Friday , April 19 2024
Both singer and pianist here display exceptionally soulful (as well as wonderfully compatible) senses of rhythm and timing, and timing is so important in conveying the spirit of these sublime songs.

Music Review: Matthias Goerne and Christoph Eschenbach – ‘Vier Ernste Gesänge,’ Lieder by Johannes Brahms

goerne eschenbach brahms liederBaritone Matthias Goerne has the kind of voice that resonates in a wide range of frequencies, including on the high end. On his new recording of the theatrical melodies of Brahms’s lieder and gesänge on the new album Vier Ernste Gesänge, it sounds at times almost as if there’s more accompanying him than just distinguished conductor and pianist Christoph Eschenbach‘s two hands. Both musicians here display exceptionally soulful (as well as wonderfully compatible) senses of rhythm and timing, and timing is so important in conveying the spirit of these sublime songs.

Goerne’s dark, oceanic basso and brushed-velvet high register sail through and link the songs of Op. 32, including the defiant No. V, the lovesick angst of No. II, the sheer beauty and drama of No. I, and two poems derived from Farsi originals: the ethereal complaint of No. VIII, and the lullaby feel of the romanic love song No. IX.

Goerne and Eschenbach take just the right soft approach to the stripped-down, almost childlike melodies of two songs from Op. 85 set to texts by Heinrich Heine: the pastoral “Sommerabend” with its mermaid imagery, and the evocation of soft moonlight soothing a troubled heart in “Mondenschein.” Three Op. 96 songs follow, also with text by Heine.

In the “Vier Ernste Gesänge” (four serious songs) of Op. 121 Goerne glided effortlessly through varying harmonic landscapes illustrating the moods of Biblical and Bible-related texts, swelling and subsiding through the grimly lively accents of No. I, the descending arpeggios of No. II, the consolatory long notes and gentle, widely arcing melody of No. III, the martial No. IV with its quintessentially Brahmsian, unexpected yet somehow inevitable internal harmonies in the piano accompaniment. Goerne’s high notes are especially supple in the last two.

I can imagine the opening lines of No. IV feeling especially meaningful to Brahms: “Though I speak with the tongues of men and of angels, and have not love, I am become as sounding brass, or a tinkling cymbal.” Through works like these, beautifully conveyed on this new Harmonia Mundi release, Brahms indeed spoke with the “tongues of men and of angels.”

About Jon Sobel

Jon Sobel is Publisher and Executive Editor of Blogcritics as well as lead editor of the Culture & Society section. As a writer he contributes most often to Music, where he covers classical music (old and new) and other genres, and Culture, where he reviews NYC theater. Through Oren Hope Marketing and Copywriting at you can hire him to write or edit whatever marketing or journalistic materials your heart desires. Jon also writes the blog Park Odyssey at where he is on a mission to visit every park in New York City. He has also been a part-time working musician, including as lead singer, songwriter, and bass player for Whisperado.

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