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Notes
The first piece composed by Max Bruch during his child prodigy years was a song, and the Five Songs op. 97 number among the last creations with which he closed the files on his long artist’s life shortly after World War I. This fact alone would suffice to make us understand the great value attached to song – whether of vocal or instrumental nature – in the oeuvre of this lifelong Romanticist. From the peppy male chorus to the full-length colossal oratorio, from the Loreley to the immortal cantilenas of his Violin Concerto No. 1, Scottish Fantasy, and Kol Nidrei, he sang out his songs to his heart’s content while revealing lyrical qualities that come to light in special measure in his collections of solo songs distributed over the entire course of his career – a fact underscored by the Austrian baritone and his piano partner Sascha El Mouissi on this new and so far absolutely unique anthology. Along with delightful tidbits from all of Bruch’s compositional periods, we are presenting the five songs from Paul Heyse’s novella Siechentrost for One to Four Voice Parts, Violin, and Piano op. 54. Max Bruch’s musical setting produced not only an original piece of chamber music but also an intimate look at his self-understanding and his goals. Behind their creator’s blustery façade there was also a man of tender, vulnerable character!
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Reviews
***** Coup de Cœur
Olivier Brunel – Classica magazine (France) – May 2022
“… This program includes songs from his [Bruch’s] earliest to his latest… The centrepieces of the program is Siechentrost-Lieder, Op. 54 … The cycle is seldom performed because it requires additional performers… It is the best part of the program… Fingerlos is an appealing and effective lieder singer; pristine diction; a fresh, supple, expressive voice; keen attentiveness to the subtlety of the text… These qualities enhance his story-teller’s ability to draw you into the text… El Mouissi is an attentive and adroit partner.”
Robert A Moore – American Record Guide – March/April 2022
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