The second volume in Signum Records' survey of Mahler's songs concentrates on the three books of Lieder und Gesänge that the composer wrote in his 20s, concluding with his first vocal masterpiece, the Lieder eines fahrenden Gesellen. Pianist Joseph Middleton, whose instinctual pacing and sensitive support of the vocal line is matched by an array of illustrative colours drawn from the piano, has assembled a fine cast of singers.
Exuberance and Theatricality in Early Songs
These early ditties are highly individual, often quirky and invariably full of interest. Sophie Rennert opens with Frühlingsmorgen, her full-bodied mezzo and expressive diction mining this lilting Viennese gem for textual nuance. She is equally persuasive in Ich ging mit Lust durch einen grünen Wald, one of Mahler's most luminous songs. Ablösung im Sommer, a bizarre celebration of a cuckoo that has fallen off its perch, is given a deliciously theatrical workout by soprano Katharina Konradi.
Dramatic Intensity from Keenlyside
If Mauro Peter's tenor feels a little effortful in the galloping Scheiden und Meiden, he is keenly affecting in Zu Straßburg auf der Schanz, his voice offset by Middleton's sombre pianistic drumrolls. Finally, Simon Keenlyside is a respectable choice for the Lieder eines fahrenden Gesellen. His investment in Mahler's texts brings dramatic intensity to these emotionally febrile songs, though the upper range comes under audible pressure at times.
Sensitive Support from Middleton
Throughout the album, Middleton provides sensitive support and an array of illustrative colours, drawing out the emotional depth of Mahler's youthful compositions. The collection is full of interest and emotion, showcasing the composer's early development. According to the review, the album is a valuable addition to Mahler discography, highlighting the exuberance and intensity of these early works.
