In the 19th century, romantic songs were heard in the salons of aristocracy or in private homes. The circle of aficionados – the performers were then amateurs – widened increasingly to include the bourgeoisie. Today, songs of the romantic period are rendered in halls everywhere.
At the concert under the joint auspices of the German embassy represented by Chargé d’Affaires Roland Grafe and Cultural Attaché Hennine Hansen and the Goethe Institut headed by Volker Avenmarg, soprano Stojkovic and lyric tenor Odinius opened the program with Schumann’s Lover’s Serenade, Under the Window, In the Night and Dance Song.
These were sung in German, like the rest of the numbers, but though the words were unintelligible to most of the listeners they fully appreciated the singers’ fine vocal timber, high registers and exact intonation. By the very nature of their classification, Odinius and Stojkovic did not have powerful voices, but these were supple and infinitely expressive.
In the clutch of Brahms’ Gypsy songs by the entire ensemble, vocal distinctions surfaced and intrigued the audience: the richer voices of lyric mezzo Gottwald and baritone Noack in constant interaction with the higher voices of Stojkovic and Odinius which often predominated owing to their range.
The songs were Hey, Gypsy / River Rima / Do You Know, Dear Lord / A Gypsy Lad / Three Little Roses / Do You Sometimes Listen, the Wind / Far and Wide / The Moon Conceals / Red Evening Clouds. They offered a wide variety of mood and feeling – poignant passion, anxiety, joy, hope and longing.
One could not help comparing the ensuing four Brahms duets, as interpreted by alto Gottwald and baritone Noack, with the earlier Schumann duets rendered by soprano Stojkovic and lyric tenor Odinius. Alto and baritone seemed more vivacious and vibrant.
There was eloquent dialogue between Gottwald and Noack in The Nun and the Knight, as also in The Hunter and His Love. Melodic lushness characterized At the Door and The Stream Flows Onward.
In the finale, the Love Songs by Brahms, the quartet displayed exquisite blending and harmonization of voices, as well as contrasting vocal timbres. Restraint and full-throated ease, refinement and polish, subtle coloring and nuance marked the collective singing.
Pianist Justus Zehen, an exemplary assisting artist, conveyed flawless technique, varying tonal hues and deep expressivity. He greatly enhanced each song, marvelously, reflecting its sentiment or emotion.