Another Neglected Schubert Work

This is the second in a series of Schubert's early short operas - works that are little recognized but include much beguiling music.

The first such disc was a Heinz Wallberg-led performance of Der vierjáhrige Posten (The Four-Year Sentry), which the composer wrote when he was all of 18.

By the time he had matured to 23, he had moved on to a better (if still stereotypical) story, while losing nothing of his lyrical gift.

Today's tale is of Die Zwillingsbrüder (The Twin Brothers), which contains a predictable case of mistaken identity, compounded by an improbable coincidence, and how these create complications for young lovers before the also-predictable happy ending.

Now you may feel as though you saw something like this on the Hallmark Channel, and you would not be wrong, but it would not have been accompanied by lovely music performed by a world-class ensemble.

Helen Donath, Nicolai Gedda

The young lovers are soprano Helen Donath and tenor Nicolai Gedda, bass Kurt Moll plays the father of Donath, and baritone Dietrich Fischer-Dieskau appears as both the title characters. On the podium is the august Wolfgang Sawallisch, leading forces from the Munich State Opera.

Wolfgang Sawallisch

As is common with productions of unfamiliar material, the critics caviled about what this wasn't than what it was. John Warrack in The Gramophone made sure that we know he preferred Schubert's more serious operas, noting, "The Singspiele with which Schubert believed he must, and would, conquer the stage are very much slighter; and Die Zwillingsbrüder is not even the most appealing of them."

Let's hear from George Jellinek in Stereo Review: "[I]t is a naive and unconvincing Singspiel that unfolds in the course of this well-produced and elegantly cast first recording, and even the uniformly fine singing and loving direction cannot make it effectively theatrical. There are ten arias, duets, and ensembles separated by spoken passages. One of them, a soprano aria (No. 3), is very attractive, with a clarinet interplay anticipating Der Hirt auf dem Felsen. Throughout, the orchestra writing is delicate and highly accomplished - after all, Schubert at twenty-three had already composed six symphonies - and the melodies are always engaging."

He adds that, "Missing, however, is the dramatic flow, the knack of involving the listener in the plot," while then conceding, "Still, it is an excellent performance of an opera by Schubert - and this description alone makes it almost irresistible."

Dietrich Fischer-Dieskau

"Almost irresistible" is the key phrase - this indeed is most pleasant to hear, and while it may not reach the heights of Schubert's masterworks, it is entirely enjoyable.

Let me mention that although the cover describes the production as a "Gesamtaufname" (complete recording), it actually is only the complete music. The dialog is cut down. Nor did EMI Electrola provide texts or translations with the disc. So I have included such from the Peter Maag-led performance of years later.

The sound, taken from an original pressing, is quite good; not quite as transparent as Der vierjáhrige Posten, which came from a few years later, but very listenable. The production dates from 1975.

LINK

The Gramophone, December 1976

Brahms from Vienna with Wolfgang Sawallisch and Aafje Heynis

This post was inspired by nothing so much as my own desire to post something by the radiant Dutch contralto Aafje Heynis (1924-2015), who is a particular favorite of mine.

Aafje Heynis

Heynis first gained wide acclaim for a performance of Brahms' "Alto Rhapsody" with the Concertgebouw Orchestra and Eduard van Beinum, recorded in 1958. Almost exactly four years later, Philips called on her again to perform the same work, this time with the Vienna Symphony under its chief conductor, Wolfgang Sawallisch (1923-2013). That is the version contained on the LP before us today.

Also on the LP are the "Variations on a Theme of Haydn" and the "Schicksalslied" (Song of Destiny). Both are accorded worthy performances by Sawallisch and his forces, which also included the Vienna Singverein.

Wolfgang Sawallisch

Sawallisch was then engaged in a survey of Brahms' symphonies and other works with the Vienna Symphony. The Haydn Variations were among the first to be recorded, in October and November 1959. The Alto Rhapsody and Schicksalslied sessions were in January and February 1962. My transfer comes from a pristine pressing that appears to have been done for the British market.

While I am particularly taken with the Alto Rhapsody performance, in truth all three are beautifully done, and notably well balanced by the conductor and recording crew.

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