SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW
 

R. Strauss, Schoenberg : Anne Schwanewilms (soprano); Roger Vignoles (piano). Wigmore Hall, Wednesday 16.10.2010 (CC)

 

R. Strauss Ach Lieb, ich muss nun scheiden, Op. 21/3. All’ mein Gedanken, Op. 21/1. Nachtgang, Op. 29/3. Geduld, Op. 10/5.

Schoenberg Vier Lieder, Op. 2: Erwartung; Schenk mir dein goldenen Kann; Erhebung; Waldsonne.

R. Strauss Drei Lieder der Ophelia, Op. 67. Winterweihe, Op. 48/4. Wiegenliedchen, Op. 49/3. Wer lieben will, muss leiden, Op. 49/7. Ach was Kummer, Qual und Schmerzen, Op. 49/8. Blindklage, Op. 56/2. Traum durch die Dämmerung, Op. 29/1. Schlagende Herzen, Op. 29/2. O wärst du mein!, Op. 26/2. Waldseligkeit, Op. 49/1.


Anne Schwanewilms’ Hyperion disc of Strauss songs was welcomed by John Quinn elsewhere on this site. On that recording, as here, Schwanewilms was joined by the superb, experienced Roger Vignoles. Here, she was the featured soloist in the final instalment of Vignoles’ series on Richard Strauss songs. Quality rather than quantity reigned – the evening finished a tad after 9 pm. Singing to a packed Wigmore perhaps added an extra frisson. The brief opening song, “Ach Lieb, ich muss nun scheiden” (Ah love, I must leave you now) was a daring choice, hushed, reverent and slow. Schwanewilms’ mezzo-ish tone worked superbly here, as did her impassioned delivery of the final couplet, “Nun denket, wie’s uns beiden erst muss zu Herzen gehn!” (So think what grief we must both endure!). In contrast, “All’ mein Gedanken” (all my thoughts) was the essence of simplicity.

The programming was inspired. Strauss’ harmonies for “Nachtgang” are remarkably progressive, and linked naturally to he Schoenberg Op. 2 songs. The piano part, it has to be said, positively begs for orchestration; in contrast, “Geduld” (Patience) is more of a narrative. It is a little gem of a song. Schwanewilms’ vocal control at the song’s end was mesmerising.

It was surprising to see Schwanewilms using music for the Schoenberg Op. 2. The songs were, after all, composed in 1899/1900. The initial setting of Dehmel, “Erwartung” (Expectation) was the perfect balance of singer and pianist, Schwanewilms’ blanched tone for the second stanza creating contrast with Vignoles’ magnificent invocation of moonshine. The final stanza was unbearably delicate. Schwanewilms and Vignoles convinced that they had the exact measure of each song, from the chromatic sensuality of the second song, “Schenk mir deinen goldenen Kamm” (Give me your golden comb) through the active “Erhebung” (Exaltation) to the final, autumnal “Waldsonne” (Sun in the forest, the only song of the set to a poem not by Richard Dehmel – the chosen poet here is Johannes Schlaf).

The first of the Ophelia Songs (settings of translated Shakespeare) again finds Strauss in more modernist mode; the second, The active “Guten Morgen, ‘s ist Sankt Valentinstag” (Good morning, it is St Valentine’s Day) is spiky and playful, delivered with evident relish by Schwanewilms and Vignoles. The final song was most impressive, with an expert and haunting use of silence.

The first half lasted a mere 33 minutes. The sequence of songs after the interval was just as delicious as those heard earlier. Many will know “Winterweihe” (Winter consecration) in its glowing orchestration. One didn’t miss it too much, though, thanks to Vignoles’ perfectly judged playing (his music-box playing in the ensuing “Wiegenliedchen” was just as impressive). But was any song on the programme more heart-wrenching than “Wer lieben will, muss leiden” (He who loves must suffer)?. It was a clear highlight in an evening of highlights. So, too, was the easy melodic flow of “Traum durch die Dämmerung” (Dream into dusk) and the final, crepuscular, “Waldseligkeit” (Woodland rapture), an astonishingly poignant way to end.

Only the one encore – “Der Rosenband”, wonderfully delicate and the perfect seal on a wonderful evening.

 

Colin Clarke