Brahms - O Tod, wie bitter bist du - A Kipnis

Brahms Op 121 no3

The third of Brahms' Four Serious Songs sung by the great Ukrainian bass Alexander Kipnis, one of the finest basses of all time. As well as a great interpreter of Wagner, Kipnis was also an extraordinary lieder singer. Unlike many singers of the heavier operatic repertoire Kipnis maintained complete control of the softer colours in his impressive dark bass voice and in this lied he displays superbly controlled mezzavoce, and even some tender falsetto. He is partnered on the piano legendary accompanist Gerald Moore.

O Tod, wie bitter bist du,
Wenn an dich gedenket ein Mensch,
Der gute Tage und genug hat
Und ohne Sorge lebet;
Und dem es wohl geht in allen Dingen
Und noch wohl essen mag!
O Tod, wie bitter bist du.
O Tod, wie wohl tust du dem Dürftigen,
Der da schwach und alt ist,
Der in allen Sorgen steckt,
Und nichts Bessers zu hoffen,
Noch zu erwarten hat!
O Tod, wie wohl tust du!

Category:

Music

Tags:

• Brahms
• Kipnis
• Four
• Serious
• Songs
• Александр
• Кипнис
• Gerald
• Moore
• Vier
• ernste
• gesange
• Tod
• wie
• bitter
• bist
• du
• bass
• basso

[clarksc1988]

It's funny how voices seem to change with time. Not horribly long ago, I used to dislike Kipnis' voice. Now, I find it absolutely beautiful. Perhaps the music of Brahms has a lot to do with that too. I love his lieder.

[CzarDodon]

I love Kipnis' voice, always have; it was one of the first bass voices I ever heard, and his was the first version of these songs that I heard. My dad had an LP of these. I glad to hear you've had a change of perception. If you knew him as Leporello on the live met Don Giovanni with Pinza and conducted by Bruno Walter then I could understand, he was completely miscast there, he should have sung the commendatore! and his Italian was not good.

[fontana2k]

Hi Melterzboy! That's exactly what I like from a proffessional singer. Let's check it out:

.interpretation is exquisite

.expressive as he uses his huge, dark voice in an artistic manner,

.shading and coloring his tone,

.varying its weight,

.all the while maintaining a scrupulous legato line

.and crystal-clear diction

These characteristics are all in Moll's interpretation (if you get the 1983 recording, check "Verrat" lied as a great example). But, obviously Kipnis is also great!

[CzarDodon]

If you have it Fontana3k please share:-) I'd love to hear Kurt Moll sign this. I think Kipnis has more naturally beauty in his instrument, but Moll is certainly one of the finest basses of the second half of the 20th century

[soruca73]

Kipnis:un timbre de voix somptueux sublimé par le contrôle d'une technique implacable.

Je suis d'accord avec @meltzerboy quant à l'interprétation.

C'est beau!c'est beau! que c'est beau ...  Merci CzarDodon

[SENAFOREVER]

So beautiful...Thanks for sharing.

[HM0880]

@meltzerboy

After reading these comments, I also listened to Moll's version, and I prefer Kipnis (although Moll is very good too!). To me, Moll is too aggressive in the first half; although aggression is good, I think that the first part of the lied is more mocking rather than aggressive (see my other comment). I enjoyed the second half of both Moll's and Kipnis's renditions equally, but the Kipnis's more restrained interpretation of the lied's first half makes this my preferred version.

[HM0880]

@meltzerboy

An emotionally complex lied, and Kipnis navigates the difficulties brilliantly. The lied's structure is two-fold-- the first half mocks death, because the speaker is actually frightened of death (I think) and prefers the status quo; the second half gratefully accepts death as the ultimate liberator from suffering. The control Kipnis has over his vocal colors is breath-taking; he runs the gamut from strident and powerful to tender and wistful. Thank you, CzarDodon, for posting!

[CurzonRoad]

Thank you, CzarDodon, and to meltzerboy for sending my way. Yes, it would be hard to imagine anyone matching or exceeding this performance (my God, the voice is like black ink!)

[hyphboy]

he started writing these just after he heard that clara schumann, arguably the love of his life, was going to die.  She never got to hear them properly, just brahms playing them to her on the piano. He died a year after her. :)

[beethomozart]

"painted" with a pesimism more unenchanted than bitter, that's how I listen these 4 extraordinary lieder of Brahms' opus 121. composed in the final year of his life, 1896, perhaps the great german composer was perceiving his close death, perhaps!

[fontana2k]

Hi CzarDodon, take a look at Moll's version, I´ve recently posted. Regards!

[fontana2k]

Here you have Moll's version. Both are great!!

[saltburner2]

For me, an absolute Desert Island Disc!