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Measha Brueggergosman - Surprise William BOLCOM (b.
1938) Cabaret Songs
1. Surprise! [0:42]
2. The Actor [1:31]
3. Song of Black Max [3:20]
4. Amor [3:08]
5. Toothbrush Time [3:19]
6. The Total Stranger in the Garden [1:54]
7. George [3:31] Arnold SCHÖNBERG (1874–1951) Brettl-Lieder(Cabaret Songs)
8. Gigerlette [1:48]
9. Jedem das Seine [4:39]
10. Mahnung [4:37]
11. Galathea [3:09]
12. Der Nachtwandler [3:34]
13. Einfältiges Lied [2:16]
14. Der genügsame Liebhaber [2:19]
15. Arie aus dem Spiegel von Arkadien [3:10]
Orchestration: Patrick Davin (8-11; 13-15), Arnold Schönberg
(12) Erik SATIE (1866–1925)
16. La Diva de l’Empire [2:40]
17. Tendrement [4:13]
18. L’Omnibus automobile [2:52]
19. Daphénéo [1:27]
20. Je te veux [6:14]
Orchestration: Robert Caby (19), William Bolcom (20)
Measha Brueggergosman
(soprano); William Bolcom (piano) (16-18); BBC Symphony Orchestra/David
Robertson
rec. Maida Vale Studio, Delaware Road, London, May 2007
Texts and translations enclosed DEUTSCHE GRAMMOPHON
477 6589 [60:22]
Surprise! is the title of the first of
William Bolcom’s Cabaret Songs and I believe that
DG jumped at the opportunity to use this title to plug the
disc. Here is a sensational surprise in the shape of the
richly endowed Measha Brueggergosman, whose voice more than
once reminds me of the young Leontyne Price. From a wider
perspective it may also be seen as a surprise to introduce
a new singer through so unorthodox a choice of repertoire.
Most debut recitals are either a concoction of well known
Schubert, Schumann, Brahms and Richard Strauss or a baker’s
dozen of standard operatic arias. The title may also refer
to the songs themselves, since they are constantly surprising,
unpredictable. By now most of us know the Satie songs and
have got used to them but my first confrontation with them,
many years ago, left me surprised: Is it possible to write
art-songs that are so accessible and ‘popular’?
William Bolcom’s songs should attract a wide audience through the
many styles they represent. Surprise! is a limp waltz, Song
of Black Max a syncopated stroll – arguably the catchiest
of the bunch – Amor has more than a trace of Bernstein
and in the jazzy Toothbrush Time a naughty saxophone
wants to share the space with the singer. The arrangements
are colourful with a lot of percussion.
To many it may come as a surprise that Arnold Schönberg, the stern
inventor of the strictest of compositional systems, dodecaphony,
should condescend to such light fare as Cabaret songs but
he was a lot folksier than his reputation: he arranged Strauss
waltzes for chamber ensemble, he orchestrated Schubert songs
and there is a rousing arrangement of the well known Italian
song Funiculi, Funicula from his pen. These Brettl-Lieder,
of which he only orchestrated Der Nachtwandler himself,
are indeed highly entertaining and – yes – charming. I suppose ‘charming’ is
the last word that comes to mind when mentioning the name
Schönberg, but these songs are just that! Gigerlette is
probably the best known of them. Elly Ameling recorded it
once for CBS as part of an Encores record, but the
low waltz Mahnung is just as enticing, Der Nachtwandler has
echoes of both Mahler and Weill, Einfältiges Lied is
partly a tango and the Arie aus dem Spiegel von Arkadien,
a setting of Emanuel Schikaneder (he who wrote the libretto
for Die Zauberflöte)in ¾ time
should be a hit.
In the Satie songs there is a lot of competition and among sopranos
Mady Mesplé, Elly Ameling, Régine Crespin and, with orchestral
accompaniments, Carol Farley, have long been favourites.
It is praise indeed to say that Ms Brueggergosman has nothing
to fear from these comparisons. I won’t discard the old records
but I have found a new favourite – just listen to her seductive Tendrement! She
is also very good with the declamatory text in L’Omnibus
automobile which Hugues Cuénod recorded so memorably
when he was already in his mid-seventies. These two songs
and the opening La Diva de l’Empire are sung with
piano while Daphénéo and Je te veux have orchestral
accompaniments, the first by Robert Caby the second by William
Bolcom. Carol Farley also uses Caby’s arrangements, though
her Je te veux is uncredited but sounds very much
like the arrangement by Bolcom.
It would probably be tempting to show off on one’s debut disc with
big gestures and ringing top notes. Canadian Meashe Brueggergosman
does neither. For her it is obviously the songs that are
to the fore and she presents them with small nuances and
care for the texts. That she has extraordinary vocal resources
is never in doubt and next time she may choose a programme
that exhibits other sides of her armoury. And I do hope there
will be many ‘next times’. This is certainly a singer to
watch.
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