Gerhard Husch;  Hans Udo Muller  -  Die Schone Mullerin      (Hanssler 94.506)
Item# V1376
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Gerhard Husch;  Hans Udo Muller  -  Die Schone Mullerin      (Hanssler 94.506)
V1376. GERHARD HÜSCH, w.Hanns Udo Müller (Pf.):  Die Schöne Müllerin (Schubert), recorded 1935;  An die ferne geliebte (Beethoven), recorded 1937.  (Germany) Hänssler 94.506. Final Sealed Copy! - 4010276016762

CRITIC REVIEWS:

“In the 1930s Gerhard Hüsch (1901-1984) occupied a position among German lieder singers akin to that of Dietrich Fischer-Dieskau in the 1950s and '60s. Today he's considered the exemplar of a style of singing that went out of fashion with the arrival of Fischer-Dieskau, his polar opposite. To oversimplify, Hüsch's main concern was with the music, using vocal colors, legato, and other bel canto means to convey meaning and emotions, while Fischer-Dieskau focused on the text, emphasizing words - and later, syllables - to communicate a song's message.

Hüsch's version of Schubert's DIE SCHÖNE MÜLLERIN features the natural quality of his singing, less sophisticated and nuanced than his successor's but done in a gorgeous, flexible baritone….Hüsch could more vividly portray the miller's ecstatic joy in ‘Mein!’ when singing that the maiden is his. But such misgivings are dispelled by the rest of the cycle. In songs like ‘Wohin?’ and ‘Der Neugierige’ Hüsch uses his wide variety of colors and a range that covers the gamut from light, tenorish timbres to resonant baritone. In ‘Die liebe Farbe’ he indicates the miller's despair and thoughts of death solely through the voice, all the more moving for its understatement. Hüsch also can touch the emotions with an infinite number of subtle tempo and dynamic variations, as can be heard in the final stanzas of ‘Die Müller und der Bach’.

Hännsler adds Beethoven's ‘An die ferne Geliebte’ to fill out the disc, a welcome addition for Hüsch's forthright rendition, yet another example of his ‘art that conceals art’….the transfers have plenty of presence and virtually no surface noise, so sonics should be no bar to enjoyment.”

- Dan Davis, Classics Today.com





“Gerhard Hüsch (2 February 1901 – 23 November 1984) was one of the most important German singers of modern times. A lyric baritone, he specialized in Lieder but also sang, to a lesser extent, German and Italian opera. Between 1925 and 1944, he was engaged to sing regularly in Berlin (most significantly at the Berlin State Opera) and at several other leading opera venues in Germany and Austria. Such important overseas theatres as The Royal Opera House, Covent Garden, London, and La Scala, Milan, heard him sing during the 1930s, when his international reputation attained its peak. He partnered many of Germany's best sopranos, mezzo-sopranos, tenors and basses of the inter-war years, while Bruno Walter completed a triumvirate of lastingly famous conductors with whom he appeared (the others being, as we have seen, Toscanini and Beecham).

Lacking the sheer vocal amplitude of his heroic baritone contemporaries Hans Hotter and Rudolf Bockelmann, Hüsch concentrated instead on investing his singing with an unfailingly smooth line, a rounded tone and beautifully lucid diction in the manner of a celebrated German lyric-baritone rival, Heinrich Schlusnus, who was his senior by 13 years. Nowhere were these exemplary vocal qualities better displayed than in his pioneering, pre-war, 78-rpm Lieder records. On close listening, recordings show that Hüsch chose to intentionally 'under-sing', never pushing his upper register or inflating his tone beyond the limits of its natural resonance.

After World War II, Hüsch, whose political naïveté during the Third Reich (and, in particular, his closeness to Rosalind von Schirach, the sister of prominent Nazi Baldur von Schirach) was unlikely to endear him to the victorious Allies, mostly abandoned concert and operatic appearances, preferring to concentrate on teaching.

In 1977 through to 1981, Hüsch taught at the Indiana University School of Music in Bloomington, Indiana, where his private studio was small. During his three years in Bloomington, he offered students a seminar in Lieder interpretation for three days each week. Hüsch paired select singers and pianists in specific repertoire from Mozart and Beethoven to Kilpinen and Pfitzner.

Following Bloomington and a few guest masterclasses at University of Texas at Austin, he accepted a teaching post at University of Colorado Boulder for the 1982 academic year.

In 1984, at the age of 83, he died in Munich.”

- Ned Ludd