Page 176 - Winterreise Coverage Book, 2021 - 22

In Gute Nacht (1), Appl doesn’t hesitate to tackle the complexity of sentiment; he is
poetic, impassioned, and even weary. Despite this, the performance feels oddly
confined. A large part of this might be due to the sound engineering, which makes
the singer sound extremely up-close, more like what we’d hear on a pop or folk
record. The lack of space for the voice to travel manifests in the way we mentally
process the intensity of emotions being conveyed: with the music’s overarching
gravitas, we need that breathing room. Another aspect lies in interpretation, as Appl
sounds occasionally hesitant. Pianist James Bailleu, despite creating a beautiful
mellow canvas on the whole, also makes some choices in articulation (3’40”) that
don’t exactly fit.

Errstarung (4) is indeed lyrical but maybe not as effective as what Dietrich Fischer-
Dieskau/Gerald Moore (1962) deliver. Appl goes for subtlety which, in the song’s
context, translates again into hesitation. Diskau delivers phrases with more
angularity and emphasis, thus underscoring the vivid urgency we want to hear.
Bailleu’s opening is clean and well-articulated, but Moore’s is more persuasive with
growling triplets and accented bursts in the left hand.

Die Poste (13), as is the most optimistic point of the journey, possesses a
convincingly energetic buoyancy. Appl also brings added perspectives of hope and
yearning in the key changes. Der Krähe (15) is by far one of his most riveting efforts
of the set. The opening lines resemble a lullaby, but one that’s not meant for
comfort; it is this sinister undertone that proves to be captivating. The climactic
point at 1’21” might be expected, but the way he handles it makes for a terrifying
moment–an effective embodiment of the horror Schubert had described.

The harmonically striking Der Wegweiser (20) shows just how masterfully Schubert
visits an array of keys in such a short span, and the baritone’s skillful adjustments in
color and timbre let us appreciate this. Die Nebensonnen (23), for me, contains
some of the most profound and complex music of the entire cycle: the piano’s calm
choral textures and the expansive vocal lines contrast starkly to words that express
deep despair. The irony is captured well in this performance, especially given the
almost comforting warmth and resonance of the voice. Those looking for a slightly
more contemplative take might refer to Gerald Finley/Julius Drake: Finley
demonstrates excellent vocal control in maintaining the long phrases, while Drake’s
piano introduction has a lovely arc to it.

The duo’s Der Leiermann (24) is a fitting conclusion to the cycle. In a perfect
embodiment of solitude, the singer seems so deeply engaged in thought that he’s
almost singing to himself. This is not at all a bad thing because it also beckons the
listener to make a personal reflection on the journey. Bailleu’s contribution is an
excellent left-hand ostinato–a realistic portrayal of the hurdy-gurdy’s drone. This
enigmatic finale cannot help but invite a wide range of interpretations and
comparisons. Appl’s shadowy and introverted account is vastly different from Peter