Although Paul Dessau is probably best known for his stage, choral, and instrumental compositions, he wrote a considerable number of songs between 1914 and 1978, the year before his death. This disc presents a fascinating cross section of songs that trace Dessau’s career and stylistic evolution. The gentle post-Romantic tonality of the opening four songs, for example, give way to the hard-edged Populist style that Dessau adopted in the 1930s. Imagine Kurt Weill’s twisted music-hall style without the catchy tunes, and you get Dessau’s François Villon settings. My favorite Dessau lied from this period is the 36-second “Porter”, a harrowing Langston Hughes setting about racism that delivers a one-two punch. The Fünf Lieder from 1955 represent Dessau’s affair with Serialism, resulting in drier accompaniments and more playful vocal lines. On the other hand, Peter Warlock or the young Benjamin Britten could have penned the strophic “Lenz Lieder” from 1950.
Dessau becomes more daring and overtly theatrical in his songs from the mid-1970s, especially a 1974 Heine triptych for unaccompanied mezzo-soprano. A group of children’s songs with texts by Bertolt Brecht require sheets of paper to be spread across the piano strings, resulting in a zither-like effect. Two brief Heine songs from 1976 and 1978 bring Dessau full circle to the lyrical style of his youth. The performers make these songs come alive, and take care to make the texts clear without recourse to exaggeration. Their voices complement each other. Baritone Dietrich Henschel’s storytelling aplomb makes a nice foil to Hanna Dóra Sturludóttir’s soubrette-like timbre. Warmth and dramatic heft characterize Stella Doufexis’ ample mezzo. And let’s not overlook Axel Bauni’s alert, colorful handling of the piano parts! Anyone interested in exploring the byways of 20th century German lieder will by glad to own this excellently recorded disc. Full texts and translations are included.
