Ru
EnE. Ponomareva
S. Richter in ensemble with D. Fischer-Dieskau: the inimitable “unity of opposites”
The article is devoted to one of the most interesting pages in musical-performing activity by S. Richter as accompanist namely duo concert performances with the greatest chamber singer of the 20th century D. Fischer-Dieskau (1925–2012). The researcher calls up the chronology of the mentioned performances and concomitant studio records during 1965–1982, views the geography of the concert tours and the repertoire of the famous duet. (This repertoire included about one hundred of Lieder by the great composers of the Romantic Age – F. Schubert, J. Brahms, H. Wolf.) The critical reviews of Russian experts to the concert performances of D. Fischer-Dieskau and S. Richter in Moscow (1977) are adduced and compared with memoir notes by the singer (from his book “Repercussions of the Past”) and journals by Richter to be published posthumously. Hence the distinctions between individual concepts of the modern chamber vocal performing art appertained to each of the duo participants are revealed and commented. Thus D. Fischer-Dieskau embodies himself the successive connection with traditional interpreting of Lied as “musicalized Word” to be represented to the highest degree by the vocal part. According to this interpretation some artistic idea by composer in the named genre realizes mainly by singer. For the latter, any accompanying pianist (independently of his professional level of mastership and artistic individuality) is only the worthy “partner” and companion. On the contrary, S. Richter’s opinion is characterized by the evident or veiled domination of “musical basis” which regulated the vocalinstrumental composition by means of the through “natural rhythm”. It means the actual “equality” of the both components, Music and Word, in the artistic integrity of Lied. Owing to this fact, song chef-d’oeuvres of the Romantic Age are perceived as some analogues of chamber instrumental works in 19th century. As the author of the article thinks, uniqueness of examined “unity of opposites” is predetermines far from unprecedented long period of artistic collaboration between D. Fischer-Dieskau and S. Richter but the highest artistic achievements by the mentioned duet to be entered the treasurehouse of the world chamber vocal performing art.
Key words
S. Richter, art of accompanying, D. Fischer-Dieskau, chamber vocal performing art, Austrian and German Lied of the 19th Century, F. Schubert, J. Brahms, H. Wolf.
For citation
Ponomareva E. S. Richter in ensemble with D. Fischer-Dieskau: the inimitable “unity of opposites” // South-Russian Musical Anthology. 2021. No. 2. Pp. 118–125.
