On Prometheus (the first video)
It sounds so romantic when it’s read this way, I just really love the way he pronounces the ending consonants so softly. It sounded really clean the way he read, full of emotion, but not overly emoted or overly low in volume… until the end when he finishes, using “den” really harshly to signal the end of the poem.
2nd reading
This one instantly I loved more, he used the ending consonants and volume throughout. Now I understand why German sounds so angry to people. The diction really supplemented the content of the poem, really nice the way he uses “dem” and all the closed vowels. the word dunst had a really nice delayed st at the end of it. Operfsteurem was a really nice word as well, you could really hear the emphasis on the ‘steur’ part.
3rd reading.
Oh yes, I love the introduction of this piece. This sounds like a live reading as opposed to one done in the studio. From the very first he gets me with the long vowels. “übe”
Fischer-Dieskau—
All his consonants are extremely clean — dunst, gleich, köpft. Despite the volume of the song, he still manages to make the ch final consents soft in the context of the word. In his interpretation there just seems to be more dynamics, beyond that he’s helped my he music, he just seems to make more out of the words and phrases themselves.
Matthias Goerne
Saving the best for last? Between the two I still like Dieskau’s more I think. Something I really hear well in his recording is how well he rolls his r’s like in the word Bergeshöhn. On the word “Götter” it sounds a little more open then closed. Do my ears deceive me? Something that he doesn’t do is roll his r’s so much, Dorothea Röschmann seemed to roll her r’s everywhere, even when I thought there was only one flipped r’.
No comments:
Post a Comment