Thoqua Sch Ba Vie rar (B00005AAFB)

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Genre: Classical | Label: Deutsche Grammophon | Cat No. 235096

& 8220;

Baritone Thomas Quasthoff here tackles two of the cornerstones of the lieder repertory, and the result is one of the most moving, exciting lieder discs in years. Much of its appeal lies in his attractive vocalism, a rich, firm voice comfortable with both the lyric and dramatic demands of these songs. Throughout, Quasthoff threads the fine line between maintaining the songs' musical thread and interpreting the texts without the distortions of overemphasis. Above all, he communicates directly; the songs seem to go from heart to heart. In Schubert's late Schwanengesang--never intended as a seamless cycle--Quasthoff makes these 14 gems adhere as a whole, something that eludes many others. And he's helped by Justus Zeyen's accompaniment, beautifully balanced by the engineers and full of telling pictorial touches. Fine as the Schubert performances are, they're trumped by the Brahms, in one of the most compelling recorded performances they've ever had. The texts, culled from the Bible, drew from Brahms some of his most moving music, here delivered by Quasthoff with empathy and an inevitability that feels spontaneous. It's obvious that the singer feels them deeply, and because he does, and welds that feeling to the highest vocal and musical values, you do, too.

It is rare, these days, to encounter a singer recording Schubert's so-called swansong in the form published after his death by Tobias Haslinger in one of classical music's first successes with the compilation genre. Schreier, Fassbaender and Holzmair give us Schwanengesang plus – grouping the Rellstab settings (originally intended for Beethoven and composed by Schubert as a commemorative tribute after his death) and the great Heine poems separately and adding several Seidl songs to make a group with the wistfully witty odd-song-out, Schubert's very last composition, Die Taubenpost. Additionally, both Fassbaender and Schreier tinker with the ordering of the songs in an attempt to make them into a coherent cycle. Not all Schubertians are convinced.In this distinguished new reading, Thomas Quasthoff, undisturbed by such scholarly and artistic considerations, returns to the published order and his coupling is a bold one: another great German Lieder composer's swansong – Brahms's four solemn settings of Biblical text – which, as far as I can ascertain, is unique on disc. Quasthoff certainly has the vocal stature to carry off such an apparently heavyweight programme: his baritone is darker than most of his contemporaries; indeed, it sounds more full-bodied than that of Fischer-Dieskau in Schubert's dramatic Heine songs and the Brahms, although he doesn't bring the Wagnerian grandeur of tone that Hotter was able to lavish on the Four Serious Songs in his famous recording. Even if his voice lacks the personal imprint of his two great predecessors, it is a noble instrument and as a Lieder interpreter he is easily their equal. I suspect many listeners will find his eloquent, but less detailed textual inflexions, preferable to Fischer-Dieskau, whose vocal and verbal mannerisms are not to all tastes. It's hard to pick out highlights from such consistently satisfying performances, but Quasthoff easily moves from the delicate romance of the Rellstab Lieder – his Serenade has a Don Giovanni-like seductive lilt – to the harrowing psychodrama of 'Die Stadt' and 'Der Doppelgänger' and back again to the airy, twinkle-in-the-eye yearning of 'Die Taubenpost'. Zeyen is a superb pianist, underlining the gravity and anger of Quasthoff's singing of Brahms's death-obsessed songs with his profoundly musical playing. After this, and their excellent Brahms/Liszt recital (reviewed on page 102 of the May 2000 issue), this is obviously a partnership we will be hearing more of on disc. Exemplary recording, too, the voice in ideal balance with the piano.

& 8221;

Tracklist:

Schwanengesang (Swan Song), song cycle for voice & piano, D. 957

Composed by Franz Schubert

with Thomas Quasthoff, Justus Zeyen

Vier ernste Gesänge (4), for voice & piano (Four Serious Songs), Op. 121

Composed by Johannes Brahms

with Thomas Quasthoff, Justus Zeyen

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