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RUDOLF SCHOCK JOHN SINGS BRAHMS update 01/12/2009

RUDOLF SCHOCK:

singers of art songs

He started with BRAHMS . Then came SCHUMANN, WOLF and (Richard) STRAUSS . After the break SCHUBERT were songs from the series, two opera arias, and after an hour and three quarters of an hour he fulfilled almost Hours operetta and song requests from the audience.

went so during the concert, which I experienced as a fifteen-year-old in Rotterdam, and so the shock was almost ever since the fifties. The art songs were, as usual within the tradition of German classical singing, firm in his repertoire. Most of the rooms in which he sang, (eg in the Vienna Music Meeting Room, from whence alljählich will broadcast the New Year's) were actually too big for the intimacy of the art song. From this he made himself nothing. A large audience wished Rudolf Schock now eagerly to hear once, and it was ready to bring only when press their claims in large rooms and halls. The company was not taken over by an orchestra. A single pianist at the piano was enough.

upsetting Adolf and Rudolf Schock 1959

led in this way, Rudolf Schock thousands and again thousands of people from all walks of population for the first time to the art-song approach. among them were many young people. They intended to live shock see and hear, because they knew him from his films ago. Often they had bought records with 'hits' from these films, but now they got served opera arias. Moreover they entertained Rudolf Schock - as that would be a matter of course - plenty of songs by Brahms, Schumann, Schubert and Richard Strauss. A more effective, musical education and 'emancipation of the people I can not imagine.

Rudolf Schock has provided in his life apart from all operas and operettas activities more than 300 'recitals' in about 130 cities. More than 200 art songs have been recorded on the record , of which several songs twice. The latter was accomplished with Robert Schumann's song cycle 'Dichterliebe' . Franz Schubert was shock in 1958 'The Fair Maid of Erin' on (with the renowned pianist Gerald Moore as a companion) and later in his career (1970) 'Winterreise' . The focus of the shock is Schubert recordings (80 songs), Schumann, R. Strauss, Wolf, Loewe and Brahms, but we also encounter Mozart, Cornelius, Dvorak, Tchaikovsky, Grieg and Others receiving shocks of 1975 20 'German folk songs' Brahms combines his 'art song' - Repertoire in a logical manner with about 200 'folk songs' that he fixed also.

'folk song' and 'art song'

According to Rudolf Schock had developed the 'art song' from the 'folk song'. That could be determined that way. In the past I have said, with too strict distinction between genres, we'll soon be laid in the mud. A clear boundary between Opera and operetta can not really draw, unless that one would think that the many exceptions to a - possible - usually. A sharp distinction between 'opéra comique' and 'opera seria' does not exist. An exact borderline between 'serious' or 'severe' (strange circumlocutions actually) music - and now venturing into a cultural minefield - can formulate one does not let a credible "the difference between 'low' and 'higher' art." I'm better known as 'classic' deal, at least when I conceive 'classic' as 'lasting value'. For this reason, the Jazz 'classic' has become, but I think probably that one should also say many Evergreen in the entertainment genre.

Back to the 'folk or art song'. Again it is impossible to define a border. The often-mentioned difference, the folk song is anonymous, and the art song of the result of collaboration between a composer and a poet is not true. Music and lyrics of old folk songs have / have been made as well by people. But we usually know not, by whom are these original melodies and lyrics. Text and melody were so largely passed orally or - better - more sung and thereby learned quite a few changes. Well it happened that folk songs were behind art song status (such as Brahms and his 'German folk songs') and vice versa, that art songs by composers Franz Schubert and poet Wilhelm Müller began to belong to the choir, folk song repertoire (' At the fountain in front of the gate ' or ' Wandering is the miller's joy '). Sometimes it even happened that they appeared in operettas, but that I spoke with Bert and the 'Dreimäderlhaus' already.

we consider it from the content side, the problem can be solved not satisfactory. The themes of the two species differ barely: The folk song is rooted in universal human experience: 'you' and 'I' or love happiness and suffering, the beauty of nature, the change of seasons old, familiar home in contrast to the hazy distance, children Freud and - sorry, God and the world. The more or less the same but later art song rooted in it. But the name of the composer and librettist are now well known. Music and lyrics of many art songs, however, is complicated and therefore inaccessible. Especially the latter could have led to that had become 'The art song' in the execution of practice for the 'property' a relatively select company, in a tasteful, smaller Ambience of the 'higher art' of 'song' enjoy. Actress Barbara Sukowa told in Fono Forum (April 2009) on a CD of Schumann and Schubert songs she Reindert together with the Schoenberg Ensemble and the composer / conductor de Leeuw 'as a' normal 'human being' took. She talks about her initial 'fear of the songs that they would lose a little bit because they are associations with famous voices ... Could someone like her to sing such songs well? " the end, were Sukowa and De Leeuw come to the conclusion 'these songs should be interpreted as it earlier in Schubert happened at home ... on the piano for friends ...'.

Rudolf Schock has thankfully never been asked if he could sing well 'art songs'. But there was throughout the decades, a number of art song lovers, who asked the well. They could not, Rudolf Schock as a 'song-singer' objectively counter, and I think the consequences are in shock CD repertoire today is still noticeable.

song singer Rudolf shock in the past and present criticism

shock and Stauch: Oostende 1957

Friedrich Herzfeld music reviewer, the music magazine Fono discusses Forum 1960 shocks stereo recording of Schubert 'Fair Maid of Erin' and the first two 'Liederabend' LPs, both on the Electrola ( later Emi) label. Herzfeld will open the article with the critical finding 'Rudolf Schock is sometimes not quite taken seriously' . He seeks the cause in 'of our administered world' in which we can only 'specialists' use . 'That one can do more than just the one, we consider to be impossible and also not want versatility ' .

Herzfeld condemns 'this bias' as ' as unjust as ungedeihlich'...' Rudolf Schock is a lieder singer to be taken seriously, as evidenced by the present plate '. shocks will view - Herzfeld continues - much characterized by optimism: '... the night is never quite black in him ... the silent tragedy never without consolation' . He has a 'excellent breathing technique and therefore can span wide arcs' (which facilitates the audience insight into the lyrics Content kdl). Rudolf Schock 'offers all music lovers enjoy our classic masters' . His voice has 'right in the middle right vibrato that gives full and round sound' ... There is nothing to be desired. Rudolf Schock is with the new recordings new friends .

Friedrich Herzfeld mentions another reason for the uneven reception of shock as' Lieder singer ': ' He sings (in the opinion of negative critics - kdl) for insinuating in hearts and minds of his followers, even more: his followers. The memory of his sentimental songs in the film will (these critics - kdl) not soft ' . I suspect that it comes with a kernel of truth. How good shock and sang, and how unique his achievements were: his films and were pretty quickly as 'hysterical' qualified scenes in the halls of some critics, an honest assessment of quality in the way of shocks. But who does not want to hear, can feel not. Shocks did not meet success and popularity of Attitude, which some of a reputable singer demanded. His audience also acted not according to the - unwritten - rules that have been paid appropriately for a classical concert. If such a concert also the 'art song' concerned, then as a singer celebrated nothing less than 'Da Vinci Code'. And irritated.

Even in other well-positive newspaper reviews from the fifties and then were still traces of concerns about the phenomenon of high shock. But these reviewers were easier then very quickly from shocks services and carried away the applause of fellow visitors:

Stuttgarter Nachrichten - 11/02/1955: '... no concessions to good taste .. impeccable artistic program with Handel, Schubert, Brahms and Richard Strauss does not ... as a pampered star in front of us out ... About Legend of the control register head voice and mezza voce ... in any dynamic shading ... eminently musical through and through, makes you forget the bad for the romantic and intimate song acoustics of the hall '.

New Austrian daily newspaper - 12/13/1956: 'more than a charming gentleman ... before he has even sung a note, fly him to all hearts ... Despite his youth (- KDL)), already a singer of songs rank that all he sings, thinks through and ennobled by sentiment of the heart. With the medium of his sonorous lyric tenor, he succeeds in a whole evening to delight the people to bless, uplift and depends from the haste of our day in light spheres ...'.

Hamburger Anzeiger - 10/19/1957: 'The so beloved and celebrated tenor decided not to accept success and maintained a good in every respect Attitude. In good cooperation with his sensitive piano partner Adolf Stauch, he offered a mostly serious and melancholy program with songs by Pergolesi, Gluck, Tenaglia, songs by Mozart, Schubert and Brahms .... Even in the extended encore, he settled lure not the song. The realization that even the public at large does not need to underestimate, turned ...'.

New Austrian daily newspaper - 05/18/1961: 'Rudolf Schock: the secret of the fascination is timeless ... singer that can fill the Great Hall of the Musikverein are rare, and he is able the size for the song lyrics to great glory space also have repealed: Everyone (and especially any) believe he was singing just for him (and especially just for her). A significant proportion of the effect, of course, this wonderful, lyrical timbre tenor voice. If shock Haydn's 'sympathy', 'loyalty' or Mozart's concert aria 'Misero, O sogno, o son more' sings, her gentle luster radiates into space, we see that there is nothing that would not technically met again perfect. .. by the simplicity of expression is overwhelming .. not only high intelligence of the design and sensitivity, but over all: heart! The building on Karlsplatz literally trembled at the storm of enthusiasm for the singer and his great companion Robert Wall Born '.

Passauer Neue Presse - 20/04/1967 : "His program of distinctive flavor contains mostly unknown songs, whose melody he impulsively despite noble reluctance to exploit with great artistic sense knows ... Rudolf shocks recital was a triumph of high culture and fine stability ...'.

shocks vocal possibilities in the course of the sixties Years began to change, were richly compensated by his continued growth as a performing artist. In Friedrich Herzfeld's a shock biography of 1962 (see also: 'RS in all kinds of literature' ), the author writes, you feel in shock presentation of songs, 'the bitterness expressed that he overcome his grief in the end the '. D ie 'Müller-Lieder' are no 'Winterreise', the shock in intelligent self-knowledge can not sing ' . Eight years later, however - in 1970 - will shock but Schubert's 'Winterreise' on, and he sings the bitter cycle in the concert hall. Of a (possibly presumed) optimism is in shock, then do not view the question. Opera and vocal expert Leo belt welcomes 1965 new shocks excited by Schubert and Schumann recordings on the then young record label '€ Disc'. Belt finds Rudolf shocks song interpretation got more depth. He times the songs from now in various colors. Also belt stresses breath control shocks to the intelligible content of a text on breaking the listener is so useful. Schock sings certain phrases 'with one long breath, " , as up to this moment - was done on the record rarely or never - according to the belt.

shocks song recordings by MC / LP to CD

Until recently, only some (Art) songs, sung by Rudolf Schock, available on CD. The most important cause is the Imago issue that has followed the singer all his life: the - demonstrably false - imago of the 'only opera singer' and the confusing tangle of prejudices, which this Imago was long caught.

We now however have the technical means by which old records and MCs can be transferred to CD. Shock admirer've been doing this a few years. But now catching and professional CD producers in to use this opportunity to fill the gap in shock-songs musical heritage:

In 2008, dedicates the CD label 'membrane' of their -10CD Box ( '. membrane / Documents Order No. PC 232 541 321') one of the ten CDs in large part to the 'song-singer Rudolf Shock (for more information see:' RS on CD '). The technical quality of the copies is changing, but taken in the whole satisfactory. Especially the four Richard Strauss orchestral songs (Stereo), listening to brilliant.

CD label 'Gala' makes 2009, a major step: collecting 'old records and MCs' and thus represents a 4CD box including nearly all art songs from shocks Emi repertoire together (GL 100 672). My joy about this issue but is tempered by the lean quality of the digital remastering Mon0 (more Informataion 'on RS CD' below). A final sound at perfect publication of shocks Emi-track recordings, which was then in great part released in stereo remains were, so necessary!

***** *

'YouTube'
recently had to listen to Internet site 'YouTube' Rudolf Schock as a lieder singer. The excellent sound quality of the three sung by him proved R. Strauss songs that good Source material means available. As for singing shocks: the last sentence of Friedrich Herzfeld's board meeting of 1960 is to once again present: 'There is nothing to be desired, Rudolf Schock ... will find new friends' . Such as YouTube visitors' Libro07 ' (32 years old) from Canada: ' These are very strong performances ... superb lyrical line here ... spinto (= impressive dramatic qualities) intensity. dynamics .. perfect ... excellent taste ... one of the greatest tenors of the 20the century ... he is far too little known internationally ' or the 25-year-old' White Profundo ':' Apart from the best German tenor Fritz Wunderlich ... ... magnificent feeling terrific-winged vibrato ... this love of music ... truly a pleasure '. A resident (45 years old) from Australia admits: 'Had tears in my eyes, listening to the' , making the Strauss song ' morning' is meant.

the Internet has already (including on the occasion of new CD recordings of famous singers and Talks in the Austrian Tamino Forum), the interest in Rudolf Schock in the last decade greatly increased. Of course, it is especially for his operas and operetta recordings, but I would not be surprising if the 'Lieder singer Rudolf Shock will soon be back on the agenda. For the time being I have been pleasantly surprised to read that a Fischer-Dieskau's admirers (Ralph Kickinger) of all Schubert against the expression and dynamics of Dietrich Fischer-Dieskau on the most beautiful place, 'except perhaps Rudolf Shock . And someone said, under the pseudonym of 'Siegfried': 'Soulful know I Müller-songs not sung by Rudolf Schock '.

summary, I dare myself to the thesis, Rudolf Schock take up a remarkable, perhaps most extraordinary place in the performance practice of the art of song. How 'Time magazine wrote: ' shock is approaching any kind of music very open and uninhibited naturalness of ' . I myself would like to add: He all music can be in form and substance fully come into their own and each is self-satisfaction and contrived, so unnecessary nuance averse . Bernhard Künzel (magazin.klassik.com) formulated on 28 March 2007 in respect of its 'Zauberflöte'-criticism: ' ... with an unerring instinct for the theatrical effectiveness of vocal interpretation. Shock not only articulates well, he also thinks what he sings. This capability to generate awareness, an inseparable, sensible unity of music and text that makes his later career in the entertainment genre, and as an interpreter of folk songs of course '. I fully agree, but would like to add additional still have this ability during his entire singer life and its unique level than 'Art-song singers' determined.

with excellent piano partner

with Adolf Stauch

In the bound edition of shocks web, there are detailed records of shocks immense repertoire on stage Platform and record (a French critic remarked the other day, they could be 'like a complete music encyclopedia' read). The accompanying text mentions between nine piano partner of shock: Hertha chasm, Werner Baer, Dr. FW Donat, Ivan Eröd, Prof. Victor Graef, Hellmut Hidégethi, Dr. Adolf Stauch, Robert Wall Born and Günther Weissenborn. This list is far from complete: I miss anyway the name of Gerald Moore ( 'The Fair Maid of Erin' ), Erhard Michel (four songs by Tchaikovsky) and Herbert Heinemann ( 'Five Chinese Songs' by Hans Ebert).

shock occurred in de period 1947-1960 mostly with Dr. Adolf Stauch (1903-1981) . From the end of 1962, cooperation began with the then 26-year-old Ivan Eröd (1936) .

Ivan Eröd:

After de m 1974 has played often in addition to shock Hellmut Hidégethi . Mostly with compression and shock Eröd made his song recordings for the record. About Adolf Stauch that filled shocks since 1937 in a major life role, there are texts on Rob Brinks van Rudolf Schock site ( http://www.rudolfsc hock.nl / ). information about the composer and pianist Ivan Eröd be found on the site ' http://www.ivan-eroed.at/ ' and via this blog under 'RS sings Alban Berg'. With the concert pianist Hellmut Hidégethi, who accompanied on the record in shock German folk song-cycle of Brahms made, Rudolf Schock in 1974 by the piano lessons his daughter Dagmar acquaintance.

with Hellmut Hidégethi 1978

Johannes Brahms (1833-1897)

The young Brahms in 1853

Even as a ten-year, Hamburger child prodigy, he performed as a pianist. A few years later he played in harbor bars. Then he made concert tours, often as a piano partner of the Hungarian Geiger Reményi. He met Liszt and Schumann, has been active as a choral conductor, and began to compose it, in which it took most of 'his' piano as a starting point. But Brahms came home in an artistic isolation. fellow composers such as Anton Bruckner and Richard Wagner critical of his work, and also Franz Liszt could find no pleasure in it. Although Brahms known to traditional forms of music, yet he turned into a different direction rhythmically he deviated from the mainstream, and the unusual height differences between simultaneously or directly one after the sung and played notes (interval combinations) were many not easy on the ear. But Bruckner, Wagner and Liszt did not see that Brahms was ahead of his time. He became a role model for younger composers, and soon set the key to the music of the twentieth century. sings

Rudolf Schock Johannes Brahms

My Brahms / shock-collection has 34 of LP to CD copied Brahms-Lieder: 12 'art songs', 20 'folk songs' and 2 'popular children's songs'. Rudolf Schock recorded these songs in three moments of his career: 1959 to Adolf Stauch, 1965 and 1966 and 1975 with Ivan Eröd Hellmut Hidégethi. Changes in the voice are in the progress of the annual inevitable: in 1959, sings shock the short, überrumpelnde song 'Homecoming' , the weltbestürmenden character under, with full, strong voices me: everything must give way to return the lover to be. In the recordings from the year 1966 we can not escape a single sound forced, and 1975 of decreasing vocal flexibility the then sixty years old singer. But these are comments which do not change the admirable result. You make such a remark in the event that someone does not want to hear / can, as ideal Rudolf Schock 1975 example, the 'German Folksongs' actually running. It then says something in order not to 'selectively deaf' to work.

As for the 'German Folksongs' , consider the following: Brahm leaves untouched the old songs and respects their dialect: ' I love Low German. For me this is not a language, but the heart, the spoken '. The ko mpositorische value of folk songs is in the piano arrangement. These arrangements are the binding factor - individual songs to forge a new musical unit - along with the solo voice. One has the impression that the melancholic character of the songs had been accentuated by this unit. After I choose the 20 shocks 'German Folksongs' had heard several times, I got more and more the feeling that they have actually heard a complete song cycle, which starts very tragic. At first the songs speak of infatuations and love with all its predictable ups and downs. But once 'is' in the wistful 'Down there in the valley' 'au probably a bissel falsity of it' . Always more doubt arises ( "Then I will be fresh and happy, I trust me to succeed's' ). And then the singer will 'always remain in the wild' but at the same time we hear that he was afraid of being cheated. All of a sudden 'hate' he the girl who loves the one soon, then the other and therefore probably 'from Flanders (?)' to be. The penultimate two songs are again unreliable, what one should be careful (Warden you up! "), and the personification of nature, which the singer is the complaints about the 'lost love aside. In the last song: 'In the dead of night, the first sergeant' remains a desperate lover in painful loneliness: 'untergon The beautiful Sun will ... No bird song sound even more joy. Only the stars 'want to cry with me' and 'the wild animal traur'n with me in rocks and in crevices' . The cycle end, I feel as so shocking that I tend to make a comparison with the famous, the other end, which Franz Schubert 'Winterreise' closes. The emotion, the 'In stiller Nacht' evokes, surely has to do with the fact that this was originally a folk song 'mourning song of the necessity of Christ on the Mount of Olives in the Garden' is . This lonely lament on the suffering Jesus on the hillside of the Mount of Olives in the Garden of Gethsemane the way, is not anonymous. From this text we now know that he was the priest / poet Friedrich Spee von Lange field (1591-1635) written. From Folk Song to Art Song: it is obviously only a very small step.

Krijn de Blank, 07/01/2009