Composer: Ludwig van Beethoven
Performer: Dietrich Fischer-Dieskau, Michael Raucheisen
Format: FLAC (tracks)
Label: Audite
Catalogue: AUDITE95598
Release: 2008
Size: 401 MB
Recovery: +3%
Scan: cover
Scottish Songs, Op. 108 for one or more voices with accompaniment for Piano, Violin and Cello
01. No. 1 – Musik, Liebe und Wein
02. No. 3 – “O köstliche Zeit”
03. No. 13 – Trinklied “Schenk ein, mein guter Junge!”
04. No. 16 – “Wenn doch die arge böse Welt”
05. No. 17 – “Mariechen, komm an’s Fensterlein”
06. No. 18 – O Zaub’rin, leb Wohl
07. No. 19 – “Wie gleitet schnell das leichte Boot”
08. No. 20 – Der treue Johnie
09. No. 22 – Die Hochlandswache
10. No. 23 – Des Schäfers Lied “Die Maaslieb glänzt …”
Irish Songs, WoO 152
11. No. 3 – “Düstrer Dezember”
12. No. 4 – “Der Morgenwind umspielt mein Haar”
13. No. 21 – “Morgen für Grillen ein Hüter Ist”
Irish Songs, WoO 153
14. No. 4 – “da Graubärte Lehren”
15. No. 8 – Nora von Balamagairy
Irish Songs, WoO 154
16. No. 4 – Irisch Blut: “Das Blut eines Iren”
17. No. 8 – “Ernst und Weisheit sei Verscheucht”
Miscellaneous Folk Songs
18. Welsh Songs, WoO 157: No. 11 – Der wandernde Barde
19. Welsh Songs, WoO 155: No. 16 – Die Mädchen von Cardigan
20. Welsh Songs, WoO 155: No. 17 – Die Meierei
21. Welsh Songs, WoO 157: No. 1 – “Heil unserm König! Heil!”
22. Welsh Songs, WoO 157: No. 12 – Die Gondel
For Fischer-Dieskau completists, this 2008 collection of his 1952 recordings of Beethoven’s folk song arrangements will be mandatory listening. Because while the great German baritone recorded Beethoven’s art songs many times, this disc has his only recorded performances of these slivers from the master’s workshop. Performed with acclaimed pianist Michael Raucheisen plus violinist Grete Eweler-Froboese, cellist Irmgard Poppen, and the RIAS-Kammerchor, Fischer-Dieskau’s’ performances are full of energy and enthusiasm. The songs themselves are hardly at the same level as the composer’s greatest songs — there is nothing here comparable to An die ferne Geliebte — but the humor and affection of Beethoven’s settings and the wit and pleasure of Fischer-Dieskau’s performances encourage the listener to enjoy works in their own right. Given its age and origins, the sound here is understandably gray and boxy: the performers seem to be trapped in a small room with the singer right next to the microphone and the instrumentalists far behind him. But for dedicated fans of the singer or the composer, this will hardly matter in comparison to the aesthetic value of the performances and repertoire.