The liner notes for this new recording of Schubert’s Die Schöne Müllerin is by baritone Konstantin Krimmel who titles his essay: “It All Begins So Innocently…”Indeed, a convincing performance stands out when performers skillfully portray a suspenseful transformation from the protagonist’s exuberant joy in the first half to his profound despair in the latter.
Das Wandern offers a very promising start to the set. Krimmel’s voice is easy on the ears: rich, resonant, and possessing a velvety warmth. His musical interpretation of the text is also on point: the second stanza about water, for instance, introduces a pleasing fluidity, while the fourth about stones takes on a heftier, more robust profile. It seems that Krimmel takes some liberties with ornamentation and notes. This may raise an eyebrow among some purists but the improvisations are small and tasteful. Pianist Daniel Heide’s accompaniment maintains a steady and consistent staccato and rhythm. Despite this precision, it doesn’t feel robotic; instead, it evokes an enduring sense of optimism that, in the larger context, becomes the cycle’s most ironic element.
Wohin? (track 2) sees an earnest performance from the baritone but here is where some problems start. The sound and artistic balance is an issue: Heide’s accompaniment, well articulated as it is, now comes off as too metronomic and dry (and also too loud, but maybe this is partly a sound engineering issue). The textural contrast, given Krimmel’s fine legato, makes the piano part sound incongruous with the musical and textual material itself. A side-by-side listen to a previous recording by Heide with baritone Andrè Schuen (DG, 2021) reveals some key differences: even though Schuen’s timbre is unique—cavernous and husky—the interpretation works because Heide’s accompaniment has far greater flow and legato. This is integral to creating a realistic image of a bubbling brook.
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- Review: Schubert – Die Schöne Müllerin – Bostridge, Giorgini
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Another sound balance issue occurs in Des Müllers Blumen: the piano and vocal lines are on too equal of footing and get frustratingly tangled. Listeners may also find Krimmel’s interpretation a little less striking than Schuen’s: the latter has a mysterious pull which seems to come from a meditative tone, tinged with the slightest sadness.
Mit dem grünen Lautenbande (track 13) sees that narrator at his most hopeful, and this sentiment is well-reflected in the duo’s performance. Krimmel’s voice is filled with an anticipation that buoys the melody. His clear enunciation is also instrumental in bringing a sprightly contour to the phrases. While Heide’s drier approach was a drawback in some of the earlier songs, it fits perfectly here to mirror the narrator’s gaiety.
One of the shortest songs, Der Jäeger (track 14) marks the critical and devastating inflection point of the story. Krimmel definitely delivers here, quite dramatically: excellent vocal control means he never sounds out of breath, even while holding a vigorous forte throughout. The character of the song, however, cannot be derived from merely loud singing: what the baritone creates is a charged atmosphere in which the narrator’s anger becomes tangible. The slight yet noticeable forward pushes he incorporates are what propel the unyielding determination. The piano part is what stymies an otherwise persuasive performance: the staccatos feel spongy, if not somewhat tired. Refer to Ian Bostridge/Mistuko Uchida’s version (Warner Classics) and you’ll hear how Uchida has a fiercer, more driven articulation that breathes suspense.
Der Müller und der Bach, as one of the most poignant songs, doesn’t quite satisfy here. At this point, desolation should feel visceral but that slow and painful burn is lacking. While the singer may be going for an evenness that symbolizes the narrator’s deprivation, the interpretation feels too plain. Voice types aside, Jonas Kaufman and Helmut Deutsch (Decca) offer a more compelling rendition: the vibrato and tightness in Kaufmann’s voice provide the precise emotional intensity necessary for us to feel the protagonist’s deep sense of despair.
While there are many things to like in this recording, it’s not entirely convincing. I’d hoped to hear greater emotional variation within and across songs— more verve in the charged moments and deeper sensitivities in Schubert’s most nuanced writing. In this regard, established reference recordings remain preferred listening points.
Die Schöne Müllerin
Konstantin Krimmel – Baritone
Daniel Heide – Piano
Alpha, CD ALPHA929
Recommended Comparisons
Schuen & Heide | Bostridge & Uchida | Kaufmann & Deutsch | Wunderlich & Giesen
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