United Kingdom Lines of Life: Benjamin Appl (baritone), Simon Lepper (piano), Wigmore Hall, London, 20.6.2025. (AK)
Much to my disappointment and frustration, I was late for this concert. Hats off to Wigmore Hall for foreseeing such occurrence and making quality artistic arrangements to adjust.
All songs were performed without any break (and without any applause) between them, although we did have an interval half-way through.
However, after the first five songs there was a short break during which time the skilful and polite Wigmore staff discreetly ushered in latecomers. With this mini-break concluded, Benjamin Appl greeted the audience and talked at length about his cooperation with composer György Kurtág and Kurtág’s Hölderlin Songs. Thus, in spite of being late, one still had the illusion of experiencing the whole project.
The first half of the concert consisted of Schubert and Kurtág songs. The reason for pairing these two composers was explained in various pre-concert marketing as a reference towards Kurtág’s first inspiration to become a composer during his early teens – age 13 is quoted in some interviews – by a Hungarian radio broadcast of Schubert’s ‘Unfinished’ Symphony. However, the more likely link is Benjamin Appl’s long-term association with two giants of the twentieth century: Dietrich Fischer-Dieskau and Kurtág. Dieskau’s name is, without doubt, for ever associated with Schubert songs, his performances and recordings are usually treated as yardstick.
Appl was Dieskau’s last student – they worked together for four years – and by now Appl clocked up over six years of collaborative association with Kurtág. This association included a recording of Kurtág songs, together with those by Schubert and Brahms (label: Alpha, release date: 14th February 2025). Arguably, the link between Schubert and Kurtág is not the 13-year-old Kurtág but baritone Benjamin Appl whose voice, immense knowledge and technical skills are eminently suitable for both composers and who had long years of studies with these two highly respected authorities.
The Kurtág songs I missed at the beginning of the concert are included in the Alpha recording which, like the concert in this report, was titled Lines of Life. Having now listened to these songs, I can report that the Schubert-Kurtág half of the concert was perfectly balanced in content as well as in performance. Solo songs by Kurtág alternated with accompanied Schubert until Kurtág’s accompanied Hörderlin Songs, after which the genre alternated between the two composers.
Kurtág’s stamina is mind-blowing. Born 19th February 1926, he will turn 100 in few months, yet he keeps on composing and teaching with utmost energy. Currently he is writing his second opera; his first was Fin de Partie on Beckett’s Endgame in 2018 by which time he was 92. In addition to his new compositions, Kurtág continues to revise some of his earlier pieces, perpetually seeking perfection.
Apart from the six Hölderlin Songs, Kurtág songs performed at this concert were recent compositions or recent revivals; representing the composer’s thoughts well into his late 90s: Circumdederunt (2022), Das Angenehme dieser Welt (1996, rev.2024), Nun versteh‘ich (2001, rev.2022), Die Rosen (2023), Die Zeit (1996, rev.2024), Ich weiss nicht (2023); Physalis alkagengi (1996, rev. 2024). How many composers have gifted us with their thoughts at such late age?
In Benjamin Appl Kurtág found his ideal singer; no wonder Kurtág encouraged Appl’s Alpha recording on which he even accompanied Appl in two of the songs. Appl has excellent breath control – essential for some of Kurtág’s long lines – he can sing rough as well as cantilena, his phrasing is intelligent, his musicality is innate as well as cultured, his diction is clear and, last but not least, he has a good top as well as bottom baritone register. Appl owns the stage and owns the audience: after the concert there was a very long queue for his signed CDs.
The second half of Appl’s programme bridged the assumed but arguable gap between Schubert and Kurtág. Brahms, Liszt and Hans Eisler fared well in Appl’s presentations, ably supported by the unassuming but musically fully astute pianist Simon Lepper. As in the first half, Appl performed the songs with a great variety of tonal colour and facial expression, adding to his exquisite storytelling. His posture was disciplined and well balanced all way through, students (and artists of various ages) would do well to study Appl’s technique.
I was particularly glad to hear Eisler’s Lied einer deutschen Mutter (Song of a German mother), written to Bertold Brecht’s poem in 1939; as in those times, the song is painfully relevant now too. For me, the inclusion of the Eisler songs is further proof of Appl’s artistic integrity. May he continue in this direction.
Agnes Kory
Featured Image: György Kurtág and Benjamin Appl © Balint Hrotko
Programme:
Kurtág – Circumdederunt (2022)
Schubert – Der Wanderer an den Mond D870 (1826)
Kurtág – Das Angenehme dieser Welt (1996, rev.2024); Nun versteh‘ich (2001, rev.2022)
Schubert – Frühlingsglaube D686 (1820)
Kurtág – Sechs Hölderlin-Gesänge, Book I Op.35a (1993-97)
Schubert – Die Liebe hat gelogen D751 (1822); Litanei auf das Fest Aller Seelen D343 (1816)
Kurtág – Die Rosen (2023); Die Zeit (1996, rev.2024); Ich weiss nicht (2023); Physalis alkagengi (1996, rev. 2024)
Schubert – Liebesbotschaft from Schwanengesang D957 (1828); Rastlose Liebe D138 (c.1815)
Interval
Brahms – Mein Mädel hat einen Rosenmund WoO. 33 No.25 (1894); Erlaube mir, feins Mädchen WoO. 33 No.2 (1894); Mir ist ein schöns brauns Maidelein WoO. 33 No.24 (1894); Sonntag Op.47 No.3 (1858-68); Da unten im Tale WoO. 33 No.6 (1894); Wie komm ich denn zur Tür herein WoO. 33 No.34 (1894); In stiller Nacht WoO.33 No.42 (1894)
Liszt – Du bist wie eine Blume S287 (1843-9); Ihr Glocken von Marling S328 (1874); Im Rhein, im schönen Strome S272 (1840); Lasst mich ruhen S317 (1858); Die Loreley S273 (1841)
Hans Eisler – Anmut sparet nicht noch Mühe (1950); An den kleinen Radioapparat (1942-3); Mutterns Hände (1929); Lied einer deutschen Mutter (1939); Die Pappel vom Karlsplatz (pub.1959); Was möchtest du nicht? (1929); Ballade zum Paragraphen 218 (1929-30)
Excellent writing. I would like to
hear some of the Kurtag songs!