This book, compiled by one of the greatest lieder performers of our time, is an extensive anthology of lieder texts from mid-18th century (Haydn, Gluck) to the first half of the 20th (Shoeck, Hindemith), with the vast majority placed in the heart of Fisher-Dieskau expertise - the romantic lieder: over 150 of Schubert's songs, most of Schumann's, and then Loewe, Cornelius, Brahms and many more. Important cycles by Beethoven, Schubert, Schumann, Wolff, Mahler etc. are given in their entirety. The translation, even though it does not preserve the rhyme, does preserve the line structure and serves its purpose to the fullest. English texts (W. Scott, W. Shakespeare etc.) used by composers in their German translation, are "back-translated" to English, rather than presented in their original form. The texts are alphabetically organised, and in addition to the poet's (or translator's) name, the names of (in most cases) all composers who wrote music to the text are given. There are 3 useful indices - one by author, one by composer and one general index. In the interesting introduction to the book, Fischer-Dieskau briefly sketches the history of the artistic song from his own very interesting point of view. And here one has to realise that this is indeed a personal anthology made by a great performer of the German Lied. Most of the texts, with very few exceptions, are originally in German, or used by the composers in their German translation. If the text is not in German, as in the case of Carpani's "In Questa Tomba Oscura", it is there since it is set to music by Beethoven, or Tchaikowski's setting for the Scottish ballad "Edward" is in the book probably just because he used the German translation... This book can not replace much needed books that are not available, such as the entire corpus of Schubert's song texts, in the way that Norton's anthology of English literature can not replace the complete writings of the authors that appear in the collection. The texts are not annotated, something that would be welcome in a more reference-type book. However, for whoever is interested in the German lied, this is an essential and extensive anthology, accompanied by very good translations and very well organised. PS - now someone should come up with a French equivalent...

offers english (poetic not literal) translations of many german lieder texts neglected in other resources such as "word by word translations of songs and arias." indespensible resource for singers, pianists, and others interested in lieder who do not speak german. includes the greater portion of texts set by Schubert, Wolf, Schumann, etc. also includes texts set by more modern or obscure composers, e.g. Peter Cornelius, Clara Schumann, etc. a book that needed to be written.

Suppose for a moment that we were able to travel back in time to the latter part of 19th century Germany. If we could do this, we would find an up and coming philosopher by the name of Friedrich Wilhelm Nietzsche who has recently befriended an aging composer; Wilhelm Richard Wagner. Thanks to Dietrich Fischer-Dieskau, we are able to make this impossible journey and breathe the crisp German air alongside this philosopher & composer.

The correspondence and friendship that developed between these two intellectual and artistic giants is examined in great detail by Fischer-Dieskau. We learn of their mutual love and admiration. We're let in on the jealousy that each of these egoists had for the other. Wagner would have liked to have been remembered as a great philosopher as well as a great composer. Nietzsche, likewise, would have liked to have been known to posterity as a great composer as well as an influential thinker.

Unfortunately, things did not work out that way. Fischer-Dieskau relays for us the letters of rejection that Hans von Bulow sent to the philosopher; the insults that ended Nietzsche's musical ambitions altogether. As a sidenote you can get some of Nietzsche's piano works @ Amazon.com...P>This is an opportunity to explore a friendship that is every bit as fascinating as that between Beethoven & Goethe. All of the intrigue of the famous splitting up & subsequent animosity, the wonderful discussions about Schopenhaur as well as Nietzsche's infatuation with Cosima Wagner - all if it is included in this biographical work. Anyone who has an interest in either of these men will benefit a great deal by reading this book.

This is a somewhat uneven accounting of Fischer-Dieskau's life. I was fascinated to read about his childhood and his experiences during the Second World War. Maybe I missed something, but there was precious little information about how he developed his voice and unique singing style. I'm not sure if it's a function of the translation, but the tone of the narrative is dry, emotionally detached, and matter-of-fact. We are asked to accept his recounting of events as they are with little explanation; "this is what happened" is all we hear. Singers and fans of Dieskau will want to have this book, but it's not great writing.

This book of memoirs provides valuable insights into the mind and personality of Fischer-Dieskau for those who are willing to read between the lines. It really consists of *two* books: a fairly brief recounting of the singer's early life, and a series of recollections of people (conductors, composers, pianists, other singers) with whom the singer worked during his long career. The revelations of self come mainly in F-D's reactions to the people and events that he experienced. The reader is never allowed to penetrate the wall of privacy that surrounds the author, but his seriousness about his art, his joy in collaboration with other artists, his curiosity, his humor, and his surprising insecurity come through very clearly. One major stumbling block is that the recollections are not presented chronologically but rather topically and almost in chains of associations. This makes reading somewhat difficult but also gives insights into how the author thinks. The other problem is the very pedestrian and error-ridden translation. Nevertheless, the book is invaluable for anyone who wants to understand more about the rebuilding of musical and artistic life in Germany after World War II.

What a bore this book is. No sense of style (welll, it's a translation after all). No sense of narrative line. Just facts printed on the page. If you want the facts, here they are. I'd suggest you wait for the movie.

Despite nearly 50 years of performing before the public, Dietrich Fischer-Dieskau has remained a rather mysterious figure, and this biography does nothing to change that impression. The more one seeks the private Fischer-Dieskau, the more he retreats behind a preoccupation, more accurately, an obsession with art. On the other hand, as this biography confirms, no one has made the essence of what he is more evident and accessible than Fischer-Dieskau. Neunzig traces the development of F-D the artist, pursuing the influences and events that shaped one of the most talented and controversial musical performers of the 20th century, and he makes it clear that the conflicts and contradictions were there from the beginning, that they are, in fact, the forces that drive him. This book has a lot to offer those who know relatively little about F-D and are willing to put up with its reverential tone, which hasn't exactly been diminished by the equally effusive translation of Kenneth S. Whitton. However, if what you want is a serious, scholarly consideration of how Fischer-Dieskau became the man and artist he is, you are doomed to disappointment. Natterings about genius, no matter how flattering, just aren't sufficient.