I've just heard 'Der Leiermann' with Paul Lewis and Mark Padmore, played by Rob on Essential Classics. It was an unwelcome experience. I'm no musicologist to explain what happened but the accompanist seems to be extending the dissonant grace note into the main chord, thereby creating an ongoing (rather than momentary) jarring effect. I assume they thought this is what Schubert might have wanted. I find that hard to believe and once was more than enough for me to have to listen to the their experiment. Am I overreacting? Maybe some people liked it.
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I didn't like it either and have just listened to Christopher Maltman and Graham Johnson (Wigmore Hall 2010 live) who seem to disagree with Lewis. But not having the score I don't know what Schubert had in mind.My life, each morning when I dress, is four and twenty hours less. (J Richardson) -
I heard Mark Padmore and Noam Greenberg perform Winterreise in Cornwall last November, and I am fairly certain that the accompaniment to Der Leiermann was played as written in the Bärenreiter urtext edition.
What seems odd is that Paul Lewis chooses not to apply that ugly dissonance in 17 out of 61 iterations of the chord. It is certainly a most unsettling effect - as if listening to the 24 songs isn't sorrow enough.
Perhaps the clue lies in: 'Und mit starren Fingern / Dreht er, was er kann'.Comment
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There is an extensive discussion of this here: http://michaelorenz.blogspot.co.uk/2...schuberts.htmlComment
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