Composer: Carl Loewe
Works: Lieder, Volume 15: Seven Polish Ballads, Opus 49-51; Saul und Samuel, Opus 14 No. 1; Saul vor seiner, Opus 5 No. 6; Sanheribs Niederlage, Opus 13 No. 1; Saul, Opus 14 No. 4; Eliphas’ Gesicht, Opus 14 No. 2; Der Komet, Opus 69 No. 6; Deutsche Barcarole, Opus 103 No. 3; Bauernregel, Opus 9 No. 3; Der alte König, Opus 116 No. 2
Performers: Urszula Kryger (soprano), Thomas Mohr (baritone), Cord Garben (piano)
Recording: 17-19 December 1997, SFB Berlin
Label: CPO
Carl Loewe, often overshadowed by his contemporaries such as Schubert and Schumann, occupies a significant niche within the German Lied tradition. His prolific output of over 500 songs reflects a deep engagement with various poetic sources, notably the works of Ludwig Uhland and the Romantic zeitgeist. This latest release in CPO’s comprehensive Loewe series, Volume 15, showcases a selection of his vibrant Polish Ballads alongside notable pieces from his oeuvre, inviting listeners to re-evaluate this often-misunderstood composer.
The disc opens with the “Seven Polish Ballads,” a collection that highlights Loewe’s narrative prowess and melodic simplicity. The first ballad, “Mrs Twardowska,” captures a charming narrative style that is quintessentially Loewe. Soprano Urszula Kryger interprets this work with a commendable balance of clarity and expressivity, though her voice tends to shine brightest in slower passages where the melodic lines are allowed to unfold organically. In faster sections, however, there emerges a slight breathlessness that detracts from the overall fluidity of her performance. The effective collaboration with pianist Cord Garben, whose nuanced dynamic choices complement Kryger’s vocalism, is particularly notable here. Garben’s ability to navigate the intricate piano textures provides a solid foundation for the singers, enhancing the lyrical quality of Loewe’s writing.
Baritone Thomas Mohr’s contributions add a welcome contrast to Kryger’s soprano. His voice, comfortably situated in the light to mid-range, possesses a rich timbre that allows him to delve into the subtleties of Loewe’s texts. For example, in “Sanheribs Niederlage,” Mohr’s interpretation conveys both the drama and the poignancy of the narrative, showcasing his skill in shading the music with emotional depth. The interplay between the two singers is especially effective in the duet settings, where their voices blend seamlessly, underscoring Loewe’s talent for writing collaborative vocal lines that feel both complementary and distinct.
The recording quality is commendable, capturing the intimate atmosphere of the performance space while preserving clarity in both vocal and instrumental lines. The ambient yet detailed sound, characteristic of CPO releases, allows listeners to appreciate the text clearly—an essential aspect when engaging with Lieder. The accompanying booklet further enhances the listening experience, providing full texts and translations, which are invaluable for both specialists and newcomers to Loewe’s work.
While this collection is certainly engaging, its organization by thematic content rather than chronological order may pose challenges for collectors seeking specific works. A more linear approach might have provided clearer access to Loewe’s evolving compositional style. Nevertheless, the thematic coherence offers a satisfying listening experience, maintaining the artistic integrity of the program.
This volume stands as a testament to Loewe’s importance in the Lied repertoire. The performances by Kryger and Mohr, guided by Garben’s thoughtful piano interpretations, breathe life into these often-overlooked works. The combination of solid musicality, thoughtful interpretation, and high-quality production renders this release a significant contribution to the ongoing reevaluation of Loewe’s legacy. As the CPO series continues to unfold, it promises to illuminate the richness of Loewe’s contributions to the world of song, establishing him as a composer worthy of greater recognition.
