SEEN AND HEARD INTERNATIONAL

Schubert, Wolf, Brahms:  Simon Keenlyside (baritone); Malcolm Martineau (piano). Wigmore Hall, 22.1.2010 (CC)

Schubert Lied des Orpheus, D474. Der Tod und das Mädchen, D531. Dass sie hier gewesen, D775. An den Mond in einer Herbstnacht, D614.

Wolf Four Mörike-Lieder: An eine Äolsharfe. Auf einer Wanderung. Lied eines Verliebten. Der Jäger.

Brahms Nachtigallen schwingen, Op. 6/6. Verzagen, Op. 72/4. Über die Heide, Op. 86/4. An eine Äolsharfe, Op. 19/5. Auf dem Kirchhofe, Op. 105/4. Wir wandelten, Op. 96/2. Von ewiger Liebe, Op. 43/1. An die Nachtigall, Op. 46/4. Es schauen die Blumen, Op. 96/3. Nachtwandler, Op. 86/3. Abenddämmerung, Op. 49/5.


The format of this recital complemented Simon Keenlyside’s Wigmore recital in October last year. Wolf and Brahms were the constants, with a group of Schubert Lieder replacing Schumann. If execution was not quite uniformly of the same high standard for this most recent event, it remains a memorable recital. There was a change of pianist, too, with Malcolm Martineau (another Keenlyside regular) as sterling accompanist.

The Schubert group presented Lieder both familiar and rare. The remarkable “Lied des Orpheus, als er in die Hölle ging”, to a text by Johann Georg Jakobi, is a remarkable dramatic scena, and set the recital off to a thought-provoking start. Keenlyside presented the drama well, but there was a feeling that there were some problems in his upper-mid range, a feeling that recurred at several points in the first half). Notes did not start quite as intended, and there was a thready quality that one does not readily associate with this singer.

Much better was “Der Tod und das Mädchen”, with an absolutely chilling contribution for the voice of Death itself, and an infinitely tender “Dass sie hier gewesen”, D775, that nevertheless held huge emotional depth (compare with Bostridge and Drake’s anaemic take on EMI, for example). Another extended Lied, “An den Mond in einer Herbstnacht” (text Alois Schreiber) actually showcased Martineau’s excellence (such a sweet, charming contribution at the outset).

The Wolf group was magnificent. The enigmatic “An eine Äolsharfe” with its unstable harmonies brought forth beautiful long lines from Keenlyside. “Auf einer Wanderung” is another wide-ranging song, and one whose trajectory Kennlyside fully honoured, just as he did the fiery nature of “Lied eines Verliebten”. The disturbing “Der Jäger”, which includes a very dramatic stroke (a low piano note suddenly brings things to an abrupt halt), came closest to finding Keenlyside actually physically acting out the action.

Brahms is one of the greatest of Lieder composers, and yet he so often sits in the shadow of Schubert and Schumann (not to mention Wolf) when it comes to live recitals. Keenlyside devoted the whole of the second half to songs by this great composer. By including Brahms’ setting of “An eine Äolsharfe”, we were also accorded a second, and equally fascinating, setting of the Mörike. Brahms’ reading is more gentle, and Keenlyside’s superb legato only added to the prevailing beauty. The typically Brahmsian turbulence of “Verzagen”, superbly rendered by both Martineau and Keenlyside, found its balance in the gentle “Von ewiger Liebe” and “An die Nachtigall”.

There was a false start to “Nachtwandler”, unfortunately; in response, “Abenddämmerung” shone as the highpoint of the Brahms segment of the recital. Magnificently crepuscular, it was the perfect end to the evening.

Colin Clarke