Schubert: Hoffnung (Lieder from c. 1826). Schubert 200, Volume 3 (Streaming Review)

by Ryan Ross

Samuel Hasselhorn, baritone; Ammiel Bushakevitz, pianist. Harmonia Mundi HMM 902779 

While I’m usually lukewarm about thematic recording projects, this release belongs to an uncommonly compelling series. In the lead-up to the 200th anniversary of Franz Schubert’s death in 2028, Harmonia Mundi has planned five albums devoted to the productive last five years of his life. Each presents a curated selection of lieder from an approximate year, performed by baritone Samuel Hasselhorn and pianist Ammiel Bushakevitz, with a subtitle reflecting some commonality of its selections. The first release was Die schöne Müllerin (HMM 902720), featuring the 1823 cycle. Last year came Licht und Schatten (“Light and Shadow,” HMM 902747), covering songs from 1824–25. Now we have Volume 3, Hoffnung (“Hope”), my favorite installment so far.

 

Familiar Schubert songs feel fresher when imaginative programming reshapes their complexion. Many of the inclusions here speak to longing—particularly for a person or future not yet arrived, hence the subtitle. Tropes of wind, dreams, and the seasons thread through the choices almost like leitmotifs. Taken together, these songs somehow project their own poignant atmosphere. With repeated listens it’s clear that they effectively play off of each other. Curation is very much part of the experience here. 

 

But inspired curation won’t save uninspired performances. What really makes this album (and series) work are Hasselhorn’s and Bushakevitz’s deft musicianship. Hasselhorn has a strong, rich voice with a better-than-average vocal timbre. He brings versatility of range and expression, along with especially strong diction. You can hear these texts very well, not just the concordant pitches and dynamics. Words are not slurred. Such attributes are rarer than they should be; even big names like Dietrich Fischer-Dieskau sometimes underwhelm in these respects. Moreover, I can scarcely convey how refreshing it is that vibrato here does not obscure intelligibility. Bushakevitz proves himself a responsive partner. While some might accuse him of yielding too much interpretive ground, that impression probably stems from his resolute orientation toward the singer. This is a pairing sharply suited to the task at hand. 

 

Every song here receives at least a very good performance, but some accounts are outstanding. Foremost in my affections is Alinde (D. 904). Hasselhorn and Bushakevitz never lose the thread, and bring out each stanza’s own special emotions. The point of reuniting with the song’s namesake is gorgeously colored, differentiating it from prior searching exclamations. I’d say these musicians shine most in such modified strophic territory. Das Zügenglöcklein (D. 871, No. 2) is another instance where they fully exploit the savory changes of mode and melody (although I think Bushakevitz could ping the eponymous A-Flat bell perhaps a tad more prominently). 

 

However, a chief challenge with Schubert lieder is in the simple strophic numbers: what wiggle room can performers find to provide variety as words change but scoring does not? Despite his occasional text-slurring, Fischer-Dieskau threaded that needle better than almost anyone else. Hasselhorn and Bushakevitz bring off songs like Im Jänner 1817 (“Tiefes Leid”) and the D. 867 Wiegenlied with great sensitivity. I’d put their renditions ahead of most others’. But their very polish perhaps inhibits them in that last inch for such settings.  

 

If this release were purely a question of musicianship, I’d rate it north of 4.5/5. Unfortunately, I must mention something that’s easy to overlook: sound quality. A reverberant, even boomy acoustic unfairly hampers the proceedings. It’s particularly noticeable in the music’s lower registers. Since Hasselhorn is a baritone, that drags him down disproportionately. Compare this recording to others with the same repertoire, and you’ll see what I mean. That said, it’s a slight annoyance that should not dissuade you. This is still a strong conceptual series with excellent performances for the most part. I’m excited for 1827!