Franz Schubert’s song cycle Die Winterreise (The Winter journey) exercises a remarkable pull on singers. The great baritone Dietrich Fischer-Dieskau spent much of his career developing and deepening his interpretation of the 24-song cycle, making no less than seven recordings with different accompanists. His equally iconic predecessor and contemporary, bass-baritone Hans Hotter, entered the studio three times to record markedly different versions with different pianists.
On July 25, at Music@Menlo, baritone Randall Scarlata and pianist Gilbert Kalish will join the long list of artists who have attempted to enthrall listeners with this chilling masterpiece about lost love. Although Scarlata is well known for his art song performances, having received first prize at the 1997 “Das Schubert Lied” International Competition in Vienna and sung the Schubert song cycles throughout the United States, Kalish is far more associated with instrumental repertoire. Indeed, besides his large body of song recordings with the late mezzo Jan DeGaetani, and a single CD with Dawn Upshaw, he has done little work with singers other than at festivals and special occasions.
Listen to the Music
Franz Schubert: Frühlingstraum
Kalish explained that his only previous experience with Winterreise was a single performance, probably 25 years ago, with a man he describes as “a larger-than-life person and musician,” tenor Jon Vickers.
It was an exceptional event for me. Winterreise is one of the most haunting and wonderful works in the world, and one that I’m very humbled by playing. And the work was so personal and deeply meaningful to Vickers that he conveyed a very intense, unforgettable experience. Jan [DeGaetani] and I were friends and partners. I basically did not do work with singers. I don’t have language skills; it’s not my area, in a certain way. So I accompany as a musician/colleague and not as a ‘vocal pianist.’
In the course of the last couple of years, I’ve had a lot of my personal cassettes of my performances transferred to CD by a person at Stonybrook [the State University of New York campus, where he teaches]. I knew they would otherwise deteriorate, and cassettes basically don’t exist anymore.
Gilbert Kalish
One of those cassettes is of my performance with Vickers. Earlier this year, I was listening to it in the car, and said to myself, ‘My God, what an experience that was! What a pity that I’ll never do this again.’
That night, Patrick Castillo from Music@Menlo called to ask if I’d be interested in doing it. It was one of those strange coincidences in life. And while I didn’t know Randall at all, at the time, I’ve since learned that he’s a really wonderful artist. We’ve worked together now a few times. He knows Winterreise inside and out. He’s done a translation of it, even. He has a healthy and wonderful voice, and doesn’t get fatigued doing it. He just goes from beginning to end and sounds as fresh as could be — a very lovely voice.
Although our connection was dropped midsentence, not lost was the tone of excitement and expectation in Kalish’s voice. It’s an energy that promises revelations. To be continued on July 25. ...
Jason Victor Serinus regularly reviews music and audio for Stereophile, SFCV, Classical Voice North America, AudioStream, American Record Guide, and other publications. The whistling voice of Woodstock in She’s a Good Skate, Charlie Brown, the longtime Oakland resident now resides in Port Townsend, Washington.
