This was a première. It was the very first time that baritone Matthias Goerne and fortepiano specialist Kristian Bezuidenhout had shared the stage for a public concert. Their recital of Beethoven Lieder, setting the better-known of his songs, such as An die ferne Geliebte and Adelaide in the context of some of his other output in this idiom was intensely musical and thought-provoking throughout.
The two performers started their exploration of this world not with a bang but with a whisper. The opening song was one of the most intimate and quietest of Beethoven’s 80+ songs, and one of the last to be written, Resignation from 1817. This was clever programming. It drew in the audience's attention, by bringing us straight to a quiet place in the fascinating and different small-scale sound-world of the fortepiano.
This concert brought to the fore Bezuidenhout's instinctive and infallible sense of pacing and timing. What a blessing for a singer. The relative lack of resonance of the fortepiano – a beautiful-toned Dutch copy of an 1824 Graf instrument – means that the silence as jumping off point into the next phrase always starts earlier than with a modern grand piano. That silence then gives both performers the chance to plot the next leap, the next tempo, and the joy of this recital was the unanimity with which they made each and every step. An die ferne Geliebte (To the distant beloved) was masterful. Bezuidenhout’s way of ending songs – the pianist almost always gets the last quiet word – was perfectly calibrated and judged without exception.
Beethoven’s songs, as Misha Donat pointed out in the programme note for last night’s concert, were mostly written “before Schubert had begun his career in the field of Lieder”. So it was always going to be fascinating to hear and to see a singer who has played opera’s obsessives and deranged murderers like Orest in Strauss’ Elektra, or Berg’s Wozzeck, would adapt to a world constrained by Biedermeier gentility. Goerne is a vastly experienced singer of Lieder, so the question was not one of whether he could, but of how he would.