Friedrich (1907-1969): Wohin op. 41. Oratorium.
1965-05-09 Berlin . Bernard, Annabelle (S), Feldhoff, Gerd (B), RIAS Kammerchor, Chor der Hochschule für Musik Berlin, Radiosymphonieorchester Berlin, Ronnefeld, Peter (conductor).

Hartmann, Karl Amadeus (1905-1963): Gesangsszene für Bariton und Orchester
1964-11-12 Frankfurt. DFD, Sinfonieorchester des Hessischen Rundfunks, Dean Dixon (conductor). Text from "Sodom und Gomorrha" by Jean Giraudoux based on the German Translation by W.M. Treislinger und Gerda von Uslar. "Hans Moldenhauer zugeeignet". Commissioned by Hessischer Rundfunk.


Henze, Hans Werner (geb. 1926): Das Floss der Medusa (The Raft of the Medusa). Oratorio volgare e militare, in due parti.
1968-12 Hamburg. Edda Moser (La Mort), DFD (Jean-Charles), Charles Regnier (Sprecher), Chor des Norddeutschen Rundfunks, RIAS-Kammerchor, Mitglieder des Hamburger Knabenchors St. Nikolai, Sinfonieorchester des Norddeutschen Rundfunks, Hans Werner Henze (conductor). Words by Ernst Schnabel. All the Italian passages are taken from Dante's "Commedia", as are certain concepts in the German text. On the evening of 9 December 1968 a large and distinguished company of musicians assembled in Hamburg for the first performance of the new oratorio. The work had already been recorded during the previous few days. But before the public première could get under way there was an unhappy incident which led, by a process of escalation fairly typical of that turbulent year, to the cancellation of the performance.

Henze, Hans Werner (geb. 1926): Ein Landarzt (Solofassung)
1965-10-12 Berlin . DFD, Berliner Philharmonisches Orchester, Hans Werner Henze (conductor). Based on a novel by Franz Kafka.

Henze, Hans Werner (geb. 1926): Elegie für junge Liebende (Elegy for Young Lovers). Opera in three acts. Role of Gregor Mittenhofer.
1961-05-20 Schwetzingen.Bayerisches Staatsorchester, Heinrich Bender (conductor).
Kohn, Karl-Christian (Dr. Reischmann) Lenz, Friedrich (Toni)
Bremert, Ingeborg (Elisabeth Zimmer) Benningsen, Lilian (Carolina) Rogner, Eva Maria (Hilde Mack)
Libretto W.H. Auden & Chester Kallmann. German version by Ludwig Landgraf with the collaboration of Werner Schachteli & Hans Werner Henze. Commissioned by Süddeutscher Rundfunk for the "Schwetzinger Festpspiele".

Henze, Hans Werner (geb. 1926): Fünf neapolitanische Lieder (Five Neapolitan Songs) for baritone and chamber orchestra
1956-05-26 Frankfurt. DFD, Sinfonieorchester des Hessischen Rundfunks, Otto Matzerath (conductor).
Aggio saputo ca la morte vene
A l'acqua de li ffuntanelle
Amaie 'na nenne pe' tridece mise
Amaie 'nu ninno cu' sudore e stiente
On anonymous 17th-century texts. "für Ingeborg Bachmann". Commissioned by Hessischer Rundfunk. 'Tage für neue Musik 1956'

Henze, Hans Werner (geb. 1926): Novae de Infinito Laudes
1963-04-24 Venice. Söderström, Elisabeth (S), Meyer, Kerstin (A), Pears, Peter (T), DFD, Kölner Rundfunkchor, Kölner Rundfunksinfonieorchester , Hans Werner Henze (conductor). First German performance with the same cast at Köln on 1963, April 26th.


Krenek, Ernst (1900-1991): Spätlese 1973 (Late Harvest) Song cycle in six parts for Baritone and Piano.
1974-07-22 München. DFD, Ernst Krenek (piano).
So spät
Spätlese, noch am Stock
Ein später Gast
Im Gefälle der Zeit
Zu Boden gedrückt von schleichendem Unmut
Dort, wo in leichter Kurve
Words by Ernst Krenek.


Krenek, Ernst (1900-1991): The Dissembler (Der Versteller). Monolog for Baritone and Chamber Orchester
1980-09-28 Berlin. DFD, Solisten des Berliner Philharmonischen Orchesters, Lothar Zagrosek (conductor). Words by Ernst Krenek (English, with citations from other languages) First European performance.


Lothar, Mark (1902-1985): Musik des Einsamen, op. 67.Ein Liederzyklus für Gesang und 7 Instrumente
1967 München.
Flötenspiel
Gavotte
Eine Geige in den Gärten
Einst vor tausend Jahren
Lampions in der Sommernacht
Nachts im April notiert
Einsame Nacht
Words by Hermann Hesse. "Frau Ninon Hesse zum 18. September 1965 in Verehrung und Dankbarkeit gewidmet."


Lutoslawski, Witold (1913-1994): Les Espaces du Sommeil
1978-04-12 Berlin. DFD, Berliner Philharmonisches Orchester, Witold Lutoslawski (conductor). Poem by Robert Desnos (Fr). Dedicated to Dietrich Fischer-Dieskau.


Matthus, Siegfried (geb. 1934): Holofernes. Portrait for baritone and orchestra.
1981-11-25 Leipzig. DFD, Gewandhausorchester Leipzig, Kurt Masur (conductor).
Es gibt eine Kunst
Nebukadnezar gebietet
O diese Judith
Eins möchte ich wissen
Den Holofernes töten
Based on words by Friedrich Hebbel (G). Gala concert to mark the Gewandhaus bicentenary, 25 Nov.1981.

Matthus, Siegfried (geb. 1934): Nachtlieder for baritone, string quartet and harp.
1988-09-12 Berlin . DFD, Lipman, Sebastian (harp), Brandis Quartett.
Und die Erde war wüst und leer
O schwarze Nacht
Muß immer der Morgen wiederkommen?
Hier sind wir arme Narrn
Wenns mitternächtigt
Der Tod, das ist die kühle Nacht
Words by Joh. Gottf. Herder, Novalis, Christian
Morgenstern, Heinrich Heine, Abraham a Santa Clara, anonymus 18th century texts, Bible: Mose, Johannis, etc.


Reimann, Aribert (geb. 1936): Ein Totentanz. Suite für Bariton und Kammerorchester
1961-09-29 Berlin. DFD, Berliner Philharmonisches Orchester, Werner Egk (conductor).


Reimann, Aribert (geb. 1936): Fragmente aus "Lear" for baritone and orchestra
1980-09-14 Berlin . DFD, Rundfunksinfonieorchester Berlin, Gerd Albrecht (conductor). Libretto by Claus H. Henneberg, after Shakespeare's tragedy King Lear. First German performance. UA in Zürich.


Reimann, Aribert (geb. 1936): Fünf Gedichte von Paul Celan
1962-10-04 Berlin. DFD, Aribert Reimann (piano).
Blume
Auge der Zeit
Tenebrae
Heute und Morgen
Ein Lied in der Wüste


Reimann, Aribert (geb. 1936): Lear. Opera in two parts adapted from Shakespeare's tragedy by Claus H. Henneberg.
1978-07-09 München. Bayerische Staatsoper, Gerd Albrecht (conductor).
DFD (title role)
Varady, Julia (Cordelia)
Dernesch, Helga (Goneril)
Lorand, Colette (Regan)
Nöcker, Hans-G. (Gloster)
Knutson, David (Edgar)
Götz, Werner (Edmund)
Wilbrink, Hans (Albany)
Paskuda, Georg (Cornwall)
Helm, Karl (Frankreich)
Holm, Richard (Kent)
Boysen, Rolf (Narr)

Reimann, Aribert (geb. 1936): Nunc dimittis (Canticum Simeonis) for baritone, mixed chorus and bassflute
1984-09-30 Berlin . DFD, Sebon, Karl-Berhard (Baßflöte), RIAS-Kammerchor, Uwe Gronostay (conductor). Text from St Luke's Gospel 2, 29-32 and Martin Luther.

Reimann, Aribert (geb. 1936): Requiem
1982-06-26 Kiel. Varady, Julia (S), Dernesch, Helga (M), DFD, Orchester der Bühnen der Landeshauptstadt Kiel, Walter Gillessen (conductor). Latin Requiem text and verses from Job. Written for the 100th anniversary of the Kiel Regatta.


Reimann, Aribert (geb. 1936): Shine and Dark for baritone and piano (left hand)
1991-05-31 Zürich. DFD, Aribert Reimann (piano).
And I have sat...
Yea, for this love of mine
Of thy dark life...
"Requiem eternam dona ei, Domine"
I intone the high anthem
Wind thine armes round me
Let us fling to the winds
Text by James Joyce. CD recording 1989 September.


Reimann, Aribert (geb. 1936): Tre Poemi di Michelangelo for baritone and piano (1985)
1986-09-21 Berlin . DFD, Aribert Reimann (piano).
Sol io ardendo
Che fie di me?
L'alma inquieta e confusa


Reimann, Aribert (geb. 1936): Wolkenloses Christfest for baritone, cello and orchestra
1974-06-02 Landau. DFD, Palm, Siegfried (cello), Symponieorchester des Saarländischen Rundfunks, Hans Zender (conductor). Based on poems by Otfried Büthe.

Reimann, Aribert (geb. 1936): Zyklus for baritone and orchestra
1971-05-15 Nürnberg. DFD, Philharmonisches Orchester der Stadt Nürnberg, Hans Gierster (conductor). Words by Paul Celan.


Reutter, Hermann (1900-1985): Die Brücke von San Luis Rey. Opera.
1954-06-20 Frankfurt. Chor und Symphonieorchester des hessischen Rundfunks, Gustav König (conductor).
DFD (Esteban)
Fehenberger, Lorenz (Juniper)
Wolff, Henny (Marchesa)
Trötschel, Elfriede (Perichole)
Junker-Giessen, Ellinor (Pepita)
Holm, Richard (Manuel)
Neidlinger, Gustav (Alvarado)
Fischer, Lore (Madre Maria)
Krebs, Helmut (Onkel Pio)
Held, Martin (Sprecher)
Adapted from Thornton Wilder's novel by Gerhard Reutter. "Woche für Neue Musik des hr".

Reutter, Hermann (1900-1985): Drei Monologe des Empedokles
1980-04-18 Berlin. DFD, Aribert Reimann (piano). Words by Friedrich Hölderlin.
In meine Stille kamst du
Euch ruf' ich über das Gefild' herein
Ha! Jupiter, Befreier!

Reutter, Hermann (1900-1985): Weihnachtskantilene
1952 . DFD. Text by Matthias Claudius.

Rihm, Wolfgang (geb. 1952): "umsungen"
1984-09-12 Berlin. DFD, Philharmonisches Oktett Berlin, Arturo Tamayo (conductor). Based on words by Friedrich Nietzsche.Commissioned by "Berliner Festwochen".


Ruzicka, Peter (geb. 1948): "...der die Gesänge zerschlug". Stele für Paul Celan.
1985-09-03 Berlin . DFD, Ensemble Modern, Ernest Bour (conductor). Text Paul Celan. Commissioned by "Berliner Festwochen".

Ruzicka, Peter (geb. 1948): "...sich verlierend...". 4. Streichquartett.
1997-10-14 Köln. DFD, Arditti String Quartet. Words by Paul Valéry, Peter Handke, Hugo v. Hofmannsthal, Theodor W. Adorno, Dieter Schnebel, Paul Celan, Ingeborg Bachmann, Cesare Pavese, Ludwig Wittgenstein.

Schnabel, Artur (1882-1951): Notturno (So müd hin schwand es in der Nacht)
1984-09-18 Berlin . DFD, Aribert Reimann (piano). Words by Richard Dehmel.


Schwarz-Schilling, Reinhard (1904-1985): Die Botschaft
1982-10-24 Berlin . Gjevang, Anne (M), DFD, Chor der St. Hedwigs-Kathedrale Berlin, Slowakische Staatsphilharmonie Kosice, Roland Bader (conductor). Based on words from the Old and New Testament, Roman Liturgy and by a Flemish poet from the thirteeth century.


Strawinsky, Igor (1882-1971): Abraham und Isaac. A sacred Ballad for baritone and chamber orchestra.
1964-09-22 Berlin. DFD, Berliner Philharmonisches Orchester, Robert Craft (conductor). Based on the original text from the Old Testament. Dedicated to the people of the State of Israel. First European performance.


Tippett, Michael (1905-1998): The Visions of Saint Augustine
1966-01-19 London. DFD, BBC Chorus, London, BBC Symphony Orchestra, Michael Tippett (conductor). Words by Michael Tippett after Augustine. First German performance 1966, October 5 in Berlin, conducter M. Tippett.

Wolf, Hugo / Strawinsky Igor: Zwei geistliche Lieder aus dem Spanischen Liederbuch
1969-10-02 Berlin . DFD, Radiosymphonieorchester Berlin, Robert Craft (conductor). First European performance.


Yun, Isang (1917-1995): Symphony V für grosses Orchester mit Bariton solo
1987-09-17 Berlin. DFD, Berliner Philharmonisches Orchester, Hans Zender (conductor). Based on words by Nelly Sachs. Commissioned for the 750th anniversary of Berlin.

Zehm, Friedrich (geb. 1923): 6 Gesänge nach Georg Trakl.
1948 Berlin. DFD, Mälzer, Martin (piano).



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herausgegeben von: © Monika Wolf, 1999-2017

 

translations and compilations: © Celia A. Sgroi, January 2004