Most of the items
here were first released as one LP, the exceptions being the
first three tracks, added for this CD release. The two oldest
items comprise a majestic, imposing performance of Die
Allmacht, which is powerfully projected and in which the
expressive and dynamic range of Christa Ludwig's singing make
a strong impression. The companion piece from the same sessions,
Fischerweise, finds her lightening her voice appropriately
and offering a witty performance.
Then comes Schubert's
last song, indeed, his very last composition, the great scena
that is Der Hirt auf dem Felsen. This is a performance
graced and enhanced by the playing, at first mellifluous and
later agile, of clarinettist, Gervase de Peyer. Noting that
Christa Ludwig is a mezzo I had expected to find that the
song had been transposed down but, as John Steane points out
in his characteristically graceful and perceptive liner note,
she preserves the original high key. The tessitura proves
no problem for her, though. There's an interesting parallel
here, again pointed out by Steane, in that the song was
written for Anna Milder, who created the role of Leonore in
Beethoven's
Fidelio. Three years before this present recording
was made Christa Ludwig, though a mezzo, gave what I have
long considered a superb performance as Leonore in Otto Klemperer's
celebrated EMI recording of Beethoven's opera. She is no less
successful in Schubert's mini-drama. The song ideally requires
dramatic range and power as well as delicacy and in these
respects Miss Ludwig proves more than equal to the task. Personally
I rather prefer the somewhat lighter tone of a soprano, such
as the late-lamented Arleen Auger in her magnificent reading
for Hyperion. However, there's no denying the wonderful expressiveness
Ludwig brings to the song, above all in the minor key central
section. Throughout the performance the richness of her voice
and the range of colouring she employs give deep satisfaction.
All in all, this is a pretty marvellous reading.
The remainder
of the programme is well chosen to show off the versatility
of this fine singer in a variety of favourite Schubert lieder.
So she conveys joyful gaiety in Der Musensohn,
while An die Musik is dignified and affectionate. This
latter song offers but one of several examples of her ability
to spin a seamless line of rich tone. The celebrated 'Ave
Maria' is another offering in which she shows herself
to be a mistress of line. Her performance is deeply committed.
Some listeners may prefer, as I do, a touch more simplicity
in this song but it can't be denied that this is superb singing.
Gretchen am
Spinnrade is given with tremendous power and drama, Geoffrey
Parsons proving to be a splendidly vivid partner, here as
elsewhere. The song is built to a huge, but not overdone,
climax at the words "und ach, sein Kuss!" In a most effective
contrast Fruhlingsglaube is placed next and Parsons
plays the introduction with a disarming simplicity that is
immediately picked up and echoed by Ludwig when she starts
to sing. This is truly art concealing art.
We hear also a
most intense and involving performance of Der Tod und das
Madchen. In his note John Steane quotes the original review
of the LP by Alec Robertson, who wrote of Ludwig's performance
of this song: "I have longed for an interpretation like this
for years, and here it is". And he drew attention to the singer's
delivery of "the calm and deep utterances of Death, ending
in an almost inaudible whisper". Listening to the recording
now over forty years later it seems to me to have lost none of
the lustre that so moved Robertson - and, in passing, one
doubts that such an eloquent review would grace the pages
of Gramophone these days.
For me, the best
of all is saved for last. The final pair of songs crowns this
recital. First we hear Litanei in a performance of
great inwardness. This is a quite superb performance of great
poise and understanding. And then comes a hair-raising account
of Erlkonig, driven onwards inexorably by Geoffrey
Parsons' accompaniment. We are reminded here of Christa Ludwig's
prowess on the operatic stage for this is a searingly dramatic
reading. I particularly relished the insinuating tone in which
she delivers the words of the Erl King himself. It's a bitingly
effective end to a superb recital.
Throughout the
recital there isn't a single ugly or unconsidered note to
be heard. This disc offers superb, insightful singing from
start to finish and it will be self-recommending to aficionados
of fine singing. At a time when the way record companies present
recordings is often open to criticism it's a pleasure to report
that EMI's documentation is excellent. The full German texts
are printed with translations into English and French and
John Steane's excellent note is also given in all three languages.
The very good recorded sound sets the seal on a most distinguished
issue.
John Quinn
EMI Great Recordings of the Century
page
Christa Ludwig (mezzo);
Geoffrey Parsons (piano) ;*Gerald Moore (piano); **Gervase de Peyer (clarinet)
