Cover image for Reverberations : the memoirs of Dietrich Fischer-Dieskau
Title:
Reverberations : the memoirs of Dietrich Fischer-Dieskau
Author:
Fischer-Dieskau, Dietrich, 1925-2012.
Uniform Title:
Nachklang. English
Edition:
First U.S. edition.
Publication Information:
New York : Fromm International Pub. Corp., [1989]

©1989
Physical Description:
376 pages, 8 unnumbered pages of plates : illustrations ; 24 cm
General Note:
Translation of: Nachklang.
Language:
English
ISBN:
9780880641371
Format :
Book

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ML420.F51 A3 1989 Adult Non-Fiction Central Closed Stacks
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Reviews 4

Booklist Review

Baritone Fischer-Dieskau has had a brilliant career on the world's operatic and recital stages and also has pursued a parallel career as the author of several revealing musical studies on Schubert, Wagner, and lieder singing. Thus, the appearance of his memoirs would seem to be an event of higher than normal interest. Fischer-Dieskau's account of his childhood and early education is a superb and stylish record of his political and familial experiences in Nazi Germany, featuring an initially involving and revealing quality that flows through most of the book. Unfortunately, the book's second half often reverts to the standard music bio's routine recital of dates, pieces, and colleagues, with a few anecdotes livening things up. The real puzzler is the postlude, in which the author summarizes his amatory relationships in a single page (and thus unnecessarily piquing more attention than these relationships require). --John Brosnahan


Publisher's Weekly Review

The great lieder singer, still splendidly active in his mid-60s, offers one of the more remarkable musical memoirs, particularly given the range of his experience. Growing up in pre-war Berlin under the regime he refers to simply as the Browns, he seems to have been a shy, gawky youth who came into his own only as a performer. As a soldier he was a POW in Italy, then returned to a devastated Germany. His account of the struggle rebuilding a shattered culture and of the postwar difficulties of German conductors and orchestras, is riveting. Later the book becomes a more conventional, anecdotal chronicle of the career of a world star, his encounters with conductors, accompanists, divas, composers, promoters. He has some offbeat views, however, being less than idolatrous of such icons as Bruno Walter and Otto Klemperer and warmly admiring of lesser-known (to Americans) maestros Wolfgang Sawallisch and Joseph Keilberth. Fischer-Dieskau has been receptive to contemporary music, in addition to his preeminence in Schubert and Wolf, and versatility as opera singer. He emerges from these pages as a notably thoughtful, intelligent artist whose story is only occasionally marred by the vanity apparently endemic to the breed. Performing Arts Book Club s election. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved


Library Journal Review

This book is undiluted pleasure, not least because Fischer-Dieskau writes exceedingly well. His memoirs include affectionate vignettes of singers, conductors, stage directors, actors, and composers, presented with tact, generosity, insight, and humility; humorous, graceful descriptions of difficult situations; and penetrating verbal sketches of cities. These memoirs are in no chronological order, yet each flows from the previous one. Throughout, Fischer-Dieskau keeps discussion of his private self to a minimum, yet he emerges as a caring, sensitive man who gives the same thought to his friends as he does to the composer whose music he sings. He writes of his art without pride and without self-deprecation. The translation is excellent. Highly recommended for general readers.-- Philippa Kiraly, Cleveland (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

The name Dietrich Fischer-Dieskau has probably appeared on more record jackets than that of any other artist in this century. The great revival of interest in the lied as a viable performance medium is largely the result of his vast efforts. His remarkable artistry has commanded the respect of musicians and critics for decades, and his performance world has conjoined with those of persons who dominated the music scene after WW II. Not only is this book a valuable historical document with references to major music figures, it is strong in personal, often poignant, remembrances. The author's reflections on artistic collaboration, on creativity in the contemporary world, on the artist as thinker and teacher, combine to make this a publication of great interest to all readers. Originally published as Nachklang (Stuttgort, 1988), the book now appears in a very readable English translation by Ruth Hein. There are photographs of the author with other noted musicians, and a useful index of names. The volume is sturdily bound. Highly recommended. -R. Miller, Oberlin College