Johannes Brahms [1833-1897]
Complete Songs 1
4 Gesãnge, Op 43 (1857-1866)
6 Lieder, Op 86 (1878-1879)
5 Lieder, Op 105 (1886-1888)
9 Lieder und Gesănge, Op 32 (1864)
Christoph Prégardien (tenor)
Ulrich Eisenloh (piano)
rec. 2020, Hans-Rosbaud-Studio, SWR, Baden-Baden, Germany
NAXOS 8.574268 [65]
While the vocal works of Brahms do not get the attention afforded his instrumental works, they nevertheless constitute a substantial portion of his catalogue. This disc from Naxos, the first in a projected series of recordings of Brahms’ songs, makes an admirable first effort at remedying that omission.
These songs cover a period of over thirty years, taking Brahms from the varied interests of a relatively young man to an old duffer contemplating death and loneliness. Unfortunately, no sung texts or English translation of the songs is included in the accompanying booklet. Although supposedly they are available on the Naxos website, as of writing
this, the URL listed on the case leads to a 404 Server Error, File or Directory Not Found, pointing up the shortcomings of trying to conserve a little paper.
Christoph Prégardien, who may be known best from his many Bach recordings, does a quite fine job of sensitively interpreting these songs. By and large, the vocal lines are rather straightforward; most of the interesting action occurs in the piano part. The balance between the two voices typically is satisfactory, with the piano occasionally overpowering Prégardien when he sinks into the lowest part of his range.
The opening song, Von ewiger Liebe (1864), Op 43/1, makes a solid introduction to the disc, typifying the smooth and sensitive delivery of Prégardien and allowing Ulrich Eisenlohr plenty of opportunity for drama on the piano. Feldeinsamkeit,
Op 86/2, is taken quite slowly, but Prégardien does a very nice job of keeping the focus on the long vocal lines and placing the emphasis where it needs to be to hold the listener’s attention. The song Wie rafft’ ich mich auf in der Nacht,
Op 32/1, in its harmonies and inherent dramatics shows the clear influence of Wagner upon Brahms.
Eisenlohr really gets to shine in Nachtwandler, Op 86/3, with its beautifully haunting little ritornelli in between the sung phrases. Versunken,
Op 86/5, features some exceptionally tricky rhythmic work in the piano. In the accompaniment for Du sprichst, daß ich mich täusche,
Op 32/6, crotchets intermingle with triplets to give a very sensual feeling to the song, which Eisenlohr emphasizes, in stark contrast to the lyrics that complain “You don’t love me anymore.”
Unfortunately, Der Strom, der neben mir verrauschte, Op 32/4, brings to the front the primary shortcoming of this disc. This tempestuously Romantic song should feature extremes from piano to forte and back again, as well as hasty crescendi and descrescendi, but the typical Naxos overuse of dynamic compression eliminates nearly all of that character. You can tell it’s supposed to be louder when Prégardien and Eisenlohr are both striking the notes harder, but the volume remains more or less the same. Only occasionally does a variance of loudness escape the compression.
While the recording itself is fine and serves as an excellent first step on this project, the engineering of the disc lets it down substantially.
Mark S. Zimmer
