‘Few sopranos divide critical opinion more than Elisabeth Schumann’,
writes Richard Stokes in his extensive liner-notes for this
issue. For me the hardest nut to crack has been her use of portamento
– in simple terms: her sliding from one note to another. Many
singers do that to achieve a seamless legato, but she does it
more than most, and the effect can verge close to seasickness.
It is most obvious on her earliest, acoustic recordings, and
they have all been excluded from this issue. Her electrical
recordings are afflicted also, but not so blatantly as those
made during her earlier years. It is a matter of acquired taste.
Once hooked by Elisabeth Schumann this defect – if it is a defect
– becomes of little importance when there is so much else that
is so attractive: the purity of tone, the exquisite phrasing
and – most of all – her irresistible charm.
Just take the first two CDs in this box, 49 Schubert songs spanning
more than twenty years of her recording career. The earliest
were set down in 1927 when she was 39; the last ones in 1949
when she was past 60. One can hear the voice ageing, but not
to excess. The bloom and lightness from the 20s gradually lessens
but on the other hand she gains in expressivity. The voice was
never very large and she didn’t aim for heavier operatic roles.
As a concert singer she could continue to sing the same repertoire.
I won’t go into detail for each of the songs but want to point
out a few. Frühlingsglaube, recorded in 1933, is most
lovingly sung but there is a lot of scooping. Ave Maria,
recorded the following year with orchestra, is the perfect model
of how this song should be sung: not a trace of portamento,
rich, beautiful tone. In An die Musik from 1936 she slides
both upwards and downwards. We notice it and say: ‘Old-fashioned
but lovely!’ Fritz Kreisler, one of my earliest instrumental
favourites, also indulged in portamento and everybody loved
him.
We could go on nitpicking like this – if we are fault-finders
– but we could also just accept that this is Elisabeth Schumann’s
style. Within that style are the most glittering gems, ready
to be savoured. Those who prefer their apple-pie without custard
should look elsewhere, but for me Schumann’s custard adds flavour
even though I may not want the vanilla every time I want a slice
of Schubert.
In the bargain we also get the opportunity to compare two versions
of Die Forelle. We can also enjoy the duet with Reginald
Kell in Der Hirt auf dem Felsen and to shut our eyes
and be rocked to sleep in Wiegenlied – lovely readings
all of them, and many, many more.
On CD 3 she continues to charm us with a total of 36 songs by
Schumann and Brahms. The former’s Mondnacht has rarely
been sung with such magic. Frauenliebe und-leben with
Gerald Moore at the piano, was recorded over a period of eleven
years. Du Ring an meinem Finger and Helft mir, ihr
Schwestern as late as June 1949. In spite of some loss of
resonance, they are among the best. The whole cycle is sung
with deep understanding.
Naturally charm and glitter are not enough for those more serious
songs and when we come to Brahms it is the dark moods that dominate.
Schumann’s readings are well worth anyone’s attention. I believe
that some older readers, who still remember the age of the 78rpm
records, heard some of these songs in her readings. There existed
alternative versions but most retailers limited their assortment
and HMV and Schumann was a safe bet.
In the mid-60s, when I tried to widen my taste to encompass
Lieder I bought the EMI box with Elisabeth Schwarzkopf and Dietrich
Fischer-Dieskau singing the complete German Folksongs in Brahms’
settings, with Gerald Moore at the piano. That was love at first
sight and I played them over and over again and still today,
when I have transferred them to CD, I take out the discs with
the intention of sampling two or three. I always end up playing
the whole disc. For some reason I hadn’t heard Elisabeth Schumann’s
recording of six of those before and now she has become my second
love. Schwarzkopf is at her most lovely in that favourite recording
but the other Elisabeth in a simpler more straightforward way
catches the rural atmosphere just as marvellously.
CD 4 is devoted to Bach, Handel and Mozart and her Mozart always
goes to my heart. Her Cherubin, Susanna and Zerlina are quite
outstanding. It is also interesting to have here the Benedictus
movement from Mozart’s Requiem in a live recording
from Théâtre des Champs-Élysées in Paris with the Vienna
Philharmonic under Bruno Walter and with a superb quartet of
soloists. Besides Elisabeth Schumann we hear the Swedish mezzo
Kerstin Thorborg, a very young Anton Dermota in the tenor part
and the magnificent bass Alexander Kipnis.
CD 5 contains more lieder. Some Beethoven, a couple of Haydn
songs in English, including the lovely The Sailor’s Song
which was another early favourite since I became acquainted
with Elisabeth Schumann. 14 Hugo Wolf and 13 Richard Strauss
complete her traversal of the central German song repertoire.
Both were composers close to her heart. She felt strongly for
Wolf’s way of merging text and music to become an inseparable
unit. One can hear how she relishes every syllable and every
note of the songs. Even closer to her was Richard Strauss, with
whom she toured the US in 1921. Strauss wrote his early songs
with his wife Pauline in mind but when he heard Schumann he
fell in love with her – at least with her voice – and even suggested
that she should sing Salome! His judgement obviously failed
him sometimes, just as he is also said to have composed the
Brentano songs (1918) for Elisabeth Schumann. Some of them could
well suit her but in particular Lied der Frauen needs
a dramatic singer, a Salome, Elektra or Dyer’s Wife in Die
Frau ohne Schatten. The songs recorded here suit her to
perfection. They are valuable documents also as reminders that
Schumann had studied these songs with the composer and thus
must likely have performed them according to his wishes.
Off the record it is worth mentioning that another legendary
singer, also born in 1888 like Elisabeth Schumann, also worked
closely with Richard Strauss. That was the baritone Heinrich
Schlusnus who, in 1919-1920, recorded a number of songs with
the composer at the piano. Anyone wanting to go to the roots
of these songs should listen to Schumann and Schlusnus.
The last disc has a couple of operatic excerpts of historical
importance. First three scenes from the ‘complete’ – it’s heavily
cut – recording of Rosenkavalier from 1933. Schumann’s
Sophie was one of her most admired roles. We also hear Maria
Olszewska as Octavian. The quintet from Die Meistersinger
von Nürnberg, recorded in 1931 is also legendary with two
giants in the Wagner Fach – Lauritz Melchior and Friedrich
Schorr – lining up in Kingsway Hall with two British singers
as David and Magdalena and Elisabeth Schumann as the loveliest
imaginable Eva. A number of English songs from various epochs
are nice but they are overshadowed by the last nine numbers
from the Viennese operetta repertoire where Schumann was second
to none. How she caresses the phrases in Sei nicht bös
or Im chambre séparée. She is irresistible in the nightingale
song from Der Vogelhändler, where she also demonstrates
her talent as whistler (!) which she does in a couple of other
songs as well. The final track is the barcarolle from Les
Contes d’Hoffmann. Everybody knows that it is a duet, and
there are two voices singing here too, both belonging to Elisabeth
Schumann. Recorded in 1938 this was some achievement and someone
with knowledge of recording technique in those days must explain
to me how it was done.
The result is however fine and since each track on this well-filled
box has something to recommend it this is a bargain not to be
missed. EMI have immeasurable riches in their archives. We have
to be grateful that they make recordings like these available.
They should never be out of the catalogues.
Göran Forsling
Elisabeth Schumann - Silver Thread of Song
CD 1 [64:52]
Franz SCHUBERT (1797 – 1828)
1. Die Post [2:27]
2. Wohin? [1:57]
3. Im Abendrot [3:27]
4. Die Vögel [0:56]
5. Du bist die Ruh [4:26]
6. Heidenröslein [1:59]
7. Das Lied im Grünen [2:32]
8. An die Nachtigall [1:27]
9. Liebhaber in allen Gestalten [1:21]
10. Frühlingsglaube [2:46]
11. Die Forelle [1:49]
12. Horch! Horch! die Lerch’ [2:51]
13. Ave Maria [4:37]
14. An die Musik [3:00]
15. Der Jüngling an der Quelle [1:18]
16. Geheimes [2:00]
17. Auf dem Wasser zu singen [3:21]
18. Des Fischers Liebesglück [3:17]
19. Der Musensohn [2:20]
20. Fischerweise [2:59]
21. Gretchen am Spinnrade [3:28]
22. Liebesbotschaft [2:38]
23. Am Tage aller Seelen (Litanei) [3:12]
24. Nacht und Träume [3:03]
25. Seligkeit [1:31]
CD 2 [72:06]
1. Nähe des Geliebten [2:39]
2. Lachen und Weinen [1:40]
3. Frühlingstraum [4:02]
4. Der Einsame [3:54]
5. Nachtviolen [2:36]
6. An die Geliebte [1:57]
7. Wiegenlied (Schlafe, Schlafe) [2:34]
8. Der Schmetterling [1:31]
9. Des Baches Wiegenlied [4:02]
10. Der Hirt auf dem Felsen [8:51]
11. Der Jüngling und der Tod [4:22]
12. Das Heimweh [1:20]
13. Hin und wieder fliegen Pfeile [1:21]
14. Liebe schwärmt [1:19]
15. Dass sie hier gewesen [3:31]
16. Der Vollmond strahlt [3:35]
17. Die Forelle [2:08]
18. Die junge Nonne [4:44]
19. Das Mädchen [2:55]
20. An mein Klavier [2:46]
21. Nur wer die Sehnsucht kennt [3:20]
22. So lasst mich scheinen [3:50]
23. Schweizerlied [1:37]
24. Hin und wieder fliegen Pfeile [1:23]
CD 3 [79:17]
Robert SCHUMANN (1810 – 1856)
1. Mondnacht [3:44]
2. Er ist’s [1:15]
3. Aufträge [2:18]
4. Schneeglöckchen [1:22]
5. Der Nussbaum [2:54]
6. O ihr Herren, o ihr werten [0:53]
7. Röselein, Röselein [2:19]
8. Lorelei [1:04]
9. Ständchen [1:36]
Frauenliebe und –leben, Op 42
10. Seit ihr ihn gesehen [2:13]
11. Er, der Herrlichste von allen [2:52]
12. Ich kann’s nicht fassen, nicht glauben [2:02]
13. Du Ring an meinem Finger [2:16]
14. Helft mir, ihr Schwestern [1:51]
15. Süsser Freund, du blickest [4:16]
16. An meinem Herzen, an meiner Brust [1:10]
17. Nun hast du mir den ersten Schmerz getan [3:24]
Johannes BRAHMS (1833 – 1897)
18. Der Tod, das ist die kühle Nacht [2:52]
19. Sandmännchen [2:48]
20. Das Mädchen spricht [1:21]
21. Ständchen [1:49]
22. Wiegenlied [1:31]
23. Vergebliches Ständchen [1:33]
24. Nachtigall [2:24]
25. Der Jäger [0:55]
26. Ruhe, Süssliebchen, im Schatten [4:22]
27. Bitteres zu sagen denkst du [2:00]
28. Blinde Kuh [1:12]
29. An eine äolsharfe [4:07]
49 Deutsche Volkslieder WoO33
30. Mein Mädel hat einen Rosenmund [2:00]
31. Da unten im Tale [2:04]
32. Schwesterlein, Schwesterlein [2:50]
33. Och Mod’r, ich well en Ding han! [1:34]
34. Erlaube mir, fein’s Mädchen [1:14]
35. Wie komm’ ich denn zur Tür herein? [1:39]
36. In stiller Nacht [3:06]
CD 4 [78:03]
Gottfried STÖLZEL (1690 –
1749)
1. Bist du bei mir (previously attributed to Bach) [3:25]
Johann Sebastian BACH (1685
– 1750)
2. Aus Liebe will mein Heiland sterben (St Matthew Passion)
[4:26]
Mass in B minor BWV232
3. Christe eleison [5:59]
4. Domine Deus [5:48]
5. Et in unum Dominum [4:47]
6. Es ist vollbracht (Cantata No. 159) [4:38]
George Frideric HANDEL (1685
– 1759)
7. O hätt’ ich Jubals Harf’ (Joshua) [3:09]
Wolfgang Amadeus MOZART (1756
– 1791)
8. L’amerò, sarò costante (Il re pastore) [4:25]
Le nozze di Figaro
9. Non so più cosa son [3:22]
10. Voi, che sapete [3:08]
11. Venite, inginocchiatevi [3:26]
12. Deh, vieni, non tardar [3:41]
Don Giovanni
13. Batti, batti, o bel Masetto [3:47]
14. Vedrai, carino [3:42]
Exsultate, jubilate, K165
15. Alleluja [2:21]
Bernhard FLIES (c.1770 –
1851)
16. Wiegenlied (previously attributed to Mozart) [3:05]
Wolfgang Amadeus MOZART
17. Warnung [1:43]
18. Abendempfindung [4:41]
19. Das Veilchen [2:38]
Requiem in D minor K626
20. Benedictus [4:59]
CD 5 [76:15]
Joseph HAYDN (1732 – 1809)
1. She never told her love [3:19]
2. The Sailor’s Song [2:22]
Ludwig van BEETHOVEN (1770
– 1827)
3. Wonne der Wehmut [2:38]
4. Mit einem gemalten Bande [1:57]
Hugo WOLF (1860 – 1903)
5. Schlafendes Jesuskind [3:22]
6. Nun wandre, Maria [2:49]
7. Du denkst mit einem Fädchen [0:55]
8. Mausfallen-Sprüchlein [1:11]
9. Elfenlied [1:33]
10. Ach, des Knaben Augen [1:42]
11. Bedeckt mich mit Blumen [2:50]
12. In der Frühe [2:38]
13. In dem Schatten meiner Locken [2:07]
14. Mausfallen-Sprüchlein [1:15]
15. Auch kleine Dinge [2:01]
16. Wie glänzt der helle Mond [2:56]
17. Nimmersatte Liebe [2:24]
18. Und willst du deinen Liebsten [2:29]
Richard STRAUSS (1864 – 1949)
19. Morgen! [4:04]
20. Ständchen [2:49]
21. Wiegenlied [3:48]
22. Freundliche Vision [2:51]
23. All’ mein Gedanken [1:16]
24. Hat gesagt - bleibt’s nicht dabei [2:06]
25. Schlechtes Wetter [1:54]
26. Ständchen [2:09]
27. Traum durch die Dämmerung [2:53]
28. Ich schwebe [1:41]
29. Heimkehr [2:18]
30. Muttertändelei [2:20]
31. Die heiligen drei Könige [4:18]
CD 6 [71:26]
Der Rosenkavalier
1. In dieser feierlichen Stunde der Prüfung [3:22]
2. Mir ist die Ehre widerfahren [6:07]
3. Ist ein Traum [6:19]
Richard WAGNER (1813 – 1883)
4. Selig, wie die Sonne (Die Meistersinger von Nürnberg)
[4:46]
5. Wiegenlied: Schlafe ein, holdes Kind [2:48]
Engelbert HUMPERDINCK (1854
– 1921)
Hänsel und Gretel
6. Ein Männlein steht im Walde ... Der kleine Sandmann
bin ich [3:38]
7. Abends will ich schlafen gehen [2:01]
George MONRO (1680 – 1731)
8. My lovely Celia [2:13]
Henry CAREY (1690 – 1743)
9. Pastorale: Flocks are sporting [2:41]
Sir Landon RONALD (1873 –
1938)
10. Down in the forest [2:27]
Sir Arthur SULLIVAN (1842
– 1900)
11. Orpheus with his lute [3:07]
Thomas ARNE (1710 – 1778)
12. Where the bee sucks [2:07]
Carl ZELLER (1842 – 1898)
13. Sei nicht bös (Der Obersteiger) [3:24]
Richard HEUBERGER [1850 –
1914)
14. Im chambre séparée (Der Opernball) [2:43]
Josef STRAUSS (1827 – 1870)
15. Sphärenklänge [3:32]
Johann STRAUSS II (1825 –
1899)
16. Spiel’ ich die Unschuld vom Lande (Die Fledermaus)
[3:20]
Carl ZIEHRER (1843 – 1922)
17. O Wien, mein liebes Wien (Der Fremdenführer) [3:09]
18. Sei gepriesen, du lauschige Nacht (Die Landstreicher)
[3:08]
Carl ZELLER
19. Wie mein Ahn’l zwanzig Jahr! (Der Vogelhändler)
[3:18]
Ralph BENATZKY (1884 – 1957)
20. Ich muss wieder einmal in Grinzing sein [3:21]
Jacques OFFENBACH (1819 –
1880)
21. Night of stars (Les Contes d’Hoffmann - Barcarolle) [3:00]
(Second voice: Elisabeth Schumann)
Elisabeth Schumann (soprano), various pianists and orchestras 
