Franz SCHUBERT (1797-1828)
Die schöne Müllerin, D 795 (1823)
1. Das Wandern [2:45]
2. Wohin? [2:36]
3. Halt! [1:41]
4. Danksagung an den Bach [2:40]
5. Am Feierabend [2:50]
6. Der Neugierige [4:28]
7. Ungeduld [2:51]
8. Morgengruss [5:05]
9. Des Müllers Blumen [3:39]
10. Tränenregen [4:33]
11. Mein! [2:37]
12. Pause [5:19]
13. Mit dem grünen Lautenbande [2:03]
14. Der Jäger [1:11]
15. Eifersucht und Stolz [1:43]
16. Die liebe Farbe [4:34]
17. Die böse Farbe [2:08]
18. Trockne Blumen [4:08]
19. Der Müller und der Bach [4:41]
20. Des Baches Wiegenlied [6:54]
Mark Padmore (tenor); Paul Lewis (piano)
rec. September 2009, Air Studios, Lyndhurst Hall, London
German text and English and French translations included
HARMONIA MUNDI HMU 907519 [69:25]
Last autumn I warmly
welcomed an excellent Winterreise by these same artists. That particular
recording was a very welcome follow-up to a live performance that I’d reviewed
at the 2008 Cheltenham International Festival. At the same Festival, which
featured performances of all three Schubert song-cycles, Paul Lewis had taken
part in a performance of Die schöne Müllerin (review).
On that occasion he partnered the young English tenor, Allan Clayton. Now,
as the second instalment of their project to record the three cycles for Harmonia
Mundi, Lewis and Mark Padmore have taken into the studio their interpretation
of Schubert’s first Wilhelm Müller cycle.
Around the time of making this recording Mark Padmore and Paul Lewis performed
the cycle at the Wigmore Hall. Mark Berry, who reviewed
the recital, found a good deal to admire in Padmore’s singing but also expressed
some reservations, noting a rather limited range of tone. For Paul Lewis’s
contribution at the piano he had nothing but praise. Though I remembered reading
Mark’s review at the time – and thinking that a recording must surely be in
the offing – I deliberately refrained from revisiting it until I’d completed
my appraisal of this disc. I’m not surprised to find that we’re at one in
our approval of Paul Lewis’s contribution. I also agree with Mark’s positive
points about Mark Padmore, not least his narrative skills and the clarity
of his words. I can see what he means about the English tenor tone. I must
say this wasn’t such an issue for me but other listeners may come down on
Mark’s side of the discussion so intending purchasers would be advised to
read his comments as well as mine.
I’ll declare straightaway that I found this to be a very impressive traversal
of Die schöne Müllerin. Both artists display consistent intelligence
and musicality and it’s evident that they identify strongly with Schubert’s
music. Padmore’s singing provides a constant source of pleasure. His tone
is light for the most part – which I think is appropriate to a set of songs
about a young man – but he can deploy a touch of steel and some tonal weight
when required. His diction is exemplary and so far as I could tell his German
is excellent. I’m not a German speaker but I recall that when I heard him
sing Winterreise at Cheltenham in 2008 I fell into conversation with
a lady afterwards who was a native German speaker and who commented favourably
on his German.
As for Paul Lewis, his contribution is marvellous. He is truly sensitive both
to the music and to the needs of the singer and he forms a real partnership
with Padmore: he is no “mere” accompanist. My listening notes contain a large
number of comments about particularly pleasing features in the piano part.
Indeed, he impresses right at the very start with the sturdy vigour that he
brings to ‘Das Wandern’. In ‘Wohin?’ the rippling piano figurations are beautifully
placed. Later on, in ‘Morgengruss’ he voices perfectly the pianist’s repetition
of the singer’s melody in the last line of each stanza. His touch in ‘Der
Neugierige’ is delightfully subtle while his driving playing gives great impetus
to ‘Der Jäger’.
But no matter how skilful the pianism, a performance of Die schöne Müllerin
stands or falls by the quality of the singing and, in my opinion, Mark Padmore
really delivers. In the early part of the cycle he is successful in depicting
the naïve, eager youth. His legato phrasing in ‘Wohin?’ is excellent, as is
also the case in ‘Danksagung an den Bach’, in which there are some beautifully
produced soft high notes to savour. In the following song, ‘Am Feierabend’
he evinces ardour and determination in the first stanza and, when that music
is reprised, he introduces a note of desperation. In between, in the central
section of the song, I especially admired the lovely quiet high note on the
word “allen”.
‘Morgengruss’ is a splendid strophic lied and Padmore does it extremely
well, not least in conveying the longing in the last line of each stanza.
As the cycle unfolds I like the exhilaration he brings to ‘Mein!’, mistakenly
believing that he’s won the affections of the Miller’s daughter. In ‘Der Jäger’
his articulation of the words is biting. He takes the song at a properly fast
tempo but, unlike James Gilchrist in a recording that I reviewed
recently, there’s never any feeling that the words are snatched: Padmore gives
himself enough space. The tone he strikes in ‘Die liebe Farbe’ is plaintive
and regretful while in ‘Die böse Farbe’ the listener can sense the youth thrashing
around in uncertainty and despair.
As the cycle reaches its tragic dénouement both artists rise to the
moment. Lewis plays with great sensitivity in ‘Trockne Blumen’. The textures
in this song are very spare; Schubert uses limited means to get the poignant
message across. As he’s done so often in the preceding songs, Padmore displays
expert control, reducing to half-voice at times. It’s an intimate, confiding
reading from both musicians. At “Und wenn sie wandelt” the mood changes, becoming
more intense and Padmore excels here. In ‘Der Müller und der Bach’ Padmore
conveys the pathos of the young man’s stanzas but warms his tone suitably
for the stanzas in which the brook replies. In this song the top of his voice
is free and easy – but that’s a comment I could have made about almost any
of the twenty songs in the cycle. Finally ‘Des Baches Wiegenlied’ is gently
consoling. The pace is easeful and both singer and pianist sustain the musical
line expertly in a touching conclusion to their fine performance.
This CD is a worthy successor to these performers’ persuasive account of Winterreise.
Mark Padmore’s voice and his way with these fresh and eloquent songs is
very much to my taste and his excellent singing is enhanced greatly by the
presence of so perceptive a partner as Paul Lewis. Though there are many excellent
versions of Die schöne Müllerin in the catalogue those who share my
preference for a tenor in these songs should most definitely hear this CD.
The recorded sound is excellent and the booklet is very good and is clearly
printed.
I believe that Mark Padmore and Paul Lewis are to record Schwanengesang
in the near future. I eagerly await the release of that disc in 2011.
John Quinn
A worthy successor to these performers’ persuasive account of Winterreise.