Meister-Singer mit Dietrich Fischer-Dieskau (2003)


It’s not “also gemeint…” [sings the way he wants it to be sung”] Sing over it. Make beautiful arcs, ok? Do it again. You talk to the creek. You address it. You know. And let your eyes open. You look on your revers and elsewhere. Look to the front. This way you also see the audience. Right? That’s important. Ok… “war es also gemeint”… for the first… eh… last time. But not ‘war es also gemein’. That means something different. ‘war es also gemeint!’The T is necessary! And again, please! My task is not just to be there for the students and to diagnose them and suggest something to them. But also to give the audience insight into our way of work while studying a song. That’s a lot to do and can’t be succesfull all the time. Perhaps it’s an abstruse seeming task. Every song we sing in this class what is requested by the students, what they want to sing, is examined by me. I know how they sing. I know if someones voice is able to sing a certain song. Or which songs are important for the specific career of a student and should be sang and should be succeed. I think that’s should be a measure. And of course quality and prospects of success aren’t the same. It must be said. very lively, very lively…1, 2, 3, 4, 1, 2, 3 Be careful! Before he started you can do what you want, but as soon as the voice starts… His Baritone isn’t that heroic. Please start again. Please stand like this. She doesn’t see you at all. She have to see your mouth. Otherwise it’s not working. You both slow down. [He sings]’Hinterm Berg, Hinterm Berg, brennt es in der’… exactly the same tempo like in the beginning. No difference. Don’t slow down! It has to flash! There are dangerous burning flames. Of course it’s difficult in such a short time, it was three times for about 20 minutes that I got lessons from him.. ..to learn a lot technique. We worked most of the time on interpretive demands. I recognize that he values the clarity of language and what you can convey trough language. Not just with the singing, but with the language. He values that a lot. And that’s exactly the moment you have to stop. He’s not distanced. He’s direct and also physically close. And you feel the feeling. In Mörike’s poems are many approximations to music. For example onomatopoetic things. Like long lines who rest on the letter I or on U. That requires a specific colour to the componist. If he acts against it, he acts against the poet. It’s difficult to bring it into harmony. I remember something what the old Karl Salz always said: Children, you think in Brahms music a quad is a quad.. ..thus four eighth-notes [sings: dida dida dida] …have to be at least eight sixteenth-notes Not too quick! Allegro here is something stable. Something obligatory. Despite all joy and delight. Not too qick and sing everything. Every phrase, every up and down. You can help us if you go more down with the piano. The lower one. You can help very effectively. You have it. There you can notice the different tempo. Not faster. Under no circumstances ‘Briese’ not like ‘rieseln’ they ‘rieseln die Quellen’ [goes on with the right text] ‘die tönen die Wellen’ yes? Beautiful singing! And again, come on! Can you do it like a little fanfare between? Those changes in the expression. This back and forth has to come out. Jawohl! That it fits togehter. A signal! The remnant can be more quiet. Short! The start is short [sings ‘Wilkommen’] He knows every note. My jaw dropped. For me, as Peter, it’s importent to convey this love for words to the audience. It has to rock! Yes. It would be nice if the phrasing would come out more. Complete again. Come on! Sing both syllables. Sing everything. And again! Can you start with a different tone? A little less and with a different color. [shows how it has to be sang] That there is a difference. That would be nice. ‘Tief lag ich im bangen’ Two bars before. Avoid the H! [imitates the singer] And again! You have to understand changing harmonies. And again the same! Exactly! Too long! Here is a large increase, we have to build this up. I wouldn’t give so much here. There some more. And there even more! I think it’s mezzo forte. I’s all about the inner movement and not external about strength. You have to learn this. With the ‘Willkomen’ and the eighth-note. ‘Die Bann’ before is longer. Die Bann. ‘Bann’ [sings the example] you need this! [sings] the note there That’s enough time for ‘Will’ He knows what he’s doing! Brahms! But, but [imitates the singer] Like she is playing in the beginning. You have to do it like this. We are on the right path. You know it better now. Being in this class is more like first-aid. The music conveys, also during a concert, automatically. It’s about text comprehension. Some componists make it easy for us, because they place the notes so that we have place for consonants. Then you can sing a legato and still sing all the consonants. The first sing you have to do while working on a song is searching for lines and where they lead to. Where do they lead away. Where is the climax. That’s where you have to begin to sing. But if it’s just jumping around and declaim it becomes a difficult task. And the text comprehension has still to be in the foreground. Like Richard Strauss claimed: The audience is falling asleep if it can’t understand just one word. And that’s right. If you don’t get the the connections in just one line, just because two words are mispronounced, the whole performance isn’t worth it. And you don’t have the music anymore. Can you leave “Oh mein Geliebter” in forte. And perform it [sings ‘Oh mein Geliebter’] And please do not invite him to a tourist trip to Italy! That’s not ment by it. And i want to go to the beach and bath. Not that. From your deepest soul with deep feelings with pain and proximity to the person you talk to. There is an attitude what seems to be oldfashioned.Goethe describes it in his Didaskadien who were edited and formulated after his death from Eckermann. That… the vocalization obeys certain laws. But that dignity and harmony always should be achieved in language. What he himself as a director always stimulated, that you make music with words. Every poetic includes music. It’s still like this. For sure Goethes theatregroup acted in a non-theatrical way… after reading this rules. That’s what we still have to do on the podium. No hand-movements, no random direction no overacted mimic. Unless it’s a Couplet. And Wolfgang Hugo wrote many of them. Then mimic is necessary. It would be boring otherwise. At the beginning the phrase is too much breathed. Despite the word breath. I wouldn’t do it like this. Leave it open. One time wrong learned! You feel that he sang all of this songs. And also that he examined their effect. He knows exactly at what moment you have to use which mimic. Which nuances, where you can take time. The songs are all tried out. Tested trough thousands of recitals. You can feel that. But this is called ‘senkt’ not ‘sängt’. Has nothing to do with fire. Now a bit sound. Now without h. It’s a strong change. You are right. No it’s working. I am not against head voice but in this case is a pure head voice almost a falsetto necessary I tried already to explain, that our work includes to achieve difficult goals. That what seems unachievable has always been the most interesting for me. It was always like this. Also when it came to modern music or something else. They offered me hero-baritonial things like Dr. Faust soli and when I was afraid of something impossible like this I liked to be convinced by the director and also by the conducter. Is it possible for you to use your upper lip? Right now it’s completely dead and the lower lip is doing everything. Use them both. Open, open. Just a bit not too much. But use it. Upper lip! Breathing! Exactly! Show consideration for the long breathing. Piano please stay in tempo. See it in front of you! See it in front of you! And again please. Avoid the h! Leave it inside. Leave it inside. But not worried. Not asking ‘Wohin, Wohin’.Like I don’t have a map I don’t know the way. Not like this. More: where are we going?Someone grabs me from behind. What is this. Surprised. Yes surprised. And also happy. You are forced to play locomotive [didadidadida] That’s not so good. Stay with vibrato. ‘Lieben’ is dead. Stay close to the sound. Ganymed is really special also because of the Goethe text. And because of the whole atmosphere. Schubert makes really interesting things also in an harmonic way. He changes the keys. You can make it more beautiful. – Yes, I know. Start stronger on the ‘Al’ Everything what you have on sound, it doesn’t have to be fortissimo, but a beautiful sound. You got more quiet on ‘Al’. Now you stay quiet like this. What is meant is clear. But you need to tank more. You did not breath before and that’s not good. You need to take a lot of breath and then start with the note. And the piano waits please. This marks up a big artist, that he’s so universal in his tasks that he’s also able to tell a lot to a soprano. That was obvious! Today but also the past days how much he could tell me. Interviewer: How do you see the future of the Lied-singing? The Lied -singing I don’t know. The works remain thankfully and we can work with them. But compositional that’s the question! What will happening in the future of music creative. Is the material exhausted. Then we shouldn’t have any big hopes. Gustav Mahler was worried about this: How can I express myself personally?How can I write down the expressions I have in notes- in something what hasn’t been there already. And Wagners words: Children do something new. It’s still valid!

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