© handout Gerold Huber, left, and Christian Gerhaher on the Wigmore corridor Lieder recitals are not frequently dedicated to only 1 composer. When they are, it is probably Schubert who facets, hardly ever Brahms. Christian Gerhaher, one of the most finest lieder singers earlier than the public nowadays, and presently an artist-in-residence at the Wigmore hall, ultimate night committed his total recital to Brahms, a composer who holds a special area in his affections.
There's actually satisfactory diversity in Brahms's songs to sustain an entire programme and by using deciding on pieces from distinct degrees of the composer's lifestyles, Gerhaher was able to supply a desirable overview of the oeuvre.
definite subject matters and moods are common to Brahms's lieder throughout his career, among them the ache of separation from, or rejection by using, a family member, a way of misplaced opportunity and a melancholic view of the area often tinged with intimations of mortality. Yet the spark of passion isn't rather extinguished.
To each tune, whether early, middle period or late, Gerhaher introduced his now established but nonetheless startling start. where many lieder singers are unable to withstand the temptation to domesticate beauty of tone notably else, with a clean legato line and perhaps mild colouring of the text, Gerhaher prioritises expression, intent on conveying the mood of the verses.
He still achieves a legato, however's legato plus, the line more advantageous via an extraordinary range of vibrato and colouring. regularly a note could be hit with a bleached-out tone and regularly brought into focal point. His legato also embraces little surges of tone and when he ultimately unfurls it, the sound is regularly affectingly plangent in place of purely desirable.
The programme covered a handful of favourites, among them Von Ewiger Liebe, with a thrilling declaration by the woman that love is more suitable than steel. within the third of the four severe Songs, Brahms's remaining works within the genre, Gerhaher fantastically effected the transition from the bitter contemplation of loss of life to its acceptance.
demise, but in the include of the family member, featured once again in Wie bist Du, meine okönigin, which potently combined darkness and radiance. right here pianist Gerold Huber, who accompanied with peerless sensitivity all over, surpassed himself in the attractive tone he coaxed from his instrument. it would be inconceivable to overstate the value of this collaboration, Huber complementing the insights of Gerhaher's readings to perfection.
When Nietzsche made his jibe about "the despair of impotence" in Brahms's late songs, he may also have had Meine Lieder in mind. but the thinker – who possibly now not coincidentally had did not interest Brahms in his personal compositions – become vast of the mark. There's deep sadness right here, however as Gerhaher verified in different places too, also an emotional resilience, a lingering sense of the joy of life.
The programme is repeated on Tuesday and seats are available. no one interested in the artwork of music should still miss this possibility.
Wigmore hall, Tuesday December 14, wigmore-corridor.co.uk
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