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Love’s Lasting Energy, debut disc of Schubert lieder from duo Harriet Burns and Ian Tindale on Delphian

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Schubert Lieder: Love's Lasting Power; Harriet Burns, Ian Tindale; Delphian

Schubert Lieder: Love’s Lasting Energy; Harriet Burns, Ian Tindale; Delphian
Reviewed 5 February 2024

With a youthful flexibility, emotionalism and sense of urgency to the performances, this can be a finely partaking and considerate debut recital for the duo

On their first joint recording, on Delphian, long-term performing companions Harriet Burns and Ian Tindale have made a private alternative of Schubert’s lieder, exploring the theme of affection, but additionally the friendships and relationships between poets and the composer out of which he crafted songs of astonishing empathy.

While Schubert’s emotional life stays considerably obscure, with it being unclear which, if any, of his private relationships had been greater than shut friendships, what can’t be gainsaid is that in his music he shows a outstanding means to reply to a variety of emotional turmoil. When discussing Schubert’s setting of poetry by August von Platen (whom we all know to be homosexual from his diaries), Graham Johnson feedback that ‘We can not know the precise nature, platonic or romantic, of relationships in Schubert’s circle, however his means to empathise with Platen’s plight is profoundly transferring.

Burns and Tindale’s choice includes not solely songs exploring feelings arising from loving somebody, but additionally songs setting poetry which pertains to intimate friendships. On the centre of the recital is the lengthy setting of Viola by Schubert’s shut buddy Franz von Schober; a barely curious poem about a young flower who’s over-eager and subsequently blighted, dying alone and ashamed. The topic should have been painfully near the bone for Schubert in 1823 when he was struggling the primary signs of syphilis.

Nevertheless we start in additional upbeat mode with Die Liebe (Freudvoll und leidvoll), a kind of songs that just about appears to start within the center, as if we had been overhearing one thing longer. Burns sings with pretty lengthy, thought of strains and the tune kinds a high-quality opening showcase for her vibrant, lyric soprano. The enjoyment in Lachen und Weinen is fairly thought of, Burns hints at melancholy too although Tindale’s piano gives a agency backdrop of dance. This continues with Die Männer sind mechant the place Burns turns high-quality storyteller.

Harriet Burns & Ian Tindale at recording sessions (Photo: foxbrush.co.uk)
Harriet Burns & Ian Tindale at recording periods (Picture: foxbrush.co.uk)

There’s a pretty vibrancy to her efficiency of Dass sie hier gewesen with an nearly Richard Strauss-like line, supported by Tindale’s delicate piano. The youthful anxiousness in Suleika I is finely drawn, together with the recommendations of Gretchen am Spinnrade.   The 2 performers are adept at suggesting the complexities that lie beneath, so although emotion in Wiedersehn is fairly civilised, there’s a trace of vulnerability too,  while the lyric magnificence in Heimliches Lieben hides extra complicated craving. Versunken is a whole whirl as the 2 plunge you straight in, but that is adopted by the touching vulnerability of Erster Verlust, then the youthful naivety in Amalia. 

Each Lambertine and Die Liebe hat gelogen have a fairly touching high quality, while there may be an impetuosity and urgency to An mein HerzDer Jüngling an der Quelle is equally touching, with a pleasant readability and vivid piano. Nevertheless, drama actually involves the fore in Der Zwerg the place Burns’ story telling is complemented by the darkish drama in Tindale’s piano.  We return to lyric melancholy in Hippolits Lied, then Du liebst mich nicht combines intimacy with pressing depth.

It’s simple to not take Viola, with its little chorus, critically, it’s frankly such an odd tune. However clearly meant one thing to Schubert (and maybe to Schober too). Right here Burns and Tindale carry a way of youthful engagement so it’s touching and typically pressing with out being saccharine. We finish with a young account of Geheimnis, but with hints of stronger character within the piano, and a surprisingly joyful and dancey Seligkeit.

The number of songs right here is admirably diverse, not simply to the highest twenty hits, and it maybe displays the duo’s lengthy expertise of performing Schubert collectively (some eight years, I consider). There’s a youthful flexibility, emotionalism and sense of urgency to lots of the performances, and total you’re feeling that the 2 carry out the fascinating colors and darker parts that underpin even probably the most easy of songs.

Harriet Burns & Ian Tindale at recording sessions (Photo: foxbrush.co.uk)
Harriet Burns & Ian Tindale at recording periods (Picture: foxbrush.co.uk)


Schubert Lieder: Love’s Lasting Energy

1 Die Liebe (Freudvoll und leidvoll), D210 [1:36]
2 Lachen und Weinen, D777 [1:48]
3 Die Männer sind mechant (from Vier Refrainlieder), D866 No. 3 [2:36]
4 Dass sie hier gewesen, D775 [2:56]
5 Suleika I, D720 [5:15]
6 Wiedersehn, D855 [2:43]
7 Heimliches Lieben, D922 [4:23]
8 Versunken, D715 [2:16]
9 Erster Verlust, D226 [1:48]
10 Amalia, D195 [3:20]
11 Lambertine, D301 [3:14]
12 Die Liebe hat gelogen, D751 [2:35]
13 An mein Herz, D860 [3:10]
14 Der Jüngling an der Quelle, D300 [1:51]
15 Der Zwerg, D771 [5:20]
16 Hippolits Lied, D890 [2:34]
17 Du liebst mich nicht, D756 [3:36]
18 Viola, D786 [12:48]
19 Geheimnis, D491 [2:26]
20 Seligkeit, D433 [2:01]
Harriet Burns (soprano)
Ian Tindale (piano)
Recorded on 8-10 February 2023 in St Mary’s Parish Church, Haddington
DELPHIAN DCD34251 1CD [68:27]

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