To Duet or Not To Duet

 

According to Henry-Louis de La Grange and Donald Mitchell, Mahler wished the songs of Des Knaben Wunderhorn to be performed by soloists alone, not as duets, which is frequently how it is recorded.

Wishes fulfilled, that is what happens on this recording, where Anne Sofie von Otter and Thomas Quasthoff take on any multiple characters to themselves, instead of going back and forth in dialogue between two singers.

Apparently, at least according to Joshua Rosenblum, this 1999 recording is the first time the work has been performed correctly (without duets) on record since 1963. This is an amazing factoid, considering how devotional fans are to Mahler's  specific wishes. One only need ask regarding the order of movements in Mahler's Symphony no. 6.

I am not sure what sort of tradition there is in Lieder where a singer takes on the roles of multiple characters. Schubert's Erlkönig comes first to mind; it has four disparate characters, a feat for the vocalist to portray. Johannes Brahms comes closer to comparison in his Vergebliches Ständchen, where the singer portrays both male and female, as is the case with many of these Wunderhorn songs.

But, this is more a sideshow to what simply adds up to a wonderful recording. It must have been a joy for all involved, for this whole team reunited again for the Orchestrated Lieder of Schubert.

A review from 2024

I am going to join the wellspring of felicities over this recording of Mahler’s Des Knaben Wunderhorn. It is both magnificently sung and played, and I doubt many would be wanting at its conclusion.

It should be noted the songs are not sung as duets, as is often the case in recordings elsewhere. Instead, it is left to the individual artist to dictate with sung vocal inflections any change of characters, as Mahler apparently intended. This puts these lieder in the vein of Brahms’ Vergebliches Ständchen or Schubert’s Erlkönig, both examples which ask the singer to perform multiple characters. Luckily Mahler’s orchestrations account for the different characters, so there is no guesswork upon hearing their portrayals.

Anne Sophie von Otter is quite characterful here. The way these songs are ordered she moves from airy girlishness to grave seriousness. Thomas Quasthoff is easily a favorite baritone singer of my time; he is sensitive and articulate, yet strong of voice, and always magnetic through his singing. It is no different here, and he never approaches archness nor over-sentimentality in Mahler’s music.

I like the Berlin Philharmonic under Abbado; they are colorful, yet tasteful. I might have wanted more characterful winds and brass, but it is pure nitpickery on my part. Really a wonderful recording all around.

Listen on YouTube

 

Works
Des Knaben Wunderhorn

Soloists
Anne Sofie von Otter, mezzo-soprano
Thomas Quasthoff, baritone

Ensemble
Berlin Philharmonic Orchestra
Claudio Abbado, conductor

Label: DG
Year: 1999
Total Timing: 57.04

This is an excellent place to hear Des Knaben Wunderhorn. Quasthoff is an aural eternal love of mine, so I will not hide my preferences.

Still I would visit others for the duet versions too. Christa Ludwig and Walter Berry among others.

 

 

 

 

 

 

Find more Mahler recordings HERE!