Andrew Goodwin and Vatche Jambazian
Melbourne Digital Concert Hall
Friday August 6, 2021
Of course, we all subscribe to the principle that length doesn’t matter; at my age, that can be taken as a fundamental tenet. But this recital was definitely under expectations. On average, Schumann’s song-cycle lasts about 20 minutes at its most orotund. The three songs by Rimsky-Korsakov would last between 7 and 8 minutes on a warm night. And that’s about all we got from this duo, the time augmented by a bit of enthusiasm and banter from Andrew Goodwin. You can talk about quality and get no disagreement from this quarter. But even the performers themselves realized that their presentation was light-on . . . which is why we got an extra Rimsky lied.
Working in the Chatswood Concourse Theatre, Goodwin and accompanist Vatche Jambazian entered into the cycle with plenty of drive and eloquence, both once again underlining what an unusual construct the series is as the composer leads from one unit into the next; there might be a cadence concluding Aus meinen Thranen but it’s disturbingly brief. And Jambazian’s left hand emphases in Die Rose, die Lilie added to the unsettled aura that sparks out from the opening 5 1/2 song,s which suggest happiness and optimism before a stinging reality hits home.
In the shot above, Jambazian is seated at a Fazioli instrument. In the Concourse, he had a Kawai that sounded rather tinny in its upper register; not that here’s much call for that in this score. But the effect was to make Goodwin’s elegant and resonant tenor present with extra character, particularly in his rapid-fire transfer of colour between songs that, in some cases, are over before they’ve begun. Both artists gave an ideal example of care with their material in Ich will meine Seele tauchen, Goodwin producing his four phrases with a restless subtlety of shape, Jambazian’s incessant left-hand demi-semiquavers restrained with only the postlude raising the temperature through that unexpected quartet of acciaccaturas.
Then the songs gain in tension, both artists giving Im Rhein an impressively full dynamic at the start before the work falls away, the singer drained of strength at his half-close while the piano moves steadily downward to negate the opening adamantine promise. Even better followed with Ich grolle nicht, the singer’s long notes smoothly manufactured and sustained – bars 3, 8, 9 and11 setting us up for a thrilling climb starting with a springing Ich sah’ dich ja and concluding with that punishing repetition of the lied’s title and obsessive keyboard finishing-off. More telling detail continued to emerge, like the sudden slower pace adopted for the final verse, Sie alle konnen’s to Und wussten’s die Blumen, and the piano’s lurch into disjointed triplet arabesques over the final 6 bars.
Jambazian took front row for Das ist ein Floten, insisting on his right hand contribution which always suggests a Mahler landler, while Goodwin made a powerful contribution as the heart-heavy observer. Again, the postlude impressed for its deft interweaving of action and gloom, right to that unhappy concluding tierce. In the following Hor’ ich da Liedchen klingen, Goodwin revealed once more his fine lyric insight, particularly his emphasis on Brust in bar 9 that signals a subdominant modulation that serves as a fulcrum, and later the measured delivery of his four last bars where the poet’s grief overwhelms him. The piano’s syncopated postlude impressed equally, particularly Jambazian’s emphasis of the sforzando-led inner part 7 bars from the end – a real out-of-the-depths moment.
Schumann’s counterweight Ein Jungling liebt ein Madchen, intended to lighten the ambience, achieves its end although the bitterness can still be found in the final couplet’s insistent repeated notes. As this pair demonstrated, any atmospheric lightening conceals a pain that goes beyond melancholy. Am leuchtenden Sommermorgen opened gracefully and amiably enough but something odd happened at the Es flustern und sprechen die Blumen line where Goodwin went off the rails momentarily; whether he’d jumped ahead to Sei unserer Schwester, I couldn’t tell but he recovered pretty quickly, Jambazian also made an equally uncharacteristic error in the song’s penultimate bar.
It’s rare that this tenor falters and his voice is such a refined instrument that you’re doubly surprised. It makes you nervous about what’s coming up and I lost track of him in the following Ich hab’ im Traum geweinet at the words noch lange bitterlich – probably my fault, but the song is pretty transparent. Then, a return to form in Allnachtlich im Traume, which is a lied guaranteed to display Goodwin’s clarity of production as it is left exposed without any distracting figuration in the accompaniment. Just as striking was the hunting-horn gigue Als alten Marchen, coming to a splendid declension at Ach, konnt’ ich dorthin kommen where both musicians found a mutual furrow of resignation that maintained traces of the initial joy in fairyland. The only question came with Goodwin’s restrained attack on Morgensonne that concludes the second-last line: an effort that didn’t quite succeed.
You could fine little to complain about in the final number, even if Goodwin’s lowest notes on the last syllables of the first stanza’s lines failed to carry – probably because too much was going on in the piano since the same notes came over much more easily in the poem’s concluding quatrain. Once again, you could relish the details, like that splendidly burnished ring on the top notes at Christoph, and that unforgettably consoling postlude that resolves from disturbance with unmatchable skill.
All three Rimsky songs – Na kholmakh Gruzii, Op 3 No. 4; O chem v tishi nochey, Op. 40 No. 3, and Oktava, Op. 45 No. 3 – are excellent example of the composer’s gift for generating a fluent line, although you’re hard pressed to find a point at which your interest quickened beyond an amiable imbibing . They’re a step up from salon songs, with the occasional burst of energy to give you something added to the mix. The first is notable for a vocal line opening that is packed with repeated notes before the composer sends both performers (including the tremolo-rich piano part) into a more expansive type of territory, including a splendid highpoint in the last lines of Pushkin’s poem. The next, a Maykov elegy, fell more into line with what was fashionable in France at the time: an infectious sweep to the melody, and plenty of crescendo/decrescendo surging up and down which is calculated to show Goodwin’s control to excellent advantage. Both performers invested the work with rubato and underlined its aura of veiled excitement; like Reynaldo Hahn, but a few steps outside the conservatory.
The addition/encore, again a setting of Maykov, is a florid address to the poet’s own verses and his aspirations for their success. This also builds to a powerful, brief burst of declamation on the final verse’s adverb ‘gracefully’ – which it almost was, thanks to Goodwin’s calm attack. The song’s unremarkable structure and material were well camouflaged by the obvious dedication of both executants, but it left us still waiting for something else. Sadly, the performers, with dutiful thanks to us, left the stage. A pleasure to hear the tenor, as always, and even better when he is appearing with a sympathetic partner. But they must have had something more in their combined repertoire, you’d think.