Loewe’s Lyrical Masterpieces: A Deep Dive into Interpretation of Vocal Works by Andreas Scholl

Composer: Carl Loewe
Works: Der selt’ne Beter, Opus 141; Der alte Goethe, Opus 9 No. 2; Graf Eberstein, Opus 9 No. 5; Fridericus Rex, Opus 61 No. 1; Der gefangene Admiral, Opus 115; Grau vom Meere, Opus 103 No. 1; Die Überfahrt, Opus 94 No. 1; Der Asra, Opus 113; Jordans Ufer, Opus 13 No. 4; Der Weichdorn, Opus 75 No. 2; Das Wunder auf der Flucht, Opus 75 No. 4; Ich bin dein guter Hirte; Das dunkle Auge; Mein Geist ist träb, Opus 5 No. 5; Die Sonne der Schaflosen, Opus 13 No. 6; Bauernregel, Opus 9 No. 3; Der Wirthin Töchterlein, Opus 1 No. 2
Performers: Dietrich Fischer-Dieskau (baritone), Hartmut Höll (piano)
Recording: Rec 1987
Label: Warner Apex 0927447672

Carl Loewe, often overshadowed by his more illustrious contemporaries, is a pivotal figure in the German Lied tradition. His prolific output of over 500 songs, alongside significant choral and instrumental works, places him firmly in the pantheon of Romantic composers. Born a year after Schubert, Loewe’s music often reflects the narrative depth and emotional resonance characteristic of the era. The songs featured in this recording span a wide array of themes, from the romantic to the historical, showcasing Loewe’s ability to fuse poetic storytelling with rich melodic lines.

The performance by Dietrich Fischer-Dieskau, though recorded later in his career, remains a testament to his profound interpretative insight. Fischer-Dieskau’s voice, while not in its prime, navigates Loewe’s lyrical landscapes with a sensitivity that belies the age of the recording. His opening rendition of “Der selt’ne Beter” exemplifies Loewe’s penchant for balladic storytelling, where Fischer-Dieskau’s nuanced phrasing and dynamic control bring the text to life. The climactic moments are delivered with an evocative power, demonstrating that even in the twilight of his vocal prowess, his interpretative choices resonate deeply.

Hartmut Höll’s accompaniment is marked by a careful balance of support and autonomy. His playing is alert and responsive, allowing the piano to complement Fischer-Dieskau’s voice without overshadowing it. This partnership is particularly notable in “Der Weichdorn,” where Höll’s delicate touch captures the lyrical essence of the story—a poignant tale of love and loss—enhancing the emotional depth of the performance. The interplay of voice and piano is seamless, with both artists exhibiting a shared understanding of Loewe’s musical language.

The sound quality of this recording, remastered from the original Teldec sessions, is commendable. The engineering captures the clarity and warmth of both voice and piano, with a spatial balance that avoids the pitfalls of overly close mic placements. The acoustic environment supports the intimate nature of the Lied, allowing the subtleties of dynamic gradings to emerge, particularly in more introspective pieces such as “Das dunkle Auge,” where Fischer-Dieskau’s hushed tones convey a haunting beauty.

While comparisons with earlier recordings by Fischer-Dieskau or other notable interpreters of Loewe’s works reveal a certain decline in vocal vigor, this performance nonetheless stands out for its interpretative depth. The richness of Loewe’s musical language is served well by the pair’s artistry, making this collection a valuable addition to the Lied repertoire. The inclusion of full texts and translations, albeit presented in small print on glossy paper, enhances the listening experience, allowing for a deeper engagement with the poetic underpinnings of each song.

This recording not only reaffirms Loewe’s significance in the German Lied tradition but also highlights Fischer-Dieskau’s enduring artistry. Despite the challenges of age, his performance remains compelling, supported by Höll’s adept accompaniment. The remastering has preserved the integrity of the original recording while enhancing its auditory qualities. For those interested in the rich tapestry of German song, this release merits strong consideration, offering a generous glimpse into Loewe’s world through the lens of two masterful artists.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.