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Schubert: Die schöne Müllerin
CD DetailsComposer: Franz [Vienna] Schubert Performer: Gerald Moore Performer: Aksel Schiøtz Edition: Music CD CD Release Date: 1996-05-21 Music Label: Preiser Records Soundtracks: - Die Schone Mullerin D.795, Op.25: Das Wandern DB6252 (2EA 10722-2)
- Die Schone Mullerin D.795, Op.25: Wohin? DB6252 (2EA 10722-2)
- Die Schone Mullerin D.795, Op.25: Halt! DB6252 (2EA 10723-1)
- Die Schone Mullerin D.795, Op.25: Dangksagung An Den Bach DB6252 (2EA 10723-1)
- Die Schone Mullerin D.795, Op.25: Am Feierabend DB6253 (2EA 10724-1)
- Die Schone Mullerin D.795, Op.25: Der Neugierige DB6253 (2EA 10731-1)
- Die Schone Mullerin D.795, Op.25: Ungeduld DB6254 (2EA 10727-1)
- Die Schone Mullerin D.795, Op.25: Morgengrub DB6254 (2EA 10733-1)
- Die Schone Mullerin D.795, Op.25: Des Mullers Blumen DB6255 (2EA 10734-1)
- Die Schone Mullerin D.795, Op.25: Tranenregen DB6255 (2EA 10735-1)
- Die Schone Mullerin D.795, Op.25: Mein! DB6256 (2EA 10732-1)
- Die Schone Mullerin D.795, Op.25: Pause DB6256 (2EA 10736-1)
- Die Schone Mullerin D.795, Op.25: Mit Dem Grunen Lautenbande DB6257 (2EA 10728-1)
- Die Schone Mullerin D.795, Op.25: Der Jager DB6257 (2EA 10728-1)
- Die Schone Mullerin D.795, Op.25: Eifersucht Und Stolz DB6257 (2EA 10745-1)
- Die Schone Mullerin D.795, Op.25: Die Liebe Farbe DB6257/8 (2EA 10745/6-1)
- Die Schone Mullerin D.795, Op.25: Die Bose Fabe DB6258 (2EA 10746-1)
- Die Schone Mullerin D.795, Op.25: Trock'ne Blumen DB6258 (2EA 10747-1)
- Die Schone Mullerin D.795, Op.25: Der Muller Und Der Bach DB6259 (2EA 10748-2)
- Die Schone Mullerin D.795, Op.25: Des Baches Wiegenlied DB6259 (2EA 10749-1)
Music reviews of Schubert: Die schöne MüllerinMusic Review: Do stars really count when a recording is definitive? Rating: 5 Stars
More than 30 years ago I bought this performance on a Seraphim LP. I thought the interpretation interesting but the voice colorless and dry. Now I discover, by means of modern digital remastering, that it was the pressing and not the singer that was at fault. Schiotz' light, silvery tenor really shines in this recording, though the neophyte should be forewarned: Schiotz was a "cool" singer with a light, silvery voice. He did not lay into high notes or show off the voice itself in any way when he sang. He was a vocal artist, which is to say, he used the voice like an instrument and thought of it as such. He was also a warm and open communicator who conveyed a wealth of feeling just by the way he could shade or darken his voice.
Also, a word on Gerald Moore's accompaniments. They have sometimes been chided as being "way too fast" for this cycle, primarily by more modern listeners who have become used to hearing their Schubert sung in a slow, lugubrious manner. (Francisco Araiza's version of the song "Pause," for instance, is a minute and a half slower than Schiotz'.) But this is not consistent with either Muller's texts or Schubert's score, and one should not blame Moore: six years earlier, Schiotz began recording the cycle with a different pianist in most of the songs he left us, and the tempi were pretty much the same. This was his, or perhaps their (as a mutual agreement) view of the work, and it has endured.
Other tenors may have "more voice" to bring to the table, among them Araiza and Wunderlich, yet neither of those estimable tenors have really penetrated the heart of the words as Schiotz did. 26 years after he made this recording, Schiotz did an article on how to interpret these songs, and ended by saying "I am immodest enough to recommend my own recording even though it was made in 1945." And why not? "It still conveys how I feel about these songs," he said. And so it does.
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