A fascination with all things Scottish dates from before Sir Walter
Scott’s wholesale invention of much of the genre. Purcell’s Theatre
Music includes several examples of imitation Scottish Tunes and
Songs and in the second half of the eighteenth century composers
of all nationalities turned out songs and instrumental pieces
in large numbers in a similar vein. The pieces on these discs
are however not newly invented tunes in the Scottish style but
genuine Scottish and other folk tunes arranged by three great
masters, none of whom, as far as I am aware, ever visited Scotland.
The figure behind this was George Thomson (or Thompson according
to the booklet with these discs), an Edinburgh civil servant and
publisher, who commissioned them along with new words by such
poets as Robert Burns, James Hogg and (of course) Walter Scott.
Curiously he never brought the words and music together before
publication, so that as far as I am aware Beethoven and the others
arranged the music without knowing what the words were about -
although given the dialect often adopted they might have had difficulties
even if they had been supplied. Not surprisingly this does lead
to some odd mixtures which can cause difficulties for singers
who must decide whether to follow the words or the music where
the two diverge in character. Eloquence make this less obvious
here by omitting not only the texts but any clue as to what the
words are about, leaving the listener in the same position as
the composers were in. It is possible to catch some of the words,
but dialect poems in what is not the first language of most of
the singers involved here do mean that the listener frequently
is able to grasp little more than the gist of the text.
The result however is still well worth hearing. Given the talents
involved it would be surprising if it was otherwise, although
critics used regularly to refer to these songs in very dismissive
terms. Admittedly not all of Beethoven’s lesser works are masterpieces,
and some are best left in relative obscurity, but surely many
of these arrangements are amongst the most imaginative responses
to folk music before Bartók or Britten. They are not idiomatic
in their use of the tunes but they do show the way in which Beethoven
was able to react to what must have seemed to him exotic turns
of phrase and unlikely rhythms. Bearing in mind that they date
from the composer’s maturity the sheer range and imagination which
he shows in this task are unsurprising.
Fortunately in recent years they have at last been given the recognition
they deserve, and several complete recordings of the whole series
– nearly 180 songs – have been made. Most of the recordings on
these discs date from 1970, the three hundredth anniversary of
Beethoven’s birth, at which time few had been recorded. DGG employed
a starry set of singers - Edith Mathis, Julia Hamari, Alexander
Young and Dietrich Fischer-Dieskau – and offered the kind of presentation
necessary for such material. The present reissue lacks that presentation
but does add earlier recordings by Fischer-Dieskau of songs arranged
by Haydn and Weber as well as Beethoven. Although some of the
latter duplicate those chosen in 1970 the earlier versions are
sung in German. The differences in performance and in the versions
of the works themselves are minor.
I am sure that none of these composers would have expected anyone
to listen to more than a few of these songs at a time. It is indeed
inadvisable to do so as certain mannerisms and tricks in the arrangements
and the performances become very noticeable. Better to savour
half a dozen and stop, wanting more, as you will given performances
which combine exuberance, elegance and beauty of tone as required.
Maybe at times Fischer-Dieskau does work rather too hard for this
listener’s comfort so that you might even describe it as hectoring,
but I am more than willing to ignore this given his wonderful
ability to characterize each song individually. The contributions
of the other soloists and choir are no less admirable, and the
variety of voices in itself adds much to the listener’s pleasure.
The German versions of the Beethoven arrangements and the arrangements
by Haydn and Weber are all sung just by Fischer-Dieskau although
Karl Engel continues valiantly and imaginatively with the frequently
busy piano parts. His ability to point Beethoven’s varied rhythms
and phrasing gives immense pleasure. The other instrumentalists
also contribute with great panache and, where required, beauty
of tone. I have to admit to finding the Haydn arrangements at
times dull in this company, but those by Weber have a quirky charm
that distinguishes them from the frequently more muscular versions
by Beethoven.
Between them these discs contain forty-six songs and over two
hours of delightful and often neglected music. Taken a few at
a time I find that they lift the spirits and open the ears delightfully.
Certainly this is not the greatest music of any of these composers,
but in performances like these it is well worth hearing and bringing
hours of pleasure.
John Sheppard
CD1
Beethoven
“Music, Love and Wine” Op 108/1 [1:20]
“The Highland Watch” Op 108/22 [3:43]
“Once more I hail thee” WoO152 [3:37]
“Bonnie Laddie, Highland Laddie” Op 108/7 [1:41]
“Behold my Love how green the groves” Op 108/9 [3:12]
“The Pulse of an Irishman” WoO154 [2:03]
“Constancy” WoO155 [2:36]
“The Elfin Fairies” WoO154 [2:52]
“Ye Shepherds of this pleasant Vale” WoO156 [1:56]
“Sunset” Op 108/2 [2:13]
“He promis’d me at parting” WoO154 [2:20]
“Enchantress, farewell” Op 108/18 [4:13]
“Put round the bright wine” WoO154 [2:29]
“Since all the vows” WoO157 [2:41]
“O how sweet were the hours” Op 108/3 [4:20]
“Duncan Gray” WoO156 [1:57]
“Faithful Johnie” Op 108/20 [4:09]
“Could this ill world have been contrived” Op 108/16 [3:02]
“Highlander’s Lament” WoO157 [3:56]
“Farewell Bliss and Farewell Nancy” WoO152 [3:16]
CD2
“The Miller of Dee” WoO157 [2:02]
“O Sanctissima” WoO157 [2:02]
“Oh! Had my Fate been joined with thine” Op 108/12 [4:25]
“Charlie is my Darling” WoO 157 [1:46]
“To the Blackbird” WoO 155 [4:58]
“The Return to Ulster” WoO 152 [4:11]
“Come fill, fill my good Fellow” Op 108/13 [2:09]
“Lochnagar” WoO 156 [4:11]
“Sion, the son of Evan” WoO 155 [1:20]
Haydn
“Schläfst oder Wachst Du?” Hob.XXX1a/229 [1:09]
“Heimkehr” Hob.XXXIa/31 [1:37]
“Maggy Lauder” Hob.XXXIa/35 [2:17]
“Dort, wo durchs Ried das Bächlein zieht” Hob.XXXIz/178 [1:18]
“Fleiss leise, mein Bächlein” Hob.XXXIa/253A [2:23]
Beethoven
“Horch auf, mein Leibchen” WoO 158a [1:00]
“Da brava, Catina” (Canzonetta Veneziana) WoO158a [1:48]
“O köstliche Zeit” Op 108/3 [4:03]
“Trinklied” Op 108/13 [2:03]
“Die treue Johnie” Op 108/20 [4:07]
“Kommt, schliesst mir einer frohen Kreis” WoO 152 [1:14]
Weber
“Ein entmutigter Liebender” J295-304 [3:51]
“Ein beglückter Liebender” J295-304 [1:50]
“Bewunderung” J295-304 [2:30]
“Glühende Liebe” J295-304 [1:41]
“Trinklied” J295-304 [1:12]
“Weine, weine, weine nur nicht” J231 [1:36]
Edith Mathis (soprano); Julia Hamari (mezzo); Alexander Young (tenor);
Dietrich Fischer-Dieskau (baritone); RIAS Kammerchor; Andreas Roehn,
Helmut Heller (violins); Georg Donderer, Irmgard Poppen (cellos);
Aurèle Nicolet (flute); Karl Engel (piano); rec. Berlin, February
1961, March 1970. ADD 
