Occasionally reviewers are sent an album which quite simply awes them. This
is such a disc. At the time of its original release Gramophone's critic wrote:
"...a heavenly record, so beautiful that it goes against the grain to analyse
it." Exaggeration? Not a bit of it. This record is truly a masterpiece: a
great meeting of extraordinary talents - the consummate artistry of Schwarzkopf
and the glorious accompaniments of Szell, so often criticised for bing cold
and aloof in performance, here inspiring the two orchestras to heights of
breathtaking beauty in this opulent music. This CD truly deserves to be labelled
a Great Recording of the Century.
This was the second recording that Schwarzkopf had made of the Four Last
Songs The first had been with Otto Ackerman and the Philharmonia in 1953
- by 1949, after years of light lyric soprano roles such as Zerbinetta,
Schwarzkopf had developed fuller tones sufficiently to suit the work. As
John B. Steane, the eminent Gramophone critic, remarks in his eloquent notes
"... the two performances are complementary, one does not have to choose
between the freshness of the one and the experience of the other. (The first
performance of the work, at the Royal Albert Hall, in London, in May 1950
had been not by a lyric soprano but by the mighty Wagnerian Kirsten Flagstad
under Furtwängler.). In speaking about Schwarzkopf's performance at
the Royal Festival Hall a few days after this 1965 recording of the Four
Last Songs, Steane continues, "Schwarzkopf, whose conductor was Barbirolli,
sounded essentially as in the Szell recording, a warm radiance in the tone,
ample resources to make the voice sound out clearly and yet to meld with
the instruments, and a deep humanity in all."
Strauss completed his late, lovely masterpiece, the Four Last Songs between
May and September 1948. A fifth song was started but not finished. Sadly,
barely a year later, the composer died without ever hearing them in performance.
Throughout his life Strauss had shown a distinct penchant for the soprano
voice - one only has to recollect the three magnificent but demanding soprano
roles in Der Rosenkavalier for instance. It is therefore fitting that this
sublime last work with its fine vocal writing and opulent orchestrations
(with glorious string parts), should be given to the soprano. The songs,
sad but serene, suggest journeyings: through the day, through the seasons
and through life. There are so many joys in this recording. I would just
single out a few before I pass onto the 12 songs. Clearly Schwarzkopf's lovely
silken tone; her effortless, seamless, floating, soaring singing that follows
the winged spirit in "Beim Schlafengehen" (Going To Sleep) [and of course
throughout all the four songs] is wondrous to hear. Then there is the lovely
horn solo over softly caressing strings that closes "September" on an exquisite
note of departing sadness for the departure of Summer; the melting beauty
of the violin solo that distinguishes "Beim Schlafengehen"; and just everything
in the haunting "Im Abendrot" (At Gloaming) - if music can be called heavenly
then this is it! The closing orchestral pages are truly magical.
Strauss's 12 songs here recorded were written between 1897 and 1948. All
are memorable and impressive. They are quite varied and give Schwarzkopf
opportunities to show off her technique and considerable expressive powers,
and Szell the opportunity to provide equally persuasive and glowing
accompaniments. The most famous, perhaps, and the most beguiling are "Morgen"
(Tomorrow) heartrendingly beautiful (again with a beautifully conceived violin
solo over flowing harp arpeggios); and the sublime little lullaby, "Wiegenlied"
(Cradle Song). To mention one or two of the other songs: the contrasting
"Muttertändelei" (Tantalizing) is a light, wryly humorous look at motherhood
with Schwarzkopf cooing, proudly and possessively over her new baby with
the orchestra taking a more realistically ironic view of her exaggerated
affections/affectations. "Die helligen drei Könige aus Morgenland" (The
Three Holy Kings from the Orient) is Strauss' Nativity celebration which
captures all the wonder of the star of Bethlehem, the closing orchestral
pages shimmer gloriously; the string writing is bewitching but then the string
writing (and playing) for all these songs is particularly rich. "Ruhe, meine
Seele" (written in 1948) seems to forecast Strauss's imminent death. It is
shadowy, brooding and foreboding and Schwarzkopf and Szell penetrate its
In passing I would just like to draw attention to another very good recording
of these works - that by in 1978 for CBS Masterworks by Kiri te Kanawa with
Andrew Davis and the London Symphony Orchestra.
But rush out and buy this great reissue.