MusicWeb International One of the most grown-up review sites around 2023
Approaching 60,000 reviews
and more.. and still writing ...

Search MusicWeb Here Acte Prealable Polish CDs
 

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

REVIEW
RECORDING OF THE MONTH


Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

TROUBADISC
Troubadisc Weinberg- TROCD01450

All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Songs to Harp from
the Old and New World


all Nimbus reviews



all tudor reviews


Follow us on Twitter


Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


Buy through MusicWeb for £11.50 postage paid World-wide.


Musicweb Purchase button

 

Poems
Aaron COPLAND (1900-1990)
Twelve Poems of Emily Dickinson (1950) [30:29]
Alexander SCRIABIN (1872-1915)
Vers la flamme, Op. 72 (1914) [6 :26]
Alban BERG (1885-1935)
Sieben frühe Lieder (1905-8) [14:47]
Pawel SZYMANSKI (b. 1954)
Drei Lieder nach Trakl (2002) [12:10]
Agata Zubel (soprano); Marcin Grabosz (piano)
rec. Witold Lutoslawski Concert Hall, Polish Radio, Warsaw, December 2007–March 2008
CDACCORD ACD149-2 [63:59]


Experience Classicsonline


 
 
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]

 

 


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews



all Bridge reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Subscribe to our free weekly review listing

 

 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Past and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.