Was Fanny Mendelssohn as accomplished a songwriter as Schubert, Schumann, Brahms, or her famous brother? Let’s just say that on the evidence of this and the handful of other recordings of her songs, it’s astonishing that the catalog is not far richer in the works of such a formidably talented composer–who, by the way was arguably better than Felix in text setting and in her command of the harmonic subtleties that separate the commonplace from the rare. Where are the Upshaws, the von Otters, the Harpers, etc., and the aspiring singers wishing to really claim a treasure trove of virtually unexplored repertoire of exceptional quality? For now, we must be content with a few sparse but delicious tidbits from Christina Högman (BIS), Barbara Bonney (Teldec), Sophie Daneman (Hyperion), and a couple of others, but this program of 29 songs from Susan Gritton is the most extensive collection so far. Gritton has a pleasant enough voice, but its slightly covered, back-of-the-throat quality and uncentered vibrato (which she beautifully controls to marvelous effect in some places) leave me wishing for my preferred soprano sound–clearer, more forward, and with a vibrato that sits more firmly on the pitch. Further, Gritton often approaches wider melodic skips too carefully, a technique that tends to break the flow of the phrase.
But the songs are worth hearing, and hearing again, especially such masterpieces as Ferne (Distance), Die frühen Gräber (Early Graves), and the exquisite Die Mainacht (May Night)–most famous in its setting by Brahms, but equally compelling in this sensuous, picturesque, dreamily atmospheric version. Atmosphere and color are two of the strong features of Fanny’s piano writing, as shown in her settings of Hölty’s Die Schiffende (Floating Vision) and Eichendorff’s Nachtwanderer (Night Wanderer), but her real strength lies in her melodic gift, most inspired in such songs as Gondellied (Song of the Gondolier), Die Mainacht, and Goethe’s Erwin. For sheer joy, listen to Morgenständchen and Frühling; and for the pure beauty of voice and song, listen to her setting of Rückert’s Du bist die Ruh (You are repose). Gritton is fortunate to have such a sympathetic, sensitive, and adept piano partner. The sound is warm, natural, and well-balanced between voice and instrument, and the liner notes are excellent.
