This feature first appeared on Frances Wilson's excellent blog 'The Cross-Eyed Pianist'. For a variety of features that - alongside a special interest on all aspects of piano playing and listening - focus on wider classical music and cultural issues, please pay the site a visit here.*
In its February 2018 edition (the current issue as I write), Gramophone’s regular ‘Specialist’s Guide’ feature (where a writer recommends recordings sharing a particular theme, genre or style) focuses on ‘Unashamed accompanists’. This is a subject dear to my heart, and I’ve written before about the importance of the pianist in art song.
So I was pleased to see Tully Potter reference a number of contemporary accompanists in his beautifully appreciative introduction. However, all the actual recordings he chooses are, broadly speaking, ‘historical’ – ranging from Michael Raucheisen (born 1889) to spring chicken Graham Johnson, one of our justly-revered elder statemen of song, represented by a 1992 volume in his monumental survey of Schubert lieder for Hyperion Records.
I understand that Potter is a music archivist, which may explain the leaning towards older performances. As this is a knowledge gap for me, I’m looking forward to tracking his selections down. However, I can’t help but feel there’s a place for a companion piece which could point towards some more recent, excellent recordings – highlighting our current generation of accompanists and, hopefully, encouraging readers to go out and hear them live as well as buy the discs. Here’s my attempt at making this selection.
A bit of housekeeping:
- As I hugely admire everyone I mention, the list is – both democratically and diplomatically – in alphabetical order.
- I’ve included a Spotify playlist of tracks so that readers can hear the musicians without (at least initially!) breaking the bank. However, where some labels do not feature on Spotify, I’ve tried to ‘recommend around’ the issue, or simply mention some non-playlist recordings along the way. For example, Hyperion’s absence from Spotify had an impact on my choices for Julius Drake and Malcolm Martineau.
‘Chanson Perpetuelle: French Chamber Songs’, with Katherine Broderick.
On this brilliant CD, JB is a superb match for KB’s richness, and in the Debussy I’ve included in the playlist, simply dances around the vocal part – there’s all the push and pull this song about the shore requires. The heft of the ocean and drops of the spray. In the past couple of years, JB has also featured on excellent releases from Benjamin Appl (his debut lieder CD) and Ben Johnson. I’ve also included a glorious track from the latter’s disc of English song, ‘I Heard You Singing’.
‘Rachmaninov: Songs’, with various singers – here Ekaterina Siurina.
Surely one of IB’s finest releases, this set of all Rachmaninov’s songs features young Russian singers – who are, understandably, hugely suited to the material, freshness and enthusiasm bursting out of the speakers. I’ve chosen two IB tracks for my playlist – the astonishing ‘Arion’, with the pianist negotiating a heroic series of sudden changes, twists and turns, plus a spectacular Respighi track from Rosa Feola’s debut CD.
‘Songs by Schubert (Wigmore Hall Live)’, with Ian Bostridge.
One of the most purely exciting accompanists I’ve heard – and seen live. So often, I’ve heard his elemental basslines give the most distinctive, larger-than-life singers the uplift they need to raise the roof. But the necessary restraint is always there, too. The playlist includes this CD’s hell-for-leather version of ‘Auflosung’, as well as the humorous – yet light on its feet – rendition of ‘Fischerweise’ with Matthew Polenzani, also at Wigmore Hall.
‘Percy Grainger: Folk Songs’, with Claire Booth.
Recently, CG has emerged as a strong advocate for the communicative power of English art song, with a recording of Donald Swann’s (non-Flanders) body of work for Hyperion, and this delightful CD with Claire Booth. Clearly a labour of love for both – who have apparently researched and performed Grainger’s music for years – the rapport and affinity for the material are joyously audible.
‘Nachtviolen’, with Christian Gerhaher.
It’s a tribute to GH – Gerhaher’s regular accompanist – that when the baritone received the Wigmore Medal, he remarked that if he could he would split the award in two, so he could give half of it to Huber. They have made many recordings together, but this relatively recent album captures their dynamic perfectly. Resisting any urge to over-sentimentalise, GH provides a gently rhythmic counterpart to the bruised beauty of Gerhaher’s voice.
‘Nights Not Spent Alone: Complete Works for Mezzo-Soprano by Jonathan Dove’, with Kitty Whately.
This pianist is relatively new to me, but the recordings I know find him surrounding huge voices with supreme agility and dexterity. His Schubert album with tenor Ilker Arcayurek is a superb listen but this set of contemporary compositions with Kitty Whately is a revelation, not least in the bravura performance of ‘The Siren’.
‘Neere’, with Veronique Gens.
It still feels all too rare to see women as both singer and accompanist in recital duos. Having heard Gens and Manoff live, it’s easy to project a particularly close dynamic between them, but to me, they do seem to share a special empathy. On this marvellous disc of French song, SM avoids any sense of ‘laissez-faire’, playing with a shining, wilful clarity in support of Gens’s passionate delivery.
‘Portraits’, with Dorothea Roschmann.
A pianist who seems able to play ‘in character’ as effectively as the singers he accompanies. On this stunning recital album, the version of ‘Gretchen’ – where the piano represents the movement of the spinning wheel – sees his constantly alert approach capture the distracted yet intermittently purposeful work of the lovelorn heroine. To show how astonishingly expressive MM is in French song, I’ve included a live performance of a Debussy melodie with Christiane Karg in the playlist.
‘Fleurs’, with Carolyn Sampson.
Winner of the Royal Philharmonic Society’s 2016 Young Artist Award (when he was described as a ‘born collaborator’), JM combines ceaselessly versatile musicianship with a flair for programming. This leads him to create recordings with the wide-ranging appeal of ‘albums’ – and so prolific is he that I’ve included three tracks on the playlist. My top pick represents his ongoing partnership with soprano Carolyn Sampson, their first CD (from 2015) introducing her to art song with some brio, marshalling her reliably gorgeous tone to his dazzling array of accompaniment styles. He is also the backbone of song supergroup, the Myrthen Ensemble, whose double CD ‘Songs to the Moon’ is another piece of brilliant curation. Finally, his night-themed record with Ruby Hughes, ‘Nocturnal Variations’, was one of 2016’s finest discs.
‘Schubert: Schwanengesang / Beethoven: An die ferne Geliebte’, with James Gilchrist.
Another duo who seem to represent a perfect match. I was lucky enough to experience total immersion when first introduced to AT’s playing, as she jointly helmed a full weekend of Schumann and Mendelssohn that also featured Gilchrist, with a guest appearance from Carolyn Sampson. Sadly, the ‘Robert Schumann: Song Cycles’ CD that followed is not on Spotify. Luckily, their Schubert discs are: this lovely song (the final one Schubert wrote) can be over-emotional, even over-prettified – but AT approaches it with poise and precision, every note a distinct chime.