Schubert, Winterreise, D911, Nr. 6: Wasserflut, Nr. 7: Auf dem Flusse

Here is our continuation of the complete recording of Schuberts Winterreise. Nr. 6 "Wasserflut" and nr. 7 "Auf dem Flusse". Only few Songs are missing to complete the cycle.

Comments are appreciated!

The videos contain exactly the audio track of the mp3-files:
(Schubert, D911, Nr. 6: Wasserflut)
(Schubert, D911, Nr. 7: Auf dem Flusse)

 

Hello Andreas,
Beautiful renditions, as usual !

In Wasserflut, I see you are not playing the first sixteen-note chord at the same time as the third eighth note of the RH. Rather your LH falls just between this third eighth note and the next quarter note. Mathematically, we should hear a 3/4 division (3 at RH, 4 at LH), which I used to do. Actually, I have just checked what Fisher-Diskau does (or his pianist, in fact): he plays LH and RH at the same time, which means that he interprets the dotted eigth note/sixteen note pattern as a triplet including one quarter-note and one eight note.
This choice is quite important because the question appears all along the song. I don't know what is the best choice, but when I hear the master Fisher-Diskau, it seems maybe more natural...

Auf dem Flusse is convincingly rendered. Perhaps I would suggest to have a more stable tempo, and more dynamics within the blocks of sixteen-notes repeated chords, which are written crescendo then decrescendo. Finally, the high notes of the singer are sometimes a little shouted, while Schubert is proposing an ossia at a lower level (at least in my Peters edition).

Therefore it turns out that when you check the recordings with the score, you find many nitpiccking points ! But on the whole, very nice recordings... Congratulations !

 

@Didier: Thank you!
@Francois: I choosed the "mathematical" interpretation with intention, playing the dotted rhythm as such and the eighth as such. I have no opportunity to listen to my recording right now, but I think have done that properly.
If Schubert would have wanted both hands in triplets he would have written triplets
in both hands. So I dislike Dieskaus manner to do it. Not all has to be good only because Dieskau did it. ( But I appreciate his recordings.)
I also think I did the prescribed dynamics in the sixteen chords.
The only point I admit is that Michael is not the best in the high tones. It's not easy for him, but he is working on that. (He is not a professional singer,but clarinetist.)

 

Andreas, do you agree that you are playing as in the second measure of the attached file, although Schubert wrote as the first one ? So the mathematics are not exactly the same...

 

Hi Francois,
thanks for your effort, but in your second measure is a mistake: the first note should always be an eighth, not a quarter. So did I play as far as I remember. Since I write from a camping with a very bad wlan, I have no chance to relisten to my recording in this moment. When I will be back at home, I will relisten and see, if I have played thd "mathematical" version exactly.

 

Or did you mean I played it in a double dotted manner instead of normally dotted?