It is good that, alongside Wilhelm Furtwängler,
Eugen Jochum, Wilhelm Kempff and the Janáček
Quartet DG have chosen to celebrate the great bass-baritone, Hans
Hotter (b.1909) by including him in the first release of their
new “Original Masters” series. As one of the greatest singers
of the post-Second World War generation he fully merits his
ranking with such illustrious company.
As will be seen from the contents list much of
the set is devoted to his lieder recordings, with the lion’s share
devoted to Schubert though there is also a useful selection of
operatic extracts.
Almost all of the first CD is devoted to Hotter’s
1961 recording of Der Winterreise. This was the singer’s
third version of the cycle. Previously he had recorded it in 1941-2
with that doughty champion of lieder, Michael Raucheisen (a version
which I have not heard) and later, in 1954, he set down a recording
for EMI in which he was partnered by Gerald Moore. I found that
comparisons between the 1954 and 1961 versions were entirely in
favour of the earlier account with the sole proviso that the 1954
recording is, perhaps inevitably, rather less full than the DG
remake.
I should say at once that there is little in
Hotter’s singing which will disappoint. For me the problem lies
elsewhere. The main drawback to this recording, I’m afraid, lies
in the rather routine piano playing of Eric Werba. Time and again
when I compared the Werba and Moore contributions I found Gerald
Moore displaying greater imagination and a more obvious sense
of fantasy. This is especially evident in Moore’s masterly use
of rubato. By comparison, Werba’s playing seems almost devoid
of rubato. In case it should be thought that I am exaggerating,
the playing of Geoffrey Parsons who accompanies all the remaining
lieder in this collection also shows all too graphically what
is missing in Werba’s playing.
I suspect that it is principally due to Moore’s
greater flexibility and willingness to take expressive risks that
the 1954 recording takes four and a half minutes longer overall
than does the 1961 remake. The earlier account just seems to have
that much more space though neither Moore nor Hotter is reluctant
to impart urgency as is evident from their account of ‘Erstarrung’
(CD 1, track 4 in the DG compilation). Another example where I
have a clear preference for the 1954 version is ‘Der Wegweiser’
(CD 1, track 20) where Moore plays with what I’d call "pointed
legato" where, by comparison, Werba just seems to play the
notes. Not surprisingly, it is Moore who provokes a greater response
from Hotter. In the following song, ‘Das Wirtshaus’ (track 21)
Werba is heavier, more portentous than Moore in the 30-odd second
prelude but to my ears he conveys far less.
As we get to the incomparable songs with which
the cycle concludes I find that the differences between the 1954
and 1961 versions become ever more stark. Thus ‘Das Wirtshaus’
sounds almost routine in 1961 by the side of the daring and sustained
1954 account, which is nearly one minute longer. The 1954 version
is a rapt account which Hotter and Moore bring to a searing final
climax. The final, brief postlude is dignified yet ineffably sad
in Moore’s hands; Werba just can’t match this degree of intuition
and communicative skill. By sheer economy of means and force of
musical personality Hotter and Moore convey huge emotions in the
last two songs, ‘Die Nebensonnen’ and ‘Der Leiermann’ (on DG,
CD1, tracks 23 and 24) and they are hypnotic in the latter.
It may seem strange that I’ve devoted so much
attention to the accompaniment in reviewing a recording which
is designed to showcase a singer. However, truth to tell, I don’t
feel that Hotter had fundamentally rethought his interpretation
of Winterreise between 1954 and 1961 and I’m convinced
that it is the superior contribution of Gerald Moore which makes
the 1954 traversal so much more satisfying. As I said, I don’t
detect significant differences in Hotter’s singing of the songs.
Though he is very sensitive to the words you won’t find much of
the verbal acting which distinguishes, say, Peter Schreier’s magnificent
account with András Schiff (sample Schreier in ‘Die Krähe’
to see what I mean) What distinguishes Hotter’s reading of the
cycle in both his recordings under discussion is his ability to
project the melodic line on a seemingly endless flow of breath
and his skill in refining his huge voice expertly so as to maintain
the intimacy necessary for lieder. His 1961 collaboration with
Werba is good and has much to commend it but his earlier partnership
with Moore produces results which are consistently masterly and
it would be perverse to say otherwise.
So if you buy this set you’ll acquire a decent
reading of Winterreise but I’d recommend that you also
acquire, if possible, the 1954 account (last available on EMI
Références) as an essential supplement.
The remaining lieder in this DG set all appear
to originate from two Decca LP recitals set down in 1973 and 1975
when Hotter was in his sixties. Age had not brought about any
noticeable reduction in the quality of his singing and the involvement
of a much more perceptive and illuminating accompanist in the
shape of Geoffrey Parsons reaps huge dividends. So, for instance,
Hotter gives us a towering ‘Gruppe aus dem Tartarus’ (CD 1, track
25), though I feel that an earlier account, set down in 1949 for
EMI, again in partnership with Gerald Moore, is even more urgent
and heroic.
This DG set also offer four songs from Schwanengesang.
I’m not sure if these are taken from a complete recording of the
cycle; I suspect not. There is an earlier (1949) complete recording
which Hotter and Gerald Moore made for EMI. Here the comparisons
suggest that choice between the older and more recent versions
is much less clear-cut than was the case with Winterreise.
The 1973 traversal of ‘Der Doppelgänger’ (CD 2, track 3)
is truly riveting; Hotter gives a sonorous, louring interpretation
of menacing power and dark foreboding. Here Wotan confronts Schubert.
After that ‘Die Taubenpost’ (track 4) comes as more of a relief
than usual – here, perhaps unsurprisingly, I detected a bit more
lift and lightness in Hotter’s singing in his 1949 version. However
the 1973 account will certainly not disappoint.
The lieder of Hugo Wolf call for, and here receive,
much more vocal characterisation than is appropriate for those
of Schubert. On the evidence of these recordings Hotter took the
view that Schubert required a more classical, less interventionist,
style but he brings to Wolf the full range of his theatrical powers.
The very first Wolf song, ‘Der Tambour’ (CD 2, track 7) is a case
in point. The range of expression deployed here by Hotter makes
one regret there are no Mahler songs in this collection (did he
ever record any, I wonder?). Throughout the 17 Wolf songs included
here Hotter sings with wit and fantasy and Geoffrey Parsons’ accompaniments
provide consistent additional interest.
I’d single out especially the three Michelangelo
songs (CD 2, tracks 15-17). The rarefied eloquence of these songs,
Wolf’s last utterances, seems especially suited to Hotter. He
gives magnificent performances which are both subtle and deeply
felt. For me these are a highlight of the entire collection. I
must mention one other Wolf song, however, ‘Anakreons Grab’ (CD
2, track 22), which Hotter delivers with a superb feeling of innigkeit,
receiving marvellous support from Parsons.
If I pass over the six Strauss lieder I wouldn’t
wish this to imply that they represent any falling off in standards.
Quite the reverse is true. All the songs are very well done and
gave me much pleasure.
So, too, did the group of Loewe songs which constitute
a nicely varied little selection. Best of all, I thought were
the two more substantial songs. ‘Odins Meeresritt’ (CD 3, track
1) is rendered compellingly and vividly. Here we find Hotter’s
skills in narration and characterisation well to the fore. He
also relates ‘Hochzeitlied’ (track 3) with relish and an abundance
of varied vocal colouring. I also admired the delicacy which he
brings to the brief ‘Hinkende Jamben’ (track 4)
The lieder selection ends with a group by Brahms
which Hotter once again brings off very successfully. He gives
a powerful rendition of ‘Auf dem Kirchhofe’ (CD 3, track 5) while
in ‘Ruhe, Süssliebchen, im Schatten’ (track 6) he displays
once again his sovereign command of line in a beautiful, easeful
piece of singing.
The remainder of CD 3 is devoted to opera and,
with the exception of the opening excerpt from Aida, these
are all from relatively early on in Hotter’s career, having been
set down in 1942 and 1943. All the items are sung in German and
I must say I was a bit surprised to find this practice extending
to the 1961 rendition of the Aida duet (track 8), as this
was presumably a recording intended for international release.
Here Hotter is an imposing Amonasro and he is effectively partnered
by Gloria Davy in the title role. The use of German does take
some getting used to, however.
The other items were no doubt intended mainly
for domestic German consumption and I can much more readily understand
why German was used in all cases. Hotter produces a riveting account
of Iago’s diabolic ‘Credo’ (track 9) but I found that the use
of German rather than the original Italian imparted a completely
different character to the music. As Escamillo (track 11) he is
powerful but I wasn’t completely convinced; there seems to be
a lack of Mediterranean warmth.
With the Wagner extracts, however, we are on
Hotter’s home turf, so to speak. He gives us a vivid, tortured
portrayal of the Dutchman, with singing of great intensity (track
13). In two different sessions he presents a warm, commanding
yet humane view of Hans Sachs (tracks 14 and 15), making one regret
that the two excerpts only give us about 14 minutes-worth of the
role.
Arguably, the best is left till last with a fairly
early glimpse of Hotter in the role with which he became especially
identified. Has there ever been a greater, more rounded exponent
of Wotan / the Wanderer? Here, despite the fact that the recording
is sixty years old, burnished, heroic tone just comes pouring
out of the loudspeakers as Hotter gives a towering performance
of Wotan’s Farewell. The years roll back and we hear surely the
Wotan of the second half of the last century in all the glory
of his youthful voice. This is a majestic final track and a fitting
way to end this celebration of this great singer - actually, I
couldn’t resist cheating and this was the first track I played
when I received the discs for review; other collectors might wish
to do likewise.
This is a good point at which to say that the
1940s recordings have all been well transferred by DG. There is
good body to the orchestral sound, surface hiss is subdued and
I doubt it will bother anyone. Hotter’s voice is properly prominent
without being overwhelmingly to the fore. The lieder recordings,
being of much more recent vintage all reproduce well. I’m less
enamoured with other aspects of the package. The notes take the
form of a multi-lingual portrait of the singer which is satisfactory
as a brief introduction to his art. Sadly DG spoil everything
by failing to provide texts or translations. I know this is a
budget priced issue but even so the lack of words seriously compromises
the listener’s enjoyment and, in my view, devalues this tribute
to a great singer.
This, then, is something of a mixed bag. The
lieder with Geoffrey Parsons are uniformly excellent. However,
pace the author of the liner notes, the recording of Winterreise
is not Hotter’s best. The Italian and French operatic arias may
not be to everyone’s taste sung in German but the Wagner extracts
are superb. On balance, since this is a set offered at budget
price, the pluses outweigh the minuses and the set can be recommended
not just to all admirers of Hans Hotter but also to all connoisseurs
of great singing.
John Quinn
Hans Hotter (bass-baritone)