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Lieder (German) - Released May 27, 2005 | INA Mémoire vive

Distinctions Diapason d'or - 4 étoiles du Monde de la Musique - Timbre de platine - 10 de Classica-Répertoire - The Qobuz Ideal Discography
CD£51.49

Classical - Released January 1, 2010 | Deutsche Grammophon (DG)

Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
This collection of all of Schubert's songs for low voice is one of the landmark recordings of the 20th century because it features two of the greatest Schubertians of their era, baritone Dietrich Fischer-Dieskau and pianist Gerald Moore. The recordings, made by Deutsche Grammophon between 1966 and 1972, come from Fischer-Dieskau's prime, when he was in his early to mid-thirties, his voice fully mature and its youthful bloom gloriously resplendent. He brought an acute, probing intelligence to everything he performed, as well as a penetrating, unmannered musicality, and those qualities are everywhere apparent in his Schubert lieder. Moore was primarily known as an accompanist, and in that role he was perhaps unsurpassed, but his contribution to the music is no way secondary. His playing has interpretive distinctiveness as well as the instinctive musicality of a performer deeply immersed in Schubert's sound world. The singer and pianist made multiple recordings of many of these songs and while aficionados may prefer a version of a song or cycle other than the one offered here, the version here is never less than superb. The set, which includes 463 songs on 21 discs, should be of utmost interest to any fans of the singer and pianist, and to anyone who loves Schubert, and to anyone who loves collaborative music-making of the highest order. The value of the limited edition set released in celebration of the singer's 85th birthday makes it a terrific bargain. The remastering is mostly exemplary and the sound is immaculate, warm, and present. There are a few technical glitches, like a slight click and skip in the introduction to "Wasserflut," but overall the sound is first-class. The balance is just about ideal; it's easy to shut one's eyes and imagine the performers there in the same room. Very highly recommended. © TiVo
CD£20.99

Classical - Released March 8, 2010 | Warner Classics

Distinctions Diapason d'or - The Qobuz Ideal Discography
CD£7.99

Classical - Released January 1, 1975 | Deutsche Grammophon (DG)

Distinctions Diapason d'or - The Qobuz Ideal Discography
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Classical - Released May 16, 2014 | audite Musikproduktion

Booklet Distinctions Diapason d'or - 5 de Diapason
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Classical - Released January 1, 1985 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
CD£40.49

Classical - Released January 1, 1994 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
CD£7.49

Classical - Released January 1, 2011 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
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Lieder (German) - Released January 1, 1959 | Decca

Distinctions Diapason d'or
‘The most original and artistically consummate of all my works,’ Hugo Wolf said (with justice) of the Italienisches Liederbuch which he wrote in 1890-1 to the poetry of Paul Heyse.Perhaps no pair of singers on record has interpreted this cycle of 46 songs with such natural accomplishment as Irmgard Seefried and Dietrich Fischer-Dieskau. They made this recording near the end of the 1950s – at the height of Seefried’s career and near the start of Fischer-Dieskau’s, and its qualities of both freshness and delight in response to the text and vocal beauty have stood the test of time. The singers performed the cycle together live at the 1958 Salzburg Festival to an ordering devised by the pianist for the occasion and Seefried’s regular accompanist, Erik Werba. In the DG studios a few months later, however, Fischer-Dieskau was joined by his own regular instrumental partner at the time, Jörg Demus. Meanwhile the subtly different responses of both pianists – Werba fuller-toned than Demus, whose pointed articulation owes something to his work on ‘period’ instruments – offer food for both thought and pleasure. Without attempting to concoct a storyline, Werba’s ordering allows the poetry’s depictions of woman and man to contrast with and complement each other. A spirited opening group is followed by one which is predominantly lyrical, illustrating the need for love, the woman’s surrender and then wavering, a manly longing for death, a farewell, and appeal to sworn fidelity. The closing section juxtaposes a declaration of love, humour, mockery, caricature, resignation and finally boasting, with the soprano’s jubilant ‘confession’ that she has 21 lovers. All four musicians fully bring to life the emotions of elation, joy, anger and irony in Wolf’s songs. Fischer-Dieskau’s second recording (with Elisabeth Schwarzkopf and Gerald Moore for EMI) is justly famous in its own right, but the magic of this DG recording lies in the unaffected ease of his partnership with Seefried. (© Deutsche Grammophon GmbH, Berlin / Universal Music Australia Pty Ltd. 
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Classical - Released September 2, 2002 | Warner Classics

Distinctions Diapason d'or
CD£6.99

Art Songs, Mélodies & Lieder - Released November 28, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 1996 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Lieder (German) - Released February 27, 2016 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
CD£12.49

Lieder (German) - Released January 1, 1978 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
CD£8.99

Vocal Music (Secular and Sacred) - Released January 1, 1993 | Claves Records

Distinctions 5 de Diapason
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Classical - Released May 1, 2010 | Audite

Distinctions Choc de Classica
For fans of Gustav Mahler's lieder and Dietrich Fischer-Dieskau's singing, this Audite disc of a 1971 Berlin concert will likely be thrilling. There are 17 well-known and less well-known songs that span the Austrian fin de siècle composer's career, and generally the emphasis is on youth. The early song cycle Lieder eines fahrenden Gesellen is included, along with seven of Des Knaben Wunderhorn songs and three of the Lieder und Gesänge aus der Jugendzeit, but only two of the Rückert lieder and none of the Kindertotenlieder. For Mahler, the program is relatively cheerful and death is mentioned in only about a third of the songs. The performances show Fischer-Dieskau just the tiniest bit past his prime vocally, but at his peak interpretively, and there are moments here as magical as anything he ever recorded. If his combination of control, subtlety, and intensity in "Ich bin der Welt abhanden gekommen" doesn't get you, his astounding legato lines will. The then-young pianist Daniel Barenboim, who seems almost telepathically synchronized with Fischer-Dieskau, is with the great German baritone every step of the way. The disc does have two drawbacks. First, the live sound is dim and distant, though sufficiently dedicated fans probably won't mind. Second, Fischer-Dieskau has recorded many of these songs many times, and while these are superlative performances, they do not surpass, for example, the singer's earliest recording of the Gesellen lieder with Furtwängler. The quality of the performances, though, will likely make this disc mandatory listening for fans. © TiVo
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Classical - Released May 1, 2010 | Audite

Distinctions Choc de Classica
CD£16.19

Full Operas - Released January 1, 1962 | Berlin Classics

Distinctions The Qobuz Ideal Discography
CD£6.39

Classical - Released September 30, 2008 | Naxos

Distinctions Diapason d'or
One of the finest Lieder singers and one of the most prolific recording artists of his generation, the great German baritone, Dietrich Fischer-Dieskau, possessed a virtually flawless vocal technique, a remarkable ability to convey the right tonal colour and nuance of a musical phrase, as well as a wonderful command of rhythm. This re-issue brings together three of Fischer-Dieskau's most famous recordings, that of Schumann's Liederkreis with the pianist Gerald Moore, a partnership which would produce a remarkable artistic and creative fusion over the next quarter century. The 1952 recording of the song-cycle Lieder eines fahrenden Gesellen, conducted by Furtwängler, was made at a time when the music of Mahler was little known or heard outside German-speaking countries, a bold and inspired choice.
CD£7.99

Art Songs, Mélodies & Lieder - Released May 1, 2010 | Audite

Booklet Distinctions Choc de Classica