Matthias Goerne has created one of the greatest legacies of Lieder since his one-time teacher, Dietrich Fischer-Dieskau. Having recorded the complete Schubert songs with a range of different pianists — a formidable achievement in itself – Goerne’s discography extends to include Schumann and Brahms. In this latest release, Goerne turns to Beethoven, the song quantity of whom is not as extensive or profound as Schubert’s or Schumann’s, but Goerne proves these are an unjustly neglected, intriguing listen. Many singers create a bond primarily with one pianist. Goerne has proved a commendable singer in being able to instantly create a musical chemistry between himself and any accompanist. On this occasion, he collaborates with pianist Jan Lisiecki.
Opening the album with “Sechs Lieder Von Gellert” (Op.48), the strong relationship between Goerne and Lisiecki is immediate. Goerne’s voice is one of large character — distinctive, light vibrato, which conveys yielding mellowness and emotional warmth, with a tone that’s more refined and sophisticated than with his Schubert. Lisiecki proves a subtle, sympathetic and flexible musical partner, the two working as one to make something special out of these songs. The piano introduction of “Bitten” unfolds gently, and Goerne enters softly, but rich in tone. The expressive details have refinement and subtlety; everything is modest and restrained. The vocal line in this cycle is doubled significantly by the piano but at no point does Lisiecki tread on Goerne’s toes, keeping the right-hand, which carries the melody, light and unintrusive while bringing out the bass more effectively. In highlighting the underpinning of detail, Lisiecki phrases the left-hand with distinction and conviction, providing contrast within the textures of each song. The darkness of “Vom Tode” is very Schubertian, while the final song of the cycle, “Busslied”, has a different sense of drama. There is an absolute certainty and control of direction throughout, without sacrificing spontaneity. The whole cycle of six songs is sensibly paced, each song seemingly growing organically out of the next.
Related Classical Music Reviews
- Review: Schubert – Winterreise – Ian Bostridge, Thomas Adès (2019)
- Review: Beethoven – Piano Concertos (Complete) – Jan Lisiecki
- Review: “FRAGE” – Gerhaher and Huber Perform Schumann Lieder
In 2005, Goerne recorded Beethoven’s An die ferne Geliebte Op. 98 with Alfred Brendel, live from Wigmore Hall. Since that commendable recording, Goerne has matured, refining his interpretation considerably. While in the earlier recording his voice had different colors at its extremities, now the rich mellowness is uniform across the entire range. His legato phrases are shaped architecturally, being both strong and bold, but with a greater intensity which, along with the marginally brisker tempos, brings a greater focus to the entire cycle. Diction is now slightly less pronounced, but the sophistication in the nuances of the text is heightened. Brendel is, of course, a formidable interpreter of music from this period, but Lisiecki brings his own character to these accompaniments, which are of an equal standing.
Between the two cycles, you’ll find a carefully chosen songs from Beethoven’s small canon, programmed with care in what is a reflective sequence. Here, both Goerne and Lisiecki capture the essence of each song with complete sincerity. Beginning with “Resignation”, Goerne tells a story, aptly supported by Lisiecki spinning the tale, and “An die Hoffnung” is equally engaging. “Gesang aus der Ferne” brings some welcome contrast with its sense of Mozartian operatic drama, fully realized by both artists. Other highlights of the songs include the melancholic “Klage”, beguiling “Adelaide” and pensive “Das Liedchen von der Ruhe”.
Deutsche Grammophon’s engineers have produced an excellent recording, surpassing those on Goerne’s Schubert, balancing voice and piano perfectly while providing enough ambiance and atmosphere. The booklet contains an insightful essay on Beethoven’s songs from Goerne entitled “Underrated Gems”, which is certainly confirmed in these fine and commendable performances.
Beethoven – Songs
14 Lieder including two cycles:
6 Lieder op. 48
An die ferne Geliebte op. 98
Matthias Goerne – Baritone
Jan Lisiecki – Piano
Deutsche Grammophon, CD 4838351
Beethoven Songs – Recommended Comparisons
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