Review: Brahms - Lieder - Christian Gerhaher, Gerold Huber

With this new Brahms release, baritone Christian Gerhaher continues his three-decade journey as a lied interpreter. Having already released recordings of cycles by Schubert, Schumann, and Mahler, this project also continues his long-term partnership with pianist Gerald Huber.

Brahms – Lieder

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According to the liner notes, the selections explore the element of “folk style” beyond historical context; For Brahms “folk style” seems to have transcended aesthetics and musical styles of the past, involving instead a deeper exploration of the “otherworldly.” Conceptual though this description may be, Brahms’ musical language indeed captures a range of otherwise ineffable emotions—something I was eager to hear in these performances.

The album is arranged in a tripartite fashion, with the first third presenting a “cycle” of songs selected from different sets. Interestingly, it wasn’t the folk element that stood out most, but rather an orchestral presence reminiscent of Brahms’ mastery of symphonic writing. A fine example is “Von Ewiger Liebe,” Op. 43 No. 1 (track 4). Here, Huber’s performance creates a relentless, powerful momentum, which complements Gerhaher’s interpretation convincingly. Together, they portray defiance against the loneliness described.

Quieter songs also shines through the rich harmonies crafted between voice and piano. The longstanding partnership between the performers is evident in their rhythmic and musical synchronization, especially notable in “Vor dem Fenster,” Op. 14 No. 1 (track 3). Gerhaher brings richness, contour, and narrative depth to the melismatic melody, vividly illustrating the wandering thoughts of the text. Huber’s subtle repetition of this melody serves beautifully as an evocative, distant echo.

The second part of the collection features the “Nine Songs,” Op. 32, notable for their complex textures and tonal shifts. The first song (track 7) particularly stood out for its detailed attentiveness and responsiveness to shifting characters. The transition from the austere opening to the more melodic section at 0’29” is executed seamlessly yet strikingly, highlighting the contrast. Particularly beautiful is the interchange beginning at 1’42”: Gerhaher, whose voice naturally carries weight, approaches these tender moments with nuanced warmth, while Huber’s transparent accompaniment shimmers delicately.

Gerhaher effectively captures the emotional conflict between despair and resistance in “Nicht mehr zu dir” (track 8). “Der Strom” (track 10) again highlights Huber’s imaginative piano work, vividly depicting a stream whose waters swell unpredictably and powerfully.

Christian Gerhaher and Gerold Huber (image: ©️ Clive Barda)

The final section is dedicated to the “Regenlied” cycle, another compilation from several opuses, although the original Regenlied songs (texts by Klaus Groth, WoO 23, incorporated into Op. 59) are included in their entirety. Water imagery—rain, clouds, and streams—dominates these texts, and Brahms’ settings thoughtfully reflect this theme.

Gerhaher vividly conveys starkly contrasting moods, while Huber creates distinct, illustrative water patterns. “Walle, Regen” (track 16) exhibits a broad range from delicate droplets to lively splashes, always complementing Gerhaher’s sustained vocal continuity. They sensitively capture the subtle color shifts in “Das blaues” (track 17), creating a serene moment that starkly contrasts the more urgent and occasionally stormy mood of the subsequent song. The remaining songs follow suit, effectively depicting a vivid spectrum of emotions from melancholy to contemplative to passionate.

The liner notes eschew conventional musical analysis, choosing instead an intriguing angle on Brahms’ connection to symphonies and folk tradition. While insightful, some explanations—particularly the notion of “non-historical” folk style—could have been clearer, requiring multiple readings to fully grasp. Nonetheless, this minor critique aside, the performances are deeply sincere and thoroughly enjoyable.