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Posted by Martin Walker on September 27, 2006, 2:44 pm
213.36.25.108
I am, of course, intrigued by the highly informed enthusiasm of this review. I'd like to share a question or two with the other readers: in what sense is this recording so special as compared with previous recordings e.g. the one I imprinted on with Klee conducting the RSO Berlin, Söderström & Duesing, or the others in my collection, Chailly with the Concertgebouw, Marc & Hagegard, and the Gielen - all of which are very fine in my estimation? (I know there are others but I have not heard them.) Are there weighty musicological considerations? Are the singers better? I find it hard to believe that Schäfer is superior to Söderström, for instance, but Anne Ozorio only mentions Dorow, who is perhaps not the first name that comes to mind when considering recordings of this music.
I am slightly confused about the English translation in the booklet, said to be from 1925 - the official Collected (Macmillan, 1958), at any rate, gives "I am restless" for "Ich bin ruhlos", probably because the German was translated from the English *The Gardener*! (http://www.terebess.hu/english/tagore3.html)
A pity that the German quote illustrating what Goerne curls his voice around has been mangled: " Meine Seele schweift in Sensucht, den Saum der dunkeln Weite zu berühten" should read "...schweift in Sehnsucht, den Saum der dunklen Weite zu berühren." The last word has nothing to do with the "ruh-" ("rest, calm, quiet") in "ruhlos", coming from "rühr-", "touch, stir".
There is a marvellous descriptive and evocative quality to this review, which I shall reread for the insights it gives into the music, which I love.
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