RECORDING OF THE MONTH
Robert SCHUMANN (1810 - 1856)
Symphony 1 op. 38 [31:22]
Symphony 2 op. 61 [32:57]
Symphony 3 op. 97 [29:12]
Symphony 4 op. 120 [27:48]
“Urtext” of the new Schumann Symphony Edition by Joachim Draheim (Breitkopf
& Haertel)
Robert-Schumann-Philharmonie/Frank Beermann
rec. Lukaskirche Dresden, 15-20 Feb 2010; 12-16 Oct 2009. SACD
CPO 777 536-2 [64:19 + 57:00]
Robert SCHUMANN (1810 - 1856)
Complete Part Songs For Male Voices
Die Singphoniker
rec. 9-11 June 2009, Kammermusikstudio des SWR Stuttgart
Full track-list at end of review
CPO 777 521-2 [61:00]
Robert SCHUMANN (1810 - 1856)
Schumann: Sammlung von Musik-Stücken alter und neuer Zeit
Works by Mendelssohn-Bartholdy, Adolph Henselt, Louis Spohr, Ignaz Moscheles,
Pauline Viardot-Garcia, Johanna Mathieux-Kinkel, Leopold Schefer, Johann Sebastian
Bach, Ludwig van Beethoven, Franz Schubert, Carl Maria von Weber, Clara Wieck-Schumann,
Robert Schumann
Johanna Stojkovic, Miriam Sharoni, Veronika Winter (soprano), Jale Papila:
(alto), Jan Kobow, Michael Connaire (tenor), Ralf Grobe, Andreas Pruys (bass),
Cord Garben (piano), Klaus Sticken (piano), Tilman Benfer (organ) & Hans-Wilhelm
Kaufmann (guitar), Alsfelder Vokalensemble, Wolfgang Helbich
rec. 11 May 2009, Stadtkirche Bückeburg.
Full track-list at end of review
CPO 777 595-2 [3 CDs: 75:11 + 57:49 + 67:43]
The Schumann bicentenary has seen the expected issue of various celebratory
boxed sets. There’s some bargains to be had for enjoyment this year and in
years to come which happen not to be rounded multiples or divisors of 1810
or 1856. The boxed sets from EMI (200th Anniversary Edition), DG
(Schumann Masterworks) and Sony (Schumann Anniversary) are well worth assessing
and the DG set is perhaps the most sensational with the EMI Classic Die
großen Chorwerke (9 CDs) as a captivating supplement.
CPO have, in their usual imaginative and industrious way, added to and reminded
us of the sum of knowledge of Schumann. These three discs represent some of
the diverse aspects of the music and the man.
In 1834 Schumann founded the music journal Neue Zeitschrift für Musik.
In 1838 he began to issue with it a music supplement. Such supplements were
far from uncommon at the time but were usually vehicles for undemanding scores
for the amateur musician. Schumann intended something different and for four
years (1838-41) these supplements became a force in the artistic land. The
three CD set opens a casement onto that cornucopiac world. The music is by
a range of contemporary composers favoured by Schumann but also included ten
of his own works and two by Clara. The 76 works featured are short (between
two and three minutes – a mix of songs sometimes for more than one voice and
solo piano pieces and various organ pieces. The longest at 6:20 is Clara Wieck-Schumann’s
Andante and Allegro which starts CD 2 with its swirl of romantic effusion.
Texts are given as sung and in translation. The piano solos are largely taken
by Klaus Sticken. For the lieder the pianist is the erudite and expert Cord
Garben. Various singers have been engaged but the one who for me stands out
for his golden tone is Jan Kobow singing either alone or as part of a small
vocal ensemble. None of these pieces strikes me as a miss but let me commend
a handful. Pauline Viardot-Garcia is another woman composer featured and Johanna
Stojkovic sweetly encompasses the birdsong melisma and the florid operatic
moments of Die Kapelle. Sticken lends stormy wings to Schumann’s Intermezzo.
I had never heard previously of Johann Vesque von Püittlingen but his lied
Die Geisterinsel pulls off a nice equipoise between love song and melancholy.
The Beethoven Gesang der Mönche is a male vocal quartet piece here
sung with a strong orange sepia tone. Henselt’s Der Dombau is for vocal
quintet with two sopranos adding a yieldingly piercing cuckoo descant above
the steady melodic refrain. Irresistible as to a degree is similarly modelled
Schumann Rastlose Liebe for male trio. At the start of CD 3 we return
to Clara and to her nicely rounded lied Am Strand from Stojkovic and
Garben. One of Schumann’s most touchingly haloed pieces is his lied Mondnacht
here sung again by Stojkovic. Back to a mixed vocal quintet and piano
for Gesang der Sterne by Oswald Lorenz. This is an mystical and muscular
piece redolent of the most volatile and exalted writing for the singers in
Beethoven’s Choral Symphony. Rietz’s setting of Goethe’s Die Hexenküche
has an awed yet youthfully enthused spoken introduction over the piano
until the arrival of Jale Papila with her operatic smoulder. Schubert’s Aria
(Des jammer herbe qualen) from Fierabras is for five voices
and piano; it strikes me as one of the most ordinary of the 76 tracks. The
trio of discs ends with Paganini’s unusually introspective and undemonstrative
Stambuchblatt.
This set will perhaps be regarded as the province of Schumann specialists
but in truth any music-lovers with a taste for the German lied and romantic
era piano music will be pleasurably surprised to make so many discoveries
and to add so many new names to their ‘to be explored’ list.
Die Singphoniker are a six strong male voice vocal ensemble. Their discography
is ample with a host of discs recorded for Oehms and especially for CPO: di
Lasso, Rossini, Mendelssohn, Michael Haydn, Schubert (5 volumes), Grieg, Kreutzer,
one CD shared between Strauss and Reger and many themed anthologies, the latest
of which – called Fragile – juxtaposes de la Rue, Sting, Eric Clapton
and Knut Nystedt. In the present case they are augmented by an additional
baritone for three songs in the Ritornelle op. 65 and by four horn
players – a configuration familiar in Schumann from the Konzertstuck)
for the five songs of the Jagdlieder op.137. There are five groups
or cycles of songs plus the singleton, Mache deinem Meister Ehre W.o.O.
17. This is singing of the highest standard with an exalted caramel-bitters
blend matched by the distinction of individual voices and the simultaneous
precision of enunciation. Their breathtakingly calculated and executed haloed
tone can be heard for example in Die Rose stand im Tau. The group can
sing quietly (Der träumende See) as well as with a testosterone roar.
Tricky rhythmic writing is rendered joyously articulate as in Die Minnesänger.
Innocent bell effects are convincingly carried off (Frühlingsglocken).
In Meeres Mitten ist ein offner Laden shows, not for the first or last
time, how the gracious counter-tenor of Markus Geitner adds top-line lustre
to the singing. For the late Jagdlieder op. 137 the four horns add
a rampantly challenging and unapologetically assertive element to the singing
and one which Die Singphoniker embrace with confidence and courage.
The instrumentalists are not restrained by the engineers. Sheer decibel- production
of the horns would be likely to outface most choirs – not so here. These five
songs match exuberance, adrenaline and poetry with horns and voices vying
in self-possessed union. Don’t miss them. All the words are supplied with
translations laid out side by side. A very fine disc indeed.
The auguries are good for CPO’s Schumann symphonies cycle. It’s played by
an orchestra bearing the composer’s name. Beermann has a great reputation
having previously recorded for CPO the Symphonies of Fesca,
Reznicek
and Herzogenberg
as well as the lavishly scored late-romantic Straussian scores of Herman
Hans Wetzler. He has spent time perusing the Urtext prepared by Joachim
Draheim which is used for this project. The use of Breitkopf and Härtel’s
new Symphony Edition helps mark out this set from the numerous competition.
We are told Beermann’s aim was “to produce an authentic recording; conducting
the score just as Schumann had written it down and not having an interpretive
opinion.” This provides a nice counterpoint to the oft-repeated commentary
about Schumann’s incompetence as an orchestrator and the ‘need’ to make adjustments.
In fairness, I am not sure that the differences are all that dramatic except
at circa 8.29 in the finale of No. 4 where the stertorous rhythmic shaping
seemed new to me.
At the extreme interventionist end of the scale Aldo Ceccato recorded the
four symphonies with the Bergen Philharmonic in Mahler’s re-orchestration.
These can be had on BIS-CD-361 and BIS-CD-394 or in a double: 2CDs for price
of one as BIS-CD-361/394. These 1987-88 recordings are not to be confused
with Thomas Dausgaard’s Schumann
symphonies on Bis. Ceccato is not alone – there’s also a Schumann-Mahler set
from the Leipzig Gewandhaus and Riccardo Chailly on Decca 478 0037 (2006-7).
As for Dausgaard and Bis I should make it clear that with the Swedish Chamber
Orchestra he has recorded all the symphonies and quite a bit more across three
CDs: Symphony 1, Overtures: die Braut von Messina and Genoveva alongside
the single ten minute movement of the Zwickau Symphony and the Overture,
Scherzo and Finale (BIS-SACD-1569), Symphony 2, Overtures: Scenes from
Goethe’s Faust, Julius Caesar and Symphony 4 (original version,
1841) (BIS-SACD-1519) and Symphony 3, Overture: Manfred, Hermann
und Dorothea and Symphony 4 in its final version of 1851 (BIS SACD-1619).
It’s clearly a significant set and well regarded in several quarters not least
by BW.
Mention of the Zwickau symphony reminds me that a more substantial
version was realised/edited by Marc Andreae. The score details are Sinfonie
in g-Moll WoO 29 - Zwickauer Sinfonie für Orchester C.F. Peters study score
EP 8157. It was recorded in the early 1970s by Andreae with the Munich Philharmonic
for BASF (BHM21421-4). It seems not to have been issued on CD. Andreae’s work
on other Schumann scores has been published by C F Peters: 4.Sinfonie in d-Moll
- Urfassung 1841 für Orchester C.F.Peters (on hire) and Konzertstück F-Dur
für Klavier und Orchester (nach dem Konzertstück für vier Hörner und Orchester
op.86) (C.F.Peters edition for 2 pianos EP 8576).
CPO accord their very best audio standards to this project and although I
heard these two discs only in standard CD quality I cannot imagine anyone
being other than deeply impressed. Whether it is with the grunt and zest of
the first movement of the Spring Symphony or the delicate tenderness
of its second movement, the stentorian rush of the third or the balletic lightness
of the fine with the stereo separation of first and second violins making
a telling contribution. Beermann brings out perhaps inadvertently parallel
with Bruckner at the start of the Second Symphony. This is matched with the
gloriously impatient scherzo which again revels in the left-right separation
of the violins. The heroic galloping romp that is the finale is splendidly
leonine.
The only transient criticisms might be that the strings are not quite as plush
as some may have become used to and that in The Rhenish the French
Horn bench could have done with a shading more audio-emphasis. It would also
have been good if CPO could have squeezed onto the two discs the four-horn
Konzertstück and the Overture, Scherzo and Finale. But these are trivia in
the face of such exhilarating playing. Try the fifth movement of the Third
Symphony – it delivers a heroic frisson. Resist the temptation to applaud
– imagine having to keep quiet when the last note subsided in the studio.
Beermann and his players pour so much into this that the effect of this Third
is comparable with a really good outing for Tchaikovsky’s Fourth. The Schumann
Fourth Symphony is just as well handled with diaphragm-shuddering attack and
smoothly resolved joyous playing from the strings. The finale also evinces
a clamant heroic fervour. In the last two minutes the victorious charge and
fresh rhythmic élan that we experienced at the end of The Rhenish can
be heard again.
It is typical of CPO’s uncompromising attitude to quality that the gaps between
works involve long pauses providing a much needed emotional and intellectual
full-stop.
This cycle is very much in the elite company of Vonk, Barenboim, Sawallisch,
Konwitschny, Boult and Kubelik and has the benefit of use of the urtext, leonine
playing and recording.
Rob Barnett
A glorious Schumann cycle for the ages, highly accomplished and pleasurable
male choral works and a provocative collection of Schumann’s work as a music
journalist and agitator-advocate.
Full track-listing:
Complete Part Songs For Male Voices
1 Mache deinem Meister Ehre W.o.O. 17
Sechs Lieder op.33
2 Der träumende See op.33/1
3 Die Minnesänger op.33/2
4 Die Lotosblume op.33/3
5 Der Zecher als Doktrinär op.33/4
6 Rastlose Liebe op.33/5
7 Frühlingsglocken op.33/6
Drei Lieder op.62
8 Der Eidgenossen Nachtwache op.62/1
9 Freiheitslied op.62/2
10 Schlachtgesang op.62/3
Drei nachgelassene Lieder W.o.O.
11 Schwarz Rot Gold W.o.O.13
12 Deutscher Freiheitssang W.o.O.15
13 Zu den Waffen W.o.O.14
Ritornelle op.65
14 Die Rose stand im Tau op.65/1
15 Lasst Lautenspiel und Becherklang nicht rasten op.65/2
16 Blüt` oder Schnee op.65/3
17 Gebt mir zu trinken op.65/4
18 Zürne nicht des Herbstes Wind op.65/5
19 In Sommertagen rüste den Schlitten op.65/6
20 In Meeres Mitten ist ein offner Laden op.65/7
21 Hätte zu einem Traubenkerne op.65/8
Jagdlieder op.137 part songs for male voices and 4 horns
22 Zur hohen Jagd op.137/1
23 Habet Acht! op.137/2
24 Jagdmorgen op.137/3
25 Frühe op.137/4
26 Bei der Flasche op.137/5
Die Singphoniker (Markus Geitner (counter-tenor); Daniel Schreiber (tenor);
Henning Jensen (tenor); Berno Scharpf (baritone); Michael Mantaj (bass-baritone);
Christian Schmidt (bass)); Philip Niederberger (baritone) (15-17); four horn
players (Wolfgang Wipfler, Raymond Warnier, Thomas Flender, Dietmar Ullrich)
of RSO Stuttgart des SWR (22-26)
Sammlung von Musik-Stücken alter und neuer Zeit
CD 1
1838
I Felix Mendelssohn Lied Das Waldschloss (Eichendorff)
Januar Adolph Henselt Klavierstück Rhapsodie (op. 4)
Louis Spohr Lied Was mir wohl übrig bliebe (Fallersleben, op. 139/5)
Ignaz Moscheles Klavierstück Präludium und Fuge
Heinrich W. Rieffel Lied Der Pilger
II Stephan Heller Klavierstück Drei deutsche Tänze
Mai Oswald Lorenz Singstimme, Gitarre Mignons Lied (Goethe: Wilhelm Meister)
Felix Mendelssohn Lied Pagen-Lied (Eichendorff)
Heinrich W. Rieffel Männerchor Ermunterung
Robert Schumann Klavierstück Intermezzo (op. 21 "Novelletten" Heft
2/3)
III Pauline Viardot-Garcia Lied Die Capelle (Uhland)
September Adolph Henselt Klavierstück Impromptu
Johanna Mathieux / Kinkel Lied mit Chor Trinklied
Ludwig Berger Lied, Lied 4st Andreas Hofer (Mosen)
IV Johann Vesque v. Püttlingen Lied Die Geisterinsel (Heine)
November Leopold Schefer Lied 3st Generalbeichte (Goethe)
Joseph Elsner Klavierstück (Bearb.) Trauermarsch aus Passionsmusik (op. 65)
Josephine Lang Lied Das Traumbild (Heine, op. 28/1)
1839
V J.S. Bach Orgel-/Klavierstück Fuge (BWV 575)
März J.J.H. Verhulst Chor (Bearb.) Religioso (aus seinem 145. Psalm)
Louis Hetsch Lied Abschied (Müller v. Königswinter)
Robert Schumann Klavierstück Gigue (op. 32/2)
VI Ludwig van Beethoven 3st Männerchor Gesang der Mönche (Schiller: Tell,
WoO 104)
Juni Franz Schubert Chor Chor der Engel (Goethe: Faust, D 440)
Carl Maria von Weber Klavierstück VI Fugetten (op. 1)
Simon Sechter Orgel-/Klavierstück Contrapunctische Studien
CD 2
VII Clara Wieck Klavierstück Andante und Allegro g-moll (op.11/2)
September *** (anonym) Männerchor Chor aus Ossian's Gesängen
Carl Koßmaly Lied Mein erster Gedanke (Ludwig I.)
J. S. Bach Klavierstück Fuge e-moll (BWV 945; Urheberschaft?)
VIII J. S. Bach Orgelstück Choralvorspiel „Ich ruf zu dir“ (BWV 639)
Dezember Franz Schubert Klavierstück Andante c-moll aus Sonate C-dur (unvoll.,
D 840)
Adolph Henselt Klavierstück Romanze
Robert Schumann Klavierstück Fragment aus Faschingsschwank („Intermezzo",
op. 26/4)
J. S. Bach Orgelstück Choralvorspiel „Das alte Jahr“ (BWV 614)
1840
IX Julie von Webenau Lied Eigne Bahn (Vogl)
März Ferdinand Hiller Lied Die Rheinmöve (H...)
Robert Schumann Lied Hauptmanns Weib (Myrthen, op. 25/19)
Lied Weit, weit! (Myrthen, op. 25/20)
X J. S. Bach Orgelstück Choralvorspiel „Durch Adams Fall“ (BWV 637)
Juni Wilhelm Taubert Klavierstück Präludium
Stephan Heller Klavierstück Toccatina
J.J.H. Verhulst Klavierstück Notturno
Robert Schumann Klavierstück Fughette (op. 32/4)
XI Adolph Henselt Chorsatz Der Dombau (Waldbrühl/Zuccalmaglio)
September Carl Koßmaly Männerchor Von dir so ferne! (Rückert)
F. Hieronymus Truhn Männerchor An die Kunstgenossen (Deinhardstein)
Robert Schumann Männerchor Rastlose Liebe Es-dur (Goethe, op. 33/5)
CD 3
XII Norbert Burgmüller Lied Frühlingslied (C.W. Müller v. Königswinter)
Dezember Ludwig Schunke Lied Gretchen am Spinnrad (Goethe)
Ferdinand Kufferath Lied Morgen (W. Müller)
Julius Becker Lied, 3st Männerchor Das Islamägdlein (Becker)
Robert Schumann Lied Distichen (Zimmermann, op. 27/5)
1841
XIII J. S. Bach Orgelstück Phantasie c-moll (BWV 562)
Mai Julius Stern Lied Unter den dunklen Linden (R. Reinick)
Lied Mein Herz ist im Hochland (R. Burns)
August Döhler Chor Gott sende deine Güte (aus Motette)
Robert Schumann Lied Stille Thränen (Kerner, op. 35/10)
XIV Mendelssohn Klavierstück Gondellied A-dur
Juli Clara Schumann Lied Am Strand (R. Burns)
Robert Schumann Lied Mondnacht (Eichendorff, op. 39/5)
J.J.H. Verhulst Arie Der Herr erhält alle
Chor Der Herr ist allen gütig
XV Franz Liszt Klavierstück Albumblatt / Feuille d'Album E-dur, Nr. 1 (R 64/S
164)
November Oswald Lorenz Frauenchor, Kl Gesang der Sterne (Reinhold)
Carl Koßmaly Lied Die Weinende (Byron)
Julius Rietz Orchesterlied (Part.) Die Hexenküche (Goethe, Faust)
XVI J. S. Bach Orgelstück Choralvorspiel „Oh Mensch bewein“ (BWV 622)
Januar Ludwig van Beethoven 3st Kanon Kurz ist der Schmerz (Schiller, WoO
163)
1842 Franz Schubert Arie, Männerchor (Kl.) Des Jammers herbe Qualen aus Fierabras
(D 796/21)
Niccolo Paganini Klavier Stammbuchblatt