CD Review: Brahms Complete Songs vol.1 (Christoph Prégardien, tenor; Ulrich Eisenlohr, piano) Naxos 8.574268

It is impossible to imagine the German lied without the contribution of Johannes Brahms. That said, in the concert hall one encounters only a narrow selection of his 204 individual songs on a regular basis. The adventurous listener who desires to gain a more complete impression of Brahms’ output might be well advised to explore this absorbing repertoire through recordings. To date, two complete sets have been issued. cpo’s 11-volume set has Helmut Deutsch as the accompanist to Iris Vermillion, Juliane Banse and Andreas Schmidt. Hyperion’s 10-volume set, each with a different singer, finds Graham Johnson at the piano. Oftentimes, Hyperion’s set presents individual songs by more than one singer to shape the recital narrative of each release. The individual volumes of both sets were well received by the music press when originally issued. Both are well recorded and continue to offer much pleasure. Against this backdrop, Naxos have embarked upon their own complete Brahms songs set. Volume 1 launches the project in admirable fashion.

The driving force behind Naxos’ series is the pianist Ulrich Eisenlohr; his previous recordings for the label include the complete lieder of Mozart and Schubert, as well as volumes of Schumann and Busoni lieder. Eisenlohr also contributes concise yet informative booklet notes. Following Naxos’ practice, texts and translations are available via their website.

This volume includes the songs of four opus numbers, written across almost 25 years. As Eisenlohr’s notes points out, the songs were often gathered together by Brahms some time after composition. The common thread is in themes that the songs explore: love, loneliness, solitude and a farewell to life.

Several of the songs in this volume suggest natural affiliations to a female voice, given the lyrics that are sung. Both the cpo and Hyperion sets reflect this in their programming, though whilst cpo group the songs under opus number as Naxos have done, Hyperion often distribute individual songs from one opus across multiple volumes of their set. The nine Lieder und Gesange, op.32, explore aspects of love in combination with the downcast emotions of his selected poet, the wonderfully named August von Platen-Hallemunde. The four songs, op.43, tell of relationships to be saved and lamented. The six songs, op.86, chart a gradual journey towards death. The five songs, op.105, have a varied emotional range.

It says much, however, for Christoph Prégardien’s skills as a lieder singer – honed through a distinguished international career – that he savours the words with intelligence. In so doing, he almost turns them into his own narrative, often utilising the subtlest emphasis of breath, timbre or shading. There is absolute security of pitch throughout and his tone possesses both gravity in the lower range and a lightness that belies his years in the upper range, to convincingly realise these interpretations and almost entirely banish thoughts of female singers in this repertoire. Prégardien’s instincts are matched at every turn by Eisenlohr’s, whose pianism possesses a depth and sonority that is entirely appropriate to realising Brahms’ intentions.

The recording, made for South West German Radio, places the voice naturally against the piano, and is of excellent quality. I eagerly await the future volumes of this series, but until they arrive, I shall continue to enjoy the discoveries that are to be made in this one. Most highly recommended!