Robert Fürstenthal: Songs and Ballads of Life and Passing
Robert Fürstenthal, born in 1920, took the path of many Viennese Jews when Germany invaded and fled to the United States, where he made his living as an accountant; the fact that he had written a few songs in his youth was soon forgotten. The rediscovery, after 35 years, of the woman who had been his first love rekindled not only that flame but also his urge to compose, and songs – achingly lovely songs, laden with an autumnal sense of loss – flowed from his pen from that moment, preserving the spirit of fin-de-siècle Vienna under the Californian sun. He died in November 2016, aged 96, as this album was in preparation, knowing that some of his many songs had at last been recorded and were about to find their audience.
Rafael Fingerlos, baritone
Sascha El Mouissi, piano
Listen To This Recording:
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Spätlese
- Vol. I: No. 8, ‘Liebeslied’
- Vol. II: No. 10, ‘Aber ich seh dich ja nicht’
- Vol. IV: No. 5, ‘Reiselied’
- Vol. V: No. 4, ‘Einmal’
- Vol. III: No. 4, ‘Der Tag der weissen Chrysanthemen’
- No. 14, ‘Herbst’
- No. 8, ‘Es braust mein Blut’
- No. 11, ‘Auf meines Kindes Tod’
- No. 9, ‘Ergebung’
- No. 7, ‘Seeliges Vergessen’
- No. 2, ‘Der Abend ist mein Buch’
- No. 16, ‘Schlussstück’
- Vol. I: No. 3, ‘Auf einer goldenen Flöte’
- Vol. III: No. 5, ‘Advent’
- Vol. I: No. 5, ‘Notturno’
- Vol. I: No. 10, ‘Terzinen über Vergänglichkeit’
- Vol. III: No. 6, ‘Träume’
- Vol. III, No. 7, ‘Sleep now’
- Vol. II, No. 1, ‘O Cool’
- Vol. VI: No. 1, ‘An F’
Lieder und Balladen vom Leben und Vergehen
Spätlese
Songs after Poems by James Joyce
Spätlese
First Recordings
MusicWeb International :
‘It has been a been a privilege to get to know these songs and I will certainly return to them when out of reviewing duties. The young baritone Rafael Fingerlos is a congenial interpreter of them with his beautiful lyric voice and his sense for nuances. He is expertly accompanied by Sascha El Mouissi. There are valuable biographical notes by Françoise Farron-Fürstenthal, an illuminating article by producer Michael Haas on ‘Exile, Identity and Music’ and a musical analysis of the songs by Professor Erik Levi. A fascinating insight into the world of Robert Fürstenthal.’
—Göran Forsling, MusicWeb International
Online Merker :
‘Es sind weitgehend tonale Lieder von tiefer Stimmung, denen der schöne, große, warme Bariton von Fingerlos die wahren „Schwingungen“ verleiht. Der israelische Pianist Sascha El Mouissi begleitet unendlich gefühlvoll – und das ist ja auch das Grundelement dieser Werke. Es sind vor allem traurige Texte und traurige Stimmungen. Ob Fürstenthal nun so richtig „entdeckt“ wird (denn die meisten Werke entstanden ja in den letzten Jahrzehnten in den USA, sind also nicht vergessen, sondern nur nicht gekannt), sei dahingestellt. Aber wer immer sich einen seiner Zyklen in ein Liederabendprogramm hinein nimmt, findet wirkungsvolle Werke vor, an denen man Stimmschönheit und tiefes Gemüt demonstrieren kann.’
English translation:
‘These are largely tonal songs of profound emotion, to which Fingerlos’ beautiful, rich, warm baritone lends true resonance. The Israeli pianist Sascha El Mouissi provides an infinitely sensitive accompaniment – and that is indeed the fundamental element of these works. They are primarily melancholy texts and melancholy moods. Whether Fürstenthal will truly be “discovered” (since most of his works were composed in the USA in recent decades and are therefore not forgotten, but simply unknown) remains to be seen. But anyone who includes one of his cycles in a recital program will find powerful works in which to demonstrate vocal beauty and deep emotion.’
—Renate Wagner, Online Merker