Was für wunderbare Stimme von meinem Großonkel Heinrich! Man bedenke, dass diese Originalaufnahmen zu seiner Zeit ohne technische 'Klanghilfen' entstanden sind.
I don't speak German but I can hear every word. Beautiful intonation. Thanks ONeirda for pointing out about the rhythm but I agree with you it is beautiful, when you are a great artist you can take calculated liberties. What about the sheer beauty of Franz Rupp on the Klavier, which is beautifully in tune. The way he points out the bass notes is the essence of beauty in music.
Well, there are certain reissues of Schlusnus's art, in CD and other forms. Also, there's a recording of Verdi's "Rigoletto" with him, also. One of his GREATest recordings, was made, a year before his death; it's Mahler's "Songs of a Wayfarer".
Oh, my God! I have never ever heard any singer taking that many rhythmical liberties as Heinrich takes here...! Schlusnus sings Jazz! BUT: It's awesome. Kind of crazy interpretation, but very into the accurate emotion - by pure rhythmic freedom. I even had to check the score, if he was doing anything wrong. It's at the limit, but great. Any other singer might get booed for that, but Heinrich makes it up with perfect grip of his marvellous sound. What a voice, what confidence in sound!
4 роки тому
It is primarily a question of fully developing the vocal technique within the framework of the quotes. With regard to singing, any simmering enthusiasm is superfluous for experts. There is a rhythm in the measure of the text, which has to be differentiated vocally compared to the musical notations. I understand the reference to jazz in such a way that - as in German - the mother tongue is important in order to bring the two together appropriately if the vocal technique is sufficient. For example, I find it terrible when Germans try to sing gospel. In terms of quality, this usually doesn't quite work out, because German language socialization is completely different. For this reason, the art songs for the German-speaking countries were designed according to the fact that music and language almost affect a necessary singing technique. However, this also applies to non-German-language texts that have been designed on the premise of language-mental peculiarities. Such theory should only raise the question of whether the respective native-speaking singers do not have the best access to the vocal pieces in their language area. Commercialization no longer places great value on such peculiarities, and everything must be salable everywhere. Such prerequisites are most detrimental to the cultivation of vocal techniques, and a feedback from it is that no new pieces are written that are affected by the charm of one's own language. What then follows is usually a musical adaptation to the manufacturers and suppliers of the audio studio techniques. However, the crackle of banknotes cannot replace good singing if enough listeners have been socialized to distinguish it.
In my view, music is a series of "effects", not a fixed set of sounds. Schlusnus, as you say, makes the right effects, and is in the spirit of the score. I find this much more interesting and musical than being 100% in the letter of the score.
4 роки тому+3
Das ist deutsche Gesangstechnik, die heute nicht einmal mehr in Deutschland gelehrt wird, weil viele es für unpassend halten, sich ausgerechnet durch die deutsche Sprache zu Produktion echter Kunstwerke affizieren zu lassen. Das macht unsere Misere aus. Dieses Vakkum implodiert dann natürlich hin zur Indifferenz und Beziehungslosigkeit zum klassischen Gesang. Die Aufnahme- und Wiedergabegeräte haben eine größere Bedeutung als der Gesang selbst bekommen. Mit solchen Geräten kann man alles Mögliche verkaufsfähig präsentieren, weil der breiten Masse die Maßstäbe vorenthalten und sie darauf nicht mit dem notwendigen Aufwand sozialisiert worden sind. Das deutsche Kunstlied hatte einmal einen eigenen Platz in der Sprachsozialisation und ein größeres Interesse bei den Deutschen verursacht, als man es heute im Rückblick erkennen kann, weil die Maßstäbe dafür abhanden gekommen sind. Dabei geht es mir um die notwendige sprachliche Differenzierung in jedem ernsthaften Diskurs. Die Medien haben die Überhand gewonnen, der Sinn ist verloren gegangen, und im Wege der Rückkoppelung lassen sich Meinungen ohne Propaganda propagieren. Daraus ergibt sich eine Gestaltlosigkeit der Gestaltung, und der gesamte Komplex ist selbstreflexiv ohne Interesse für die Suche nach treffenden Perspektiven für die Reflexion geworden. Begriffe schließen eine eigene Bedeutung aus, weil der Diskurs für den breiten intersozialen Konsens über sie verabscheut wird. Der Weg zurück führt nur über die Erkenntnis dessen.
I am now just about a month past my 100th Birthday, I was lucky to be brought up in a very musical family , my parents were both Welsh but with a different musical background, but through their Marriage became a close tie between them, I was born in 1919 , my father had been a tenor in the Covent Garden Chorus since 1909 he carried on with this till his retirement in 1940, my Mother was a Teacher of Music at a famous Girls school/college outside London, she was also a very accomplished accompanist who had worked with many famous and young singers. I was lucky for this reason that myself and my elder Brother and Sister were taken to Concerts at the Albert Hall and other great venues and Opera's at Covent Garden and twice to Glyndebourne, also during my time home from boarding school in the summer, I travelled abroad, mainly to France and Italy but also Germany and Austria. I heard Schlusnus at Covent Garden in I think 1935 or 36 it was in Tannhauser with Melchior and I think it may have been Muller, I do not remember the cast, but I can find out, of course Melchior was superb and became a favourite of mine, but so did Schlusnus, his voice was immaculate and I would not be tricked by the footage, his voice was very strong and had a large range, he was also a fine actor, it was a tragedy for the World that the Nazis with their vile laws and ways made the lives of many singers in Germany Austria and later the occupied territories impossible because they had to toe the line has to say, like Leider, Schlusnus was not a Nazi and suffered privations in this period, he was also very good in Italian and I believe he had sung in Chicago and San Francisco, I am not sure about the Metropolitan, he was in my mind along with Herbert Janssen who I also heard the most beautiful voices in Germany as Baritones, yes he does have a sound of a Tenor and he certainly did have a high range, my father took notes and diaries of all the performances that he appeared in at Covent Garden many with Caruso Martinelli Gigli Chaliapin Melba Tetrazzini ETC, but Schlusnus and Schorr were his favourites in Wagner, they to him sung Wagner like they did Italian operas. I was lucky to see Melchior and Martinelli and others like Gigli Lauri Volpi Merli Pertile Borgioli Leider Flagstad Caniglia and Cigna, but my favourite in Lieder was Schlusnus, especially in Schumann and Schubert, I have heard some of the singers in the past ten years, there are none today that can wipe the boots of any of the above, my mind is still very active and now my pleasure is you tube, which has many memories.
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I keep listening to his singing,again and again...
Handsome voice with class and charisma, extremely, Bravo!!!
hervorragend!
Люблю этот голос ❤
Excelente
Una maravilla. Gracias por subir.
Great singer of our centiry
To me,Schlusnus is the ultimate example for a fullfilling,mature and humble singing in klassikal music.
If there has ever been an equal,let alone better baritone than than this magnificent singer I'd love to hear it.
@@mervynhardy6161 Me too but he just enouph!
He has officially became my favorite lyric baritone!
Was für wunderbare Stimme von meinem Großonkel Heinrich! Man bedenke, dass diese Originalaufnahmen zu seiner Zeit ohne technische 'Klanghilfen' entstanden sind.
Da können Sie ja mächtig Stolz sein.... Ihr Großonkel gehört zu den besten Baritonsänger weltweit wie ich finde.
Für mich ist es noch immer eine der schönsten Stimmen und eine der besten Interpreten!!!
What a wonderful great uncle! Great singing so clear and sounding effortless.
Thank you.
Ах, какой у Вас дядя! Настоящее сокровище!
I don't speak German but I can hear every word. Beautiful intonation. Thanks ONeirda for pointing out about the rhythm but I agree with you it is beautiful, when you are a great artist you can take calculated liberties. What about the sheer beauty of Franz Rupp on the Klavier, which is beautifully in tune. The way he points out the bass notes is the essence of beauty in music.
Ein wunderschönes Gesang!
Well, there are certain reissues of Schlusnus's art, in CD and other forms. Also, there's a recording of Verdi's "Rigoletto" with him, also. One of his GREATest recordings, was made, a year before his death; it's Mahler's "Songs of a Wayfarer".
Oh, my God! I have never ever heard any singer taking that many rhythmical liberties as Heinrich takes here...! Schlusnus sings Jazz! BUT: It's awesome. Kind of crazy interpretation, but very into the accurate emotion - by pure rhythmic freedom. I even had to check the score, if he was doing anything wrong. It's at the limit, but great. Any other singer might get booed for that, but Heinrich makes it up with perfect grip of his marvellous sound. What a voice, what confidence in sound!
It is primarily a question of fully developing the vocal technique within the framework of the quotes. With regard to singing, any simmering enthusiasm is superfluous for experts. There is a rhythm in the measure of the text, which has to be differentiated vocally compared to the musical notations. I understand the reference to jazz in such a way that - as in German - the mother tongue is important in order to bring the two together appropriately if the vocal technique is sufficient. For example, I find it terrible when Germans try to sing gospel. In terms of quality, this usually doesn't quite work out, because German language socialization is completely different. For this reason, the art songs for the German-speaking countries were designed according to the fact that music and language almost affect a necessary singing technique. However, this also applies to non-German-language texts that have been designed on the premise of language-mental peculiarities. Such theory should only raise the question of whether the respective native-speaking singers do not have the best access to the vocal pieces in their language area. Commercialization no longer places great value on such peculiarities, and everything must be salable everywhere. Such prerequisites are most detrimental to the cultivation of vocal techniques, and a feedback from it is that no new pieces are written that are affected by the charm of one's own language. What then follows is usually a musical adaptation to the manufacturers and suppliers of the audio studio techniques. However, the crackle of banknotes cannot replace good singing if enough listeners have been socialized to distinguish it.
In my view, music is a series of "effects", not a fixed set of sounds. Schlusnus, as you say, makes the right effects, and is in the spirit of the score. I find this much more interesting and musical than being 100% in the letter of the score.
Das ist deutsche Gesangstechnik, die heute nicht einmal mehr in Deutschland gelehrt wird, weil viele es für unpassend halten, sich ausgerechnet durch die deutsche Sprache zu Produktion echter Kunstwerke affizieren zu lassen. Das macht unsere Misere aus. Dieses Vakkum implodiert dann natürlich hin zur Indifferenz und Beziehungslosigkeit zum klassischen Gesang. Die Aufnahme- und Wiedergabegeräte haben eine größere Bedeutung als der Gesang selbst bekommen. Mit solchen Geräten kann man alles Mögliche verkaufsfähig präsentieren, weil der breiten Masse die Maßstäbe vorenthalten und sie darauf nicht mit dem notwendigen Aufwand sozialisiert worden sind. Das deutsche Kunstlied hatte einmal einen eigenen Platz in der Sprachsozialisation und ein größeres Interesse bei den Deutschen verursacht, als man es heute im Rückblick erkennen kann, weil die Maßstäbe dafür abhanden gekommen sind. Dabei geht es mir um die notwendige sprachliche Differenzierung in jedem ernsthaften Diskurs. Die Medien haben die Überhand gewonnen, der Sinn ist verloren gegangen, und im Wege der Rückkoppelung lassen sich Meinungen ohne Propaganda propagieren. Daraus ergibt sich eine Gestaltlosigkeit der Gestaltung, und der gesamte Komplex ist selbstreflexiv ohne Interesse für die Suche nach treffenden Perspektiven für die Reflexion geworden. Begriffe schließen eine eigene Bedeutung aus, weil der Diskurs für den breiten intersozialen Konsens über sie verabscheut wird. Der Weg zurück führt nur über die Erkenntnis dessen.
I am now just about a month past my 100th Birthday, I was lucky to be brought up in a very musical family , my parents were both Welsh but with a different musical background, but through their Marriage became a close tie between them, I was born in 1919 , my father had been a tenor in the Covent Garden Chorus since 1909 he carried on with this till his retirement in 1940, my Mother was a Teacher of Music at a famous Girls school/college outside London, she was also a very accomplished accompanist who had worked with many famous and young singers.
I was lucky for this reason that myself and my elder Brother and Sister were taken to Concerts at the Albert Hall and other great venues and Opera's at Covent Garden and twice to Glyndebourne, also during my time home from boarding school in the summer, I travelled abroad, mainly to France and Italy but also Germany and Austria.
I heard Schlusnus at Covent Garden in I think 1935 or 36 it was in Tannhauser with Melchior and I think it may have been Muller, I do not remember the cast, but I can find out, of course Melchior was superb and became a favourite of mine, but so did Schlusnus, his voice was immaculate and I would not be tricked by the footage, his voice was very strong and had a large range, he was also a fine actor, it was a tragedy for the World that the Nazis with their vile laws and ways made the lives of many singers in Germany Austria and later the occupied territories impossible because they had to toe the line has to say, like Leider, Schlusnus was not a Nazi and suffered privations in this period, he was also very good in Italian and I believe he had sung in Chicago and San Francisco, I am not sure about the Metropolitan, he was in my mind along with Herbert Janssen who I also heard the most beautiful voices in Germany as Baritones, yes he does have a sound of a Tenor and he certainly did have a high range, my father took notes and diaries of all the performances that he appeared in at Covent Garden many with Caruso Martinelli Gigli Chaliapin Melba Tetrazzini ETC, but Schlusnus and Schorr were his favourites in Wagner, they to him sung Wagner like they did Italian operas.
I was lucky to see Melchior and Martinelli and others like Gigli Lauri Volpi Merli Pertile Borgioli Leider Flagstad Caniglia and Cigna, but my favourite in Lieder was Schlusnus, especially in Schumann and Schubert, I have heard some of the singers in the past ten years, there are none today that can wipe the boots of any of the above, my mind is still very active and now my pleasure is you tube, which has many memories.
Thank you for sharing these reminiscences of hearing this very great German singer.
Wohl bis heute unübertroffen
Zehr gut
0:55, in der spiegelnden Fluth
Sounds like a heldentenor! That is not the timbre we hear in today’s baritones!