Track Listings

Disc: 1

1	Widmung, Op.25, No.1
2	Lasst Mich Nur Auf Meinem Sattel Gelten!
3	Der Nussbaum, Op.25, No.3
4	Aus Dem Schenkenbuch Im Divan I, Op.25, No.5
5	Aus Dem Schenkenbuch Im Divan II, Op.25, No.6
6	"Die Lotosblume", Op.25, No.7
7	Gottes Ist Der Orient
8	Mein Herz Ist Im Hochland
9	Mein Herz Ist Schwer, Op.25, No.15
10	Es Fluestert's Der Himmel, Es Murrt Es Die Hoelle
11	Venetianisches Lied I, Op.25, No.17
12	Venetianisches Lied II, Op.25, No.18
13	Hoch Zu Pferd
14	"Was Wil Die Einsame Träne", Op.25, No.21
15	Ich Hab Mein Weib Allein
16	"Du Bist Wie Eine Blume", Op.25, No.24
17	Ich Sende Einen Gruss Wie Duft Der Rosen
18	Zum Schluss, Op.25, No.26
19	1. "Sag An, O Lieber Vogel Mein"
20	2. "Dem Roten Rã¶Slein Gleicht Mein Lieb"
21	3. "Was Soll Ich Sagen?"
22	4. "Jasminenstrauch"
23	5. "Nur Ein Lächelnder Blick"
24	Der Knabe Mit Dem Wunderhorn
25	Der Page
26	Der Hidalgo
27	Mit Der Myrte Geschmueckt
28	Die Rote Hanne, Op.31, No.3

Disc: 2

1	"Sonntags Am Rhein"
2	"Stã¤Ndchen"
3	"Nichts Schã¶Neres"
4	"An Den Sonnenschein"
5	"Dichters Genesung"
6	"Liebesbotschaft"
7	1. "Der Himmel Hat Eine Trã¤Ne Geweint"
8	5. "Ich Hab' in Mich Gesogen"
9	8. "Flã1/4Gel! Flã1/4Gel! Um Zu Fliegen"
10	9. "Rose, Meer Und Sonne"
11	In Der Fremde
12	Intermezzo
13	Waldesgesprã¤Ch
14	Die Stille
15	Mondnacht
16	Schã¶Ne Fremde
17	Auf Einer Burg
18	In Der Fremde ("Ich HÃ¶R Die Bachlein Rauschen")
19	Wehmut
20	Zwielicht
21	Im Walde
22	Frã1/4Hlingsnacht
23	Der Himmel Woelbt Sich
24	Muttertraum, Op.40, No.2
25	Es Geht Bei Gedaempfter Trommeln Klang
26	Im Staedtchen Gibt Es Des Jubels Viel
27	Da Nachts Wir Uns Kuessten
28	Wenn Alle Waelder Schliefen
29	Frühlingsfahrt Op.45, N.2
30	Der Frohe Wandersmann Op.77, No.1

Disc: 3

1	Morgens Steh' Ich Auf Und Frage
2	Es Treibt Mich Hin, Es Treibt Mich Her
3	Ich Wandelte Unter Den Bã¤Ume
4	Lieb' Liebchen, Leg's Hã¤Ndchen Auf Herze Mein
5	Schã¶Ne Wiege Meiner Leiden
6	Warte, Warte Wilder Schiffmann
7	Berg' Und Burgen Schaun Herunter
8	Anfangs Wollt' Ich Fast Verzagen
9	Mit Myrten Und Rosen, Lieblich Und Hold
10	Lust Der Sturmnacht
11	Stirb, Lieb' Und Freud'!
12	Wanderlied
13	Erstes GRÃ1/4N
14	Sehnsucht Nach Der Waldgegend
15	Auf Das Trinkglas Eines Verstorbenen Freundes
16	Wanderung
17	Stille Liebe
18	Frage
19	Stille Trã¤Nen
20	Wer Machte Dich So Krank?
21	Alte Laute
22	Abends Am Strand Op.45, No.3

Disc: 4

1	Im Wunderschã¶Nen Monat Mai
2	Aus Meinen Trã¤Nen Sprieãÿen
3	Die Rose, Die Lilie, Die Taube, Die Sonne
4	Wenn Ich in Deine Augen Seh'
5	Ich Will Meine Seele Tauchen
6	Im Rhein, Im Heiligen Strome
7	Ich Grolle Nicht
8	Und Wã1/4Ãÿten's Die Blumen, Die Kleinen
9	Das Ist Ein Flã¶Ten Und Geigen
10	HÃ¶R' Ich Das Liedchen Klingen
11	Ein Jã1/4Ngling Liebt Ein Mã¤Dchen
12	Am Leuchtenden Sommermorgen
13	Ich Hab' Im Traum Geweinet
14	Allnã¤Chtlich Im Traume Seh' Ich Dich
15	Aus Alten Mã¤Rchen Winkt Es
16	Die Alten, Bã¶Sen Lieder
17	"Die Beiden Grenadiere" Op.49, No.1
18	Die Feindlichen Brã1/4Der Op.49, No.2
19	4. Auf Dem Rhein (K.H. Immermann)
20	1. "Blondels Lied"
21	2. "Loreley"
22	3. "Der Arme Peter - I. Der Hans Und Die Grete Tanzen"
23	3. "Der Arme Peter - II. in Meiner Brust, Da Sitzt Ein Weh"
24	3. "Der Arme Peter - III. Der Arme Peter Wankt Vorbei"
25	Belsatzar, Op.57
26	1. Entflieh Mit Mir Und Sei Mein Weib
27	2. Es Flel Ein Reif in Der Frã1/4Hlingsnacht
28	6. Melancholie
29	7. Gestã¤Ndnis
30	10. Der Kontrabandiste
31	Auftrã¤Ge, Op.77, No.5

Disc: 5

1	7A. Zigeunerliedchen NR. 1
2	7B. Zigeunerliedchen NR. 2
3	13. Marienwã1/4Rmchen
4	17. "Die Wandelnde Glocke"
5	22. Des Sennen Abschied
6	23. Er Ist's
7	26. Schneeglã¶Ckchen
8	27. Lied Lynceus Des Tã1/4Rmers
9	1. "Resignation"
10	3. "Der Einsiedler"
11	Der Handschuh Op.87
12	1. "Es Stã1/4Rmet Am Abendhimmel"
13	2. "Heimliches Verschwinden"
14	3. "Herbstlied"
15	4. "Abschied Vom Walde"
16	5. "Ins Freie"
17	Lied Eines Schmiedes
18	Meine Rose
19	Kommen Und Scheiden
20	Die Sennin
21	Einsamkeit
22	Der Schwere Abend
23	Requiem (Op.90 App.)
24	2. "An Den Mond"
25	1. Nachtlied
26	2. Schneeglã¶Ckchen
27	3. Ihre Stimme
28	2. Ballade Des Harfners
29	4. Wer Nie Sein Brot Mit Trã¤Nen Ass
30	6. Wer Sich Der Einsamkeit Ergibt
31	8. An Die Tã1/4Ren Will Ich Schleichen

Disc: 6

1	4. Mein Schã¶Ner Stern!
2	3. "Der Gã¤Rtner"
3	6. "Abendlied"
4	1. "Der Husar, Trara!"
5	2. "Der Leidige Frieden"
6	3. "Den Grã1/4Nen Zeigern"
7	4. "Da Liegt Der Feinde Gestreckte Schar"
8	2. "Warnung"
9	1. "Die Meerfee"
10	3. "Jung Volkers Lied"
11	2. "Husarenabzug"
12	Dein Angesicht, So Lieb Und Schoen
13	"Es Leuchtet Die Liebe" Op.127, No.3
14	2. "Tief Im Herzen Trag Ich Pein"
15	3. "O Wie Lieblich Ist Das Mã¤Dchen"
16	5. "Romanze"
17	7. "Weh, Wie Zornig Ist Das Mã¤Dchen"
18	Provencalisches Lied Op.139, No.4
19	1. "Trost Im Gesang"
20	2. "Lehn Deine Wang'"
21	4. "Mein Wagen Rollet Langsam"
22	SCHÃ¶N Hedwig Op.106
23	1. "Ballade Vom Heideknaben"
24	2. "Die Flã1/4Chtlinge"
25	Sehnsucht
26	Die Weinende
27	Erinnerung
28	Kurzes Erwachen
29	Gesanges Erwachen
30	An Anna

Editorial Reviews

FISCHER-DIESKAU DIETRICH / ESC

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 5.31 x 5.12 x 0.91 inches; 9.45 ounces
Manufacturer ‏ : ‎ Dg Imports
Original Release Date ‏ : ‎ 2008
SPARS Code ‏ : ‎ ADD
Date First Available ‏ : ‎ June 26, 2008
Label ‏ : ‎ Dg Imports
ASIN ‏ : ‎ B001B56KTS
Country of Origin ‏ : ‎ United Kingdom
Number of discs ‏ : ‎ 6

Best Sellers Rank: #597,544 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #26,902 in Opera & Vocal (CDs & Vinyl)
- #34,231 in Vocal Pop (CDs & Vinyl)
- #91,626 in Classical (CDs & Vinyl)

Customer Reviews:
5.0 4 ratings

Brief content visible, double tap to read full content.

Full content visible, double tap to read brief content.

Videos

Help others learn more about this product by uploading a video!

Upload your video

Customer reviews

5 out of 5

4 global ratings

5 star

100%

4 star

0%

3 star

0%

2 star

0%

1 star

0%

How customer reviews and ratings work

Sort reviews by

Top reviews from the United States

There was a problem filtering reviews right now. Please try again later.

Furious Styles

A must have for your collection of lieder ...

Reviewed in the United States on October 26, 2009

Verified Purchase

After having listened to this entire collection no less than 10 times, I felt it appropriate to finally leave a much deserved high ranking. Being that I am the first to review this product on Amazon, I find the task quite daunting as I know that I could never adequately rank a work of art as timeless, as high of quality, and beautiful as a collection of Lieder of Schumann performed by Dietrich Fischer-Dieskau. There are only good things to say about this set -

-It by and large follows the chronological order in which Schumann composed the works. If you are familiar with the works of Schumann - this will make a big difference as his music evolved substantially in style over a short period of time.

-The quality is par excellence - we are dealing with Fiescher-Dieskau and Eschenbach on a Deutsche Grammophon production. (*opinion* The baritone voice of Dietrich Fischer-Dieskau is second to none. One can sense that he pours his soul into every performance. There is a great reference video series on him titled "Autumn Journey").

-While the listings of what is included and not included in this set is far beyond the scope of my review, 6 disks are included in this set while the many other "complete" sets include fewer tracks/disks some for controversial reasons such as, "Der Soldat" which is included in this set.

This review is not intending to sell you on Schumann or the Lied form. However, if you are already a fan of Robert Schumann, the German Art song (lied), or of Dietrich Fischer-Dieskau, then this is a must have for your collection. No discussion of pricing is necessary for this review -
This is by far one of my favorite additions to my collection over the last several years.
No discussion of pricing is necessary for this review - enjoy!

3 people found this helpful

Helpful

DAVID BRYSON

WORDS AND MUSIC

Reviewed in the United States on June 11, 2010

It is perfectly easy to find words for the musical experience that this set provides. It is as near absolute perfection, all 6 discs of it, as I have ever encountered in a lengthening life. Fischer-Dieskau must be, surely, one of the greatest singers there has ever been. Just as a vocalist he is wonderful, and the beautiful tone of this great voice in its prime in the 1970's seems infallible. He is fearless and majestic in a forte, but every nuance of tone is here down to the quietest, and as a bonus that you might not have been expecting there are a couple of late ballads on the last disc in which he declaims against a piano background. Obviously, his piano partner has to shoulder the musical load on his own there, so let me say that Eschenbach seems to me the perfect accompanist. By this I do not mean that you might think you were listening to the playing of Pollini. I mean simply that he is absolutely suited to what he is required to do here, which is to accompany Fischer-Dieskau in Schumann, and to help matters he is playing a superb instrument that is superbly recorded in its own right and faultlessly balanced with the singer. There is no more shyness or tentativeness in the powerful sequences from Eschenbach than there is from his great collaborator, and from as early as the Byron song on the first disc you can also hear how sensitively he handles Schumann's Innigkeit.

This is not quite all of Schumann's songs, but it is most of them. Both the liner-note writers make the point that Schumann constantly tried to group his Lieder into cycles, but the production has very rationally left out a few numbers from the collections that have not been explicitly given that title. The echt cycles are of course complete - the two Liederkreis sets and the Dichterliebe. The Frauenliebe cycle is not here, for the obvious reason (I presume) that a man should no more sing it than he should try to sing Isolde. To such extent as I understand Schumann myself - and I love him inordinately if that counts - these performers seem to me to penetrate his mind and heart utterly. Interpretative details from the comparatively mechanical such as tempo-choice to the wholly intangible have a relaxed confidence about them that seems to have its roots in a fully shared general vision and a detailed sense of what each number is about. They know not to be afraid of taking a very slow speed now and again when Schumann is at his dreamiest or most awestruck, and I hardly need say there is never the remotest suspicion of technical challenge to a singer like this, if there ever was a singer like this. The numerous march rhythms march magnificently, and as I have probably indicated there is a total and fearless lack of inhibition about any of it.

The production gives the artists the respect they deserve. All texts are given with English and French translations. In the nature of the case the print is tiny, but say for what were magnifying glasses meant. There are two German liner-notes, again with translations, from Werner Oehlmann on Schumann's main Lieder-writing period 1840-9, and from one Karl Schumann on the late songs. If Oehlmann's strikes you to start with as being gush, that is for the good and sufficient reason that it largely is gush, but even so if you slow down and show patience it is actually enlightening up to a point. Karl Schumann's is probably better, and it very properly tackles the issue, crucial to an understanding of Robert Schumann, of how the composer related to the literature of the romantic movement. Here he goes `The relationship between words and music...of prime importance to Schumann...he now cultivated with even greater intensity... Its most evident result was a style of declamation founded on literary no less than on musical principles.' I don't know about you, but that is as clear as mud to me. The relationship between words and music in a literary sense is one issue and `declamation' is something else altogether. KS rightly traces the development of literary innuendo in the musical notes from Schumann through Wagner and Wolf to the 20th century. It seems to me however that this is at least as much a matter for the piano parts as for the singer. `Declamation' is obviously a vocal matter exclusively, concerned with accentuation, lengthening of syllables, the number of notes per syllable, and above all repetition of words. A trend was developing at this time to make musical declamation conform more closely to the way words are spoken in conversation. This was thought to be a rationalising trend, but I'm not convinced. It leads to the rather limiting view, adopted by Wagner in practice, that the proper vocal declamation was a kind of recitative. There is nothing irrational about musical rhythm, just as there is nothing irrational about verse-rhythm, and in verse just as in music the conversational accentuation and the verse-ictus are in constant conflict, and rightly and naturally so. Here is a very simple example from the best English versifier of Schumann's time

The sun came up upon the left
Out of the sea came he;
And he shone bright and on the right
Went down into the sea.

Far from being rationalisation, denying oneself music's resources in word-declamation was more like impoverishment. There really is such a thing as a purely musical declamation, and you find it in Handel. In the Dettingen Te Deum `We acknowledge Thee to be the Lord' is repeated as `We Thee to be the Lord'. This is an exclusively musical device divorced from ordinary speech, but it gets little comment because it was little imitated.

Schumann did not go this way, the musical writers fluff the point, but his interpreters here have not missed any targets. Magnificent, sublime.

Image Unavailable

Song Cycles

Imported ed.

Box Set, Import