SEEN AND HEARD INTERNATIONAL

Schubert: “Die Modezeitung” lieder. Dorothee Jansen (soprano) and Francis Grier (piano). Wigmore Hall, London. 11.2.2008 (ED)


Sometimes presenting the most familiar of repertoire in an interesting or novel way can prove sufficient to draw one to a concert. Such was the case here: there is after all little new about Schubert lieder. Ascendent German soprano Dorothee Jansen and her British composer-accompanist Francis Grier have for some time now been presenting Schubert lieder in programmes that maintain close personal connection with the composer, albeit little known to the general public or even the musically informed audience member. Volume one of a planned six programme series, titled “New Perspectives”, focussed on the Therese Grob Songbook, appended by well known songs such as Gretchen am Spinnade and Kennst du das Land. The programme was recorded and released on CD (Somm 223). All told, this provides a somewhat lengthy introduction to the present concert, which followed a similar format and was recorded, presumiably for release on the Somm label.

This concert focused on the fifteen songs that Schubert published in music supplements in the Viennese journal popularly known as “Die Modezeitung”, or “The Fashion Journal”. There is little double that Schubert viewed his purely in practical terms to gain increased circulation of his music and as a means to generate income. Clearly, he recognized the need for his work to have populist appeal. The songs he chose included Die Forelle, Drang in die Ferne, Wandrers Nachtlied II, An Emma and Die blinde Knabe. Taken as a whole the show something of Schubert’s range as a lieder composer, and allow the listener and performers to experience his very finest work amongst some other examples that do not quite reach his absolute peak of inspiration.

Dorothee Jansen’s way with Schubert is obviously carefully honed. Never did she seek to overblow the intimacy caught between words and music, and her delivery was always pointedly tasteful, indeed almost reverential at times. Obvious flexibility of voice and purity of tone lent much to the evening’s enjoyment and these qualities seemed to grow organically from Francis Grier’s inquisitive accompaniments. He launched Die Forelle not so much into a limpid brook as a raging torrent of spiky angularity, something I rather enjoyed for the originality it displayed. Why then a certain sameness of tonal colouring in Jansen’s voice and tendency to enunciate the texts in a slightly covered way, which meant they did not project as clearly as might be wished for? The answer – I presume – must be that Jansen sang more for the microphone than her live audience. The programme was also somewhat short for a live recital, even with the addition of three non-Modezeitung songs, but perfectly scaled for a CD’s duration. Despite slight disappointment over the evening as a concert, maybe this will be a presentation of Schubert lieder best revisited in the living room. The indication is that these artists acquitted themselves with honour; but indications are not enough are they really when a live experience should give one the best impression possible.

Evan Dickerson


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