Notes and Editorial Reviews
BARRY McDANIEL SONG RECITAL
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Barry McDaniel (bar); Hertha Klust, Aribert Reimann (pn); Eberhard Finke (vc); Karlheinz Zoeller (fl)
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AUDITE 23.426 (2 CDs: 136:14
original languages only)
SCHUBERT
Der Winterabend. Herbst. Daß sie hier gewesen. Der Einsame. Fahrt zum Hades. Der Jüngling und der Tod. Sprache der Liebe; Fischerweise. Über Wildemann. Aflösung.
SCHUMANN
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6 Poems and Requiem.
Nachtlied. Der Spielmann. Verratene Liebe. Ziguenerliedchen I & II. Provençalisches Lied. Mein schooner Stern. Aus den hebräischen Gesängen. Ihre Stimme.
WOLF
An eine Aeolsharfe. Heimweh. Lebe wohl. Nimmersatte Liebe. Der Tambour. Abschied.
DUPARC
Chanson triste. Lamento. Le Manoir de Rosamonde. Extase. Soupir. Phidylé.
RAVEL
Chansons Madécasses.
DEBUSSY
Le Promenoir des deux amants
Barry McDaniel was an American baritone who, like many classical singers of his generation, found it more congenial (and possibly easier) to make a career in Europe and, in his case, particularly Germany. He gave numerous Lieder recitals and opera performances in Stuttgart, Karlsruhe, Hanover, Brunswick, and Berlin, and appeared at least once (in 1964) at Bayreuth as Wolfram in Wieland Wagner’s production of
Tannhäuser.
Yet he, like so many other baritones both domestic and foreign who sang Lieder, toiled in the shadow of Dietrich Fischer-Dieskau. This two-CD recital hopes to set things straight by issuing recordings which McDaniel made in German radio studios between 1963 and 1974.
At least in the Schubert and Schumann, his singing is exquisitely rounded and well finished in phrasing, his general interpretations sensitive and beautifully articulated, yet he makes very little vocal contrast in these songs. This places his singing into the “very good but not great” category, similar to Heinrich Schlusnus, Herbert Janssen, and Gerhard Hüsch. It is not on the higher level of such pioneers as Karl Erb or Alexander Kipnis, or the more acted-out form of Lieder singing that came to fruition right after World War II in the styles of Fischer-Dieskau, Souzay, or Hotter.
It is a subtle distinction, and not every listener may feel the same way I do. It’s the difference between telling a story (the old school) vs. acting out the words (new school). Particularly in the older style of French
chanson,
the singer was neither expected nor permitted to interpret the lyrics; one was simply supposed to sing them, musically but objectively, and allow the listener to add his or her own interpretation. Souzay was the first French-speaking singer to dare to perform
chansons
in the same manner as Lieder, and it caused quite a sensation in postwar France. I will say this much, however, that McDaniel learned his vocal and musical training from Mack Harrell very well. Harrell was much the same kind of singer, a warm, creamy baritone with a darkish timbre who gave generally fine interpretations of everything he sang. There is one song here that I happen to know very well from an archive recording by George Henschel, Schumann’s
Lied eines Schmiedes
. Henschel takes it at a walking tempo, not too fast but much quicker than McDaniel and Hertha Klust, and it was not rushed for the 78-rpm disc because the song is only about a minute long.
But then we turn to CD 2, most of which was recorded in 1973–74, and one immediately discerns growth in his interpretations. There is more detail here, more attention to the text in terms of speaking
as
the character rather than speaking
for
the character. (In opera, but also to some extent in songs, the catalyst for this whole paradigm shift was Feodor Chaliapin.) Also, possibly because of the clearer sonics, McDaniel’s high range comes across much brighter, which allows him to make a more effective contrast in vocal timbre as well as wordplay. I also think that perhaps his experience around this time singing Pelléas in Debussy’s opera also helped him rethink some of his
chanson
and Lied interpretations. In any case, he does bring the Lieder singer’s gift for word-painting to his performances of Duparc and Debussy, also recorded around 1973–74—listen to the way he floats the soft high note in
Phidylé
, then the open brightness of his tone in the louder passage immediately following it. Sandwiched between these composers’ songs is Ravel’s fascinating
Chansons Madécasses
in a performance given in 1966, and here, again, there is a duller sound up top. I’m still not certain if it’s his voice placement, the recorded sound, or a combination of both. Yet because of the stronger rhythmic pulse of “Nahandove,” he responds more tellingly at times to the words. Perhaps this was a difference he felt between Lieder and
chansons?
Yet his 1973 performance of Wolf’s
Abschied
is also stronger in rhythm, better in interpretation, and much more open in voice production, so it might be a combination of better sound and a different approach. Or perhaps it was his accompanist from 1966 on, Aribert Reimann, who spurred him on to even greater interpretations?
A split review, then: CD 1 good, CD 2 great. It makes one’s decision to acquire the set difficult, but this is one of the greatest performances of the French material, and particularly the
Chansons Madécasses,
I’ve ever heard.
FANFARE: Lynn René Bayley
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Works on This Recording
1.
Über Wildemann, D 884/Op. 108 no 1 by Franz Schubert
Performer:
Barry McDaniel (Baritone),
Hertha Klust (Piano),
Aribert Reimann (Piano)
Period: Romantic
Written: 1826; Vienna, Austria
2.
Sprache der Liebe, D 410/Op. 115 no 3 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1816; Vienna, Austria
3.
Herbst, D 945 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1828; Vienna, Austria
4.
Fischerweise, D 881 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1826; Vienna, Austria
5.
Fahrt zum Hades, D 526 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1817; Vienna, Austria
6.
Der Winterabend, D 938 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1828; Vienna, Austria
7.
Der Jüngling und der Tod, D 545 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1817; Vienna, Austria
8.
Der Einsame, D 800 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1825; Vienna, Austria
9.
Dass sie hier gewesen, D 775/Op. 59 no 2 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: ?1823; Vienna, Austria
10.
Auflösung, D 807 by Franz Schubert
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1824; Vienna, Austria
11.
Le promenoir des deux amants by Claude Debussy
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1904-1910; France
12.
Chansons madécasses by Maurice Ravel
Performer:
Barry McDaniel (Baritone),
Eberhard Finke (Cello),
Karlheinz Zoeller (Flute)
Period: 20th Century
Written: 1925-1926; France
13.
Soupir by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1869; France
14.
Phidylé by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1882; France
15.
Le manoir de Rosemonde by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1879; France
16.
Lamento by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1883; France
17.
Extase by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: France
18.
Chanson triste by Henri Duparc
Performer:
Barry McDaniel (Baritone)
Period: 20th Century
Written: 1868; France
19.
Myrthen, Op. 25: no 15, Aus den hebräischen Gesängen by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1840; Germany
20.
Minnespiel, Op. 101: no 4, Mein schöner Stern! by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1849; Germany
21.
Lieder und Gesänge iv, Op. 96: no 1, Nachtlied by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1850; Germany
22.
Lieder Album für die Jugend, Op. 79: no 7b, Zigeunerliedchen II by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1849
23.
Lieder Album für die Jugend, Op. 79: no 7a, Zigeunerliedchen I by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1849
24.
Lieder (5), Op. 40: no 4, Der Spielmann by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1840; Germany
25.
Gedichte (7), Op. 90 by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1850; Germany
26.
Des Sängers Fluch, Op. 139: no 4, Provençalisches Lied by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1852; Germany
27.
Lieder (5), Op. 40: no 5, Verratene Liebe by Robert Schumann
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1840
28.
Mörike Lieder: no 9, Nimmersatte Liebe by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
29.
Mörike Lieder: no 53, Abschied by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
30.
Mörike Lieder: no 5, Der Tambour by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
31.
Mörike Lieder: no 37, Heimweh by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
32.
Mörike Lieder: no 36, Lebe wohl by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
33.
Mörike Lieder: no 11, An eine Äolsharfe by Hugo Wolf
Performer:
Barry McDaniel (Baritone)
Period: Romantic
Written: 1888; Vienna, Austria
Sound Samples
Dass sie hier gewesen, Op. 59, No. 2, D. 775
Der Einsame (The Solitary), Op. 41, D. 800b: Der Einsame, Op. 41, D. 800
Der Jungling und der Tod, D. 545b (2nd version)
Sprache der Liebe, Op. 115, No. 3, D. 410
Fischerweise, Op. 96, No. 4, D. 881b
Uber Wildemann, Op. 108, No. 1, D. 884
6 Gedichte und Requiem, Op. 90: No. 1. Lied eines Schmiedes
6 Gedichte und Requiem, Op. 90: No. 2. Meine Rose
6 Gedichte und Requiem, Op. 90: No. 3. Kommen und Scheiden
6 Gedichte und Requiem, Op. 90: No. 4. Die Sennin
6 Gedichte und Requiem, Op. 90: No. 5. Einsamkeit
6 Gedichte und Requiem, Op. 90: No. 6. Der schwere Abend
6 Gedichte und Requiem, Op. 90: No. 7. Requiem
Lieder und Gesange, Book 4, Op. 96: No. 1. Nachtlied
5 Lieder, Op. 40: No. 4. Der Spielmann
Lieder-Album fur die Jugend, Op. 79 (text by E. von Geibel): Lieder-Album fur die Jugend, Op. 79: No. 7. Zigeunerliedchen I-II
5 Lieder, Op. 40: No. 5. Verratene Liebe
Des Sangers Fluch, Op. 139: No. 4. Provenzalisches Lied
Minnespiel, Op. 101: No. 4. Mein schoner Stern!
Myrthen, Op. 25 (text by L. Byron): Myrthen, Op. 25: No. 15. Aus den hebraischen Gesangen
Lieder und Gesange, Book 4, Op. 96: No. 3. Ihre Stimme
Gedichte von Eduard Morike: No. 11. An eine Aolsharfe
Gedichte von Eduard Morike: No. 37. Heimweh
Gedichte von Eduard Morike: No. 36. Lebe wohl
Gedichte von Eduard Morike: No. 9. Nimmersatte Liebe
Gedichte von Eduard Morike: No. 5. Der Tambour
Gedichte von Eduard Morike: No. 53. Abschied
Chanson triste (version for voice and piano)
Phidyle (version for voice and piano)
Chansons madecasses: No. 1. Nahandove
Chansons madecasses: No. 2. Aoua!
Chansons madecasses: No. 3. Il est doux
Le promenoir des deux amants: No. 1. Aupres de cette grotte sombre
Le promenoir des deux amants: No. 2. Crois mon conseil, chere Climene
Le promenoir des deux amants: No. 3. Je tremble en voyant ton visage
Customer Reviews
Average Customer Review: 
( 1 Customer Review )
McDaniel Was the Best April 18, 2012
By Don Forsythe See All My Reviews
"Barry McDaniel is a good friend of mine. I have known him since 1955. We studied with the same teacher in Kansas City MO before he went on to Juliard (a few years before we met), where he studied with Mack Harrell. Later, for many years until he retired, he was the "Hauptbariton" for the Deutsche Oper, Berlin. The above notwithstanding, for too many years, Barry has lived under the shadow of Fischer-Dieskau. Fischer-Dieskau was good--very good--but Barry lent a special something to his music, whether Lieder or opera, that is so intangible, so moving, so wonderful, that he eclipses, at least in my mind, all of the other baritones who sang during his time. Barry's discograhy is quite extensive, and I would recommend that anybody who is not familiar with this wonderful singer avail himself of some of those CDs and revel in the sheer beauty of his voice and the masterful artistry of his work. He did, indeed, believe in what he sang, and that always shows."
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