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- Original Release Date: 1 Jan 1999
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| 1. Das Lied von der Erde (Song of the Earth): I. Das Trinklied vom Jammer der Erde (The Drinking Song of Earth's Misery) | Kurt Sanderling | 8:15 | Not Available | |||
| 2. Das Lied von der Erde (Song of the Earth): II. Der Einsame im Herbst (The Lonely One in Autumn) | Peter Schreier | 9:57 | Not Available | |||
| 3. Das Lied von der Erde (Song of the Earth): III. Von der Jugend (Of Youth) | Kurt Sanderling | 3:16 | Not Available | |||
| 4. Das Lied von der Erde (Song of the Earth): IV. Von der Schonheit (Of Beauty) | Peter Schreier | 7:19 | Not Available | |||
| 5. Das Lied von der Erde (Song of the Earth): V. Der Trunkene im Fruhling (The Drunkard in Spring) | Kurt Sanderling | 4:32 | Not Available | |||
| 6. Das Lied von der Erde (Song of the Earth): VI. Der Abschied (The Farewell) | Peter Schreier | 28:37 | Not Available |
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Most Helpful Customer Reviews on Amazon.com (beta)
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4 reviews
16 of 18 people found the following review helpful
Spectacular. Peter Schreier is absolutely perfect
31 July 2004
Format:Audio CD
This is currently my favorite performance of Das Lied Von Der Erde (I have about 9 recordings of it). Sanderling gives a wonderful reading here, with an amazingly sharp attention to every little detail of the performance. The orchestra plays absolutely flawlessly, and the sound engineering gives just the right mix between the singers and the orchestra.
As a whole, I often find this performance less gripping than the Klemperer or the Horenstein performances. However, Peter Schreier as the tenor truly delivers what I believe to be the best performance on record that I have heard. From the very first line in "Das Trinklied Vom Jammer Der Erde" to the final drunken cry in "Der Trunkene Im Fruhling", Schreier is such a joy to listen to.
Highly recommended!
As a whole, I often find this performance less gripping than the Klemperer or the Horenstein performances. However, Peter Schreier as the tenor truly delivers what I believe to be the best performance on record that I have heard. From the very first line in "Das Trinklied Vom Jammer Der Erde" to the final drunken cry in "Der Trunkene Im Fruhling", Schreier is such a joy to listen to.
Highly recommended!
9 of 10 people found the following review helpful
Schreier is outstanding
4 Mar 2007
Format:Audio CD
A truly great performance of Das Lied von der Erde needs two excellent soloists. In my view, few recordings have that. Kubelik's (Audite) has Baker and Kmentt, and there are few who can match that team. Baker's voice simply "owns" this work and Kmentt... well, he is no Heldertenor like Wunderlich (EMI) or King (Decca), but this work should, preferably, not be performed by such hero voices - they fit like hand in glove in Wagner's music, but not in Mahler's. This work, in particular, needs a more desperate and "fragile" voice. Kmentt has it, overwhelmingly, and - regarding the present recording - Schreier has it too, overwhelmingly as well. In fact, his performance here is one of the very best ever. It's simply brilliant, beautifully nostalgic, sarcastic and expressive. If you only know this work from the legendary Klemperer recording (with Ludwig and Wunderlich), Schreier's performance will indeed shock you.
By contrast, Birgit Finnilä is not the best voice together with Schreier. As a team, they are uneven. Finnilä's performance is not too successful, at least not in Schreier's company: her pale voice makes a stark contrast to Schreier's violent, expressionist performance. Brigitte Fassbaender would have been the ideal match: her brilliant, moving performance in Giulini's 1984 interpretation (DG - unfortunately together with a terribly misplaced F. Araiza) is both razor sharp and vulnerable.
Further, Kurt Sanderling's interpretation is very good; sharply focused with dramatic presence, and the recording quality leaves almost nothing to wish. The orchestra is good too, one of the outstanding Berlin Orchestras, Berliner Sinfonie-Orchester. The recording was made during the end of the Cold War, in 1985, in East Berlin behind the Wall. Perhaps that weird condition added something to the drama of this very special recording.
In sum: this is an outstanding recording which provides a very fine, warm interpretation with somewhat uneven soloists. But Schreier's interpretation is first rate, second to none. Strongly recommended - and not only because of Schreier's memorable performance.
By contrast, Birgit Finnilä is not the best voice together with Schreier. As a team, they are uneven. Finnilä's performance is not too successful, at least not in Schreier's company: her pale voice makes a stark contrast to Schreier's violent, expressionist performance. Brigitte Fassbaender would have been the ideal match: her brilliant, moving performance in Giulini's 1984 interpretation (DG - unfortunately together with a terribly misplaced F. Araiza) is both razor sharp and vulnerable.
Further, Kurt Sanderling's interpretation is very good; sharply focused with dramatic presence, and the recording quality leaves almost nothing to wish. The orchestra is good too, one of the outstanding Berlin Orchestras, Berliner Sinfonie-Orchester. The recording was made during the end of the Cold War, in 1985, in East Berlin behind the Wall. Perhaps that weird condition added something to the drama of this very special recording.
In sum: this is an outstanding recording which provides a very fine, warm interpretation with somewhat uneven soloists. But Schreier's interpretation is first rate, second to none. Strongly recommended - and not only because of Schreier's memorable performance.
Birgit Finnilä is really terrific
20 April 2012
Format:Audio CD|Amazon Verified Purchase
This is one of the best performances ever recorded, and I want to be a lone voice crying in the wilderness who thinks Birgit Finnilä's voice is just plain terrific. Why must we compare her to St. Janet the Divine and Christa Ludwig? I adore both of those voices, but I also adore Birgit Finnilä's--and Grace Hoffman's, and Alfreda Hodgeson's, and Kersten Thorborg's, and Maureen Forrester's, and Kathleen Ferrier's, and (gasp!) even Mildred Miller's. [I have no taste for a baritone in 2, 4, and 6.] Each of these mezzos has something unique to bring to this six-movement miracle of musical artistry, and I bask in the glories of ALL of them. If I had to live with only one of my 20+ recordings of this work , I'd be happy with this one. I pray to the benevolent muses that I would never have to make such a choice. But I could live with this disk on my hypothetical desert island and enjoy Birgit Finnilä until the day I die.
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