Information
Composer: Ludwig van Beethoven
- 6 Lieder, Op. 48: 1. Bitten
- 6 Lieder, Op. 48: 2. Die Liebe des Nächsten
- 6 Lieder, Op. 48: 3. Vom Tode
- 6 Lieder, Op. 48: 4. Die Ehre Gottes aus der Natur
- 6 Lieder, Op. 48: 5. Gottes Macht und Vorsehung
- 6 Lieder, Op. 48: 6. Bußlied
- Resignation, WoO 149
- An die Hoffnung, Op. 32
- Lied aus der Ferne, WoO 137
- Mailied, Op. 52 No. 4
- Der Liebende, WoO 139
- Klage, WoO 113
- An die Hoffnung, Op. 94
- Adelaide, Op. 46
- Wonne der Wehmut, Op. 83 No. 1
- Das Liedchen von der Ruhe, Op. 52 No. 3
- An die Geliebte, WoO 140 (1814 Version)
- An die ferne Geliebte, Op. 98: 1. Auf dem Hügel sitz ich spähend
- An die ferne Geliebte, Op. 98: 2. Wo die Berge so blau
- An die ferne Geliebte, Op. 98: 3. Leichte Segler in den Höhen
- An die ferne Geliebte, Op. 98: 4. Diese Wolken in den Höhen
- An die ferne Geliebte, Op. 98: 5. Es kehret der Maien, es blühet die Au
- An die ferne Geliebte, Op. 98: 6. Nimm sie hin denn, diese Lieder
Matthias Goerne, baritone
Jan Lisiecki, piano
Date: 2020
Label: Deutsche Grammophon
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With so many detractors, Beethoven Lieder are bound to acquire revisionist defenders, the latest being Matthias Goerne, whose status among the world’s great Lieder singers suggests that his position is more sincere than knee-jerk musicological perversity.
Beethoven indeed expanded the medium’s range of possibilities mainly through the piano-writing, though his lack of literary insight in the vocal lines left the Lieder medium only partially transformed. His most notable contribution to the art form is An die ferne Geliebte, Op 98, which is often called the first song-cycle, with six Lieder integrated into a continuous piano part. But how often do you really want to hear it – and the Lieder that led up to it? Even in earnestly performed, well-recorded circumstances such as this disc, the answer would be ‘every so often’.
In the album notes, Goerne suggests that Beethoven’s Op 48 collection of six religious songs is the equal of An die ferne Geliebte, based on corrected editions that restore numerous cut stanzas. Neither Dietrich Fischer-Dieskau nor Hermann Prey left you feeling that you were missing anything, in performances with some Lieder cut down to a single stanza. With Goerne opening the cuts, I had hoped for some cumulative effect. But in these rather plain strophic songs with moralistic texts, I kept hearing Beethoven struggling to be Beethoven. There is unfairly neglected Beethoven out there (Christus am Ölberge, for example) but I just can’t get on board with Op 48. I’d even say that starting the disc with these songs dulled my perceptions to the charm and flashes of depth that followed in ‘An die Hoffnung’ (both Opp 32 and 94), ‘Adelaide’ and, at the end of the disc, An die ferne Geliebte.
Though Goerne has some unexpectedly light, sweet, upper-range moments that I hadn’t previously heard from him, his soft-grained voice feels undifferentiated for certain stretches and his reverence for the material seems to circumvent a more interventionist sensibility that might get closer to what Beethoven struggled to express. That’s what the hyper-alert Fischer-Dieskau brought to Beethoven Lieder in his live Salzburg disc – and more of what one got from Goerne’s own 2005 live recording of An die ferne Geliebte that hails from a different time, a different kind of focus as well as a somewhat different voice.
The major point of discovery here is Jan Lisiecki in his capacity as a Lieder accompanist. I greatly admire Lisiecki’s recent set of Beethoven piano concertos (11/19), and any time this collection gives him something substantial to do, his crystalline lyricism comes to the fore. His playing is more impulsive and less considered than Alfred Brendel in Goerne’s previous An die ferne Geliebte but still incredibly right in its own way. The periodic flourishes in the Op 32 ‘An die Hoffnung’ unfold like pearl necklaces, where every note has its own glow but builds on what came before and leads to what comes after.
-- David Patrick Stearns, Gramophone
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Ludwig van Beethoven (baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. Beethoven is acknowledged as a giant of classical music, and his influence on subsequent generations was profound. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas and 16 string quartets. Many of his most admired works come from the last decade of his life, when he was almost completely deaf.
https://en.wikipedia.org/wiki/Ludwig_van_Beethoven
https://en.wikipedia.org/wiki/Ludwig_van_Beethoven
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https://en.wikipedia.org/wiki/Matthias_Goerne
http://www.matthiasgoerne.com/
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Jan Lisiecki (born March 23, 1995) is a Canadian-born classical pianist of Polish ancestry. He was brought to international attention in 2010 when the Fryderyk Chopin Institute released his two performances for Chopin's Piano Concertos with Sinfonia Varsovia and Howard Shelley. Deutsche Grammophon signed an exclusive contract with Lisiecki that same year, when he was 15 years old. Lisiecki performs over a hundred concerts annually and has worked closely with the world's leading orchestras and conductors, in a career at the top of the international concert scene spanning over a decade.
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