A word, first of all, about the presentation of this superb
disc. The recording is magnificently rich and detailed, though
I occasionally wish the singer had been brought just a step
forward. I suspect the engineers of exercising their right to
fade-out from time to time, notably at the very end of the recital.
The booklet is glued to the cardboard casing of the disc, making
it unwieldy and subject to damage with frequent use. It contains
a number of essays on the music, in Polish and in English, which
will be informative to many but which others may find border
on the pretentious. Neither the translation nor the proofreading
is infallible. Emily Dickinson’s poems are printed in English
and in Polish, and the words of the German songs are given in
the three languages, but not always side by side. This makes
a lot of page-turning necessary in order to follow them. There
is also biographical information about the performers.
Agata Zubel’s was a new name to me, as was that of the pianist,
Marcin Grabosz. From the opening notes we are aware that we
are in the presence of a player of the very first rank. He is
scrupulously attentive both to the detail of the score and to
the span of each individual song. He possesses a strong musical
personality, yet his playing never overshadows the singer. Miss
Zubel is a composer as well as a performer, so we shouldn’t
be surprised that her repertoire features a fair amount of contemporary
music. Hers is a strikingly beautiful voice, with impeccable
tuning and just a little of the Slav character that makes so
many Polish sopranos compelling as a listening experience.
Aaron Copland composed his Twelve Poems of Emily Dickinson
between March 1949 and March 1950. In a short introduction to
the score he writes that although the poems “centre about no
single theme … they treat of subject matter particularly close
to Miss Dickinson: nature, death, life, eternity.” When she
died in 1886 at the age of fifty-six, Emily Dickinson had led
a solitary life for many years, not leaving her home, receiving
few visitors and shunning all contact with people she didn’t
know. Very little of her work was published in her lifetime,
and indeed much of her mature work was discovered in her desk
after her death. To Copland’s list of themes, then, we might
add the essential loneliness of the creative artist, combined
with the enclosed, almost claustrophobic atmosphere of the way
of life she adopted.
Though the poems employ essentially simple language and imagery
they are nonetheless often elusive and, one would have thought,
not particularly suitable for musical setting. Other composers
have followed in Copland’s footsteps, but none with the same
success, as he almost miraculously found exactly the right tone
for these most intimate works. In fact, he went further, adding
to some of the poems expressive layers which do not exist without
the music. The fifth poem, for example, which begins “Heart,
we will forget him”, is a beautiful but essentially simple lyric
about lost love. Copland’s music raises it well above this level,
adding human warmth, dignity and poise to the mix. The two together,
words and music, become a masterpiece in miniature.
Copland’s Twelve Poems of Emily Dickinson is one of the
finest vocal works of the twentieth century, and in all respects
but one, which I will come to later, this is one of the finest
performances of it I have ever heard. Agata Zubel really acts
out these songs, inhabiting the text and seeking out individual
words and phrases for special treatment: these are not neutral
performances. The text assumes its importance in the overall
scheme. She sometimes breathes in surprising places, and I feel
obliged to point out – lest some reader accuses me of not listening
properly – that she sings a C sharp instead of a natural in
the next to last phrase of the ninth song. But the performance
overall is an immensely moving one, and it reminded me of my
favourite performance up to now, that by Robert Tear and Philip
Ledger, originally recorded on the Argo label, and last seen
on Belart 461 6102. Like her, he is not afraid to employ a wide
variety of tone colour in order to inject meaning into particular
phrases. Also like her, he never oversteps the mark, retaining
all the inwardness and essential solitariness of the text, so
brilliantly reflected in the music. If it seems perverse to
prefer a Polish soprano or a British tenor to an American duo
– Barbara Bonney with André Previn on Decca, for example – then
so be it. Yet there is a problem with this performance, and
one that I have deliberately left until last, and that is the
singer’s English pronunciation. Vowels, in particular, are subjected
to some mangling, and just occasionally – the words “go” and
“world” at the end of the second song, for example – this forces
the singer into making a rare ugly sound. I will willingly live
with this, however, in the face of such long-breathed control
of slow tempi, daringly slow in the case of some of the earlier
songs, or the way she responds to Copland’s instruction at the
beginning of the seventh song, marked “With great calm”.
The recital continues with Scriabin’s piece for piano alone.
Beginning quietly and building gradually in intensity, the music
leads us magically “towards the flame”. It comes as a bit of
a jolt after Copland, but prepares the way very well for the
Berg songs that follow. Marcin Grabosz plays the work superbly,
taking considerably more time over it than does Roger Woodward
in the only other performance I have heard and which I
reviewed for MusicWeb International some years ago.
The Berg performances are perhaps the least successful on the
disc. Miss Zubel seems deliberately to eschew the admirable
vocal purity that she employs for Copland in favour of a fast
vibrato. I imagine this is a response to the rather overpowering
sweetness of much of the music, but it is a pity all the same:
she has huge reserves of power, and one longs for the same easy
phrasing she employs in the Copland. I wouldn’t want to over-emphasise
this, as the performance is still a fine one, and Grabosz once
again proves a superb partner, modifying his tone and rising
rapturously with his singer at moments of passion.
The recital ends with a real surprise, and though it may seem
absurd to say so, the disc is worth buying for Pawel Szymanski’s
songs alone. Each of the three Georg Trakl poems has its gloomy
side, but the composer seems to have chosen them as much for
the sound of the words as for the sense. The songs create a
hugely powerful atmosphere, with much use of silence. They must
be very challenging to sing, the second song in particular,
where virtually every note, high or low, is sung staccato. Much
of the atmosphere of the songs comes from the most inventive
piano writing, and this is particular true of the startlingly
beautiful final song where the nature of the accompaniment is
dictated by the reference to “cloister bells” in the text. The
doubling of the vocal line in the piano in this song makes one
think of the composer’s compatriot, Górecki, but in fact the
musical sound-world is much closer to that of Copland, bringing
this deeply satisfying recital full circle.
William Hedley
see also
Agata
ZUBEL (b.1978)
String Quartet No. 1 for four cellos and computer* (2006) [12:27]
Cascando for voice, flute, clarinet, violin and cello (2007)
[14:44] Unisono I for voice, percussion and computer (2003)
[6:12] Unisono II for voice, accordion and computer (2003) [9:20]
Maximum Load for percussion and computer (2006) [14:05]
Agata Zubel (voice, computer) (Cascando) Seattle Chamber
Players *Cellonet - Andrzej Bauer, Bartosz Koziak, Marcin Zdunik,
Mikolaj Palosz, Jan Pilch, Michal Moc, Cezary Duchnowski (computer
Unisono I & II). rec. Studio S4 Polish Radio, Warsaw,
February, September 2008 and Studio NOVA Cezary Duchnowski,
November 2007 (Unisono II).
CD ACCORD ACD 123-2 [57:27]