現代最高のバリトン、ゲルネが歌い上げるベートーヴェン!

現代最高のバリトン歌手の一人で、シュヴァルツコップとフィッシャー=ディースカウというドイツ・リートの双璧の遺伝子を継ぐドイツ・リートの第一人者といえるマティアス・ゲルネ。円熟を迎えた彼が、キャリアの総決算としてドイツ・グラモフォンでの録音を開始しました。第1弾のパートナーは、DGにおけるベートーヴェン生誕250周年のピアノ協奏曲全曲録音の大役を務めた若き天才、ヤン・リシエツキ。
ユニバーサル・ミュージック/IMS

発売・販売元 提供資料 （2020/01/31）

Unless it be his theater music, Beethovens songs are the least often performed portion of his output, and they are sometimes claimed to be inferior works. This is puzzling, inasmuch as An die ferne Geliebte, Op. 98, is a clear point of origin for the Romantic song cycle. Furthermore, Beethoven, to judge by his extensive periods of reworking some of these songs, valued them highly. Goerne explicitly aims to heighten the songs reputation, and he has produced a collection that has to be reckoned with. His readings stand out for being very low-key, even more so than in Goernes usual slow-burn style, and an important discovery here is how youthful pianist Jan Lisiecki, emerging for the first time as a lieder accompanist, grasps Goernes aims. Goerne offers a clean An die ferne Geliebte and a convincing performance of Beethovens idealistic and spiritual Sechs Lieder von Gellert, Op. 48. The latter group follows recent trends in reinstating verses that have conventionally been cut, but even better, are some of the individual songs, which come from all periods of Beethovens career. Resignation, WoO 149 (in German despite its title), was published in 1817 and qualifies as a late work, even though several years worth of sketches preceded it. Perhaps Beethoven was still not satisfied with the final product, for he did not officially publish the song (it appeared in a Vienna music magazine), but its a fascinating piece that works out several of the harmonic experiments of the late period and seems to carry autobiographical overtones. The album is beautifully recorded, and its a major statement in the Beethoven discography.

Rovi