SCHUBERT. Winterreise, Op. 89.

Dietrich Fischer-Dieskau (baritone), Gerald Moore (piano).

HMV ALPS I298-ALP1299 (two 12 in., 61s. od.).

Schmitt-Walter, Giesen (11/53) LXT2799-800

Hotter. Moore (4155) 33CXS122283CX1223

Everyone who has heard Fischer-Dieskau sing Winterreise, or who knows anything of his art, will expect this disc to contain a magnificent performance of the song-cycle; and they will not be disappointed.

The virtues of this performance are so much more obvious than those of Hans Hotter's, in his recording, that it is more than likely that most people will prefer it. That I myself do not do so, on balance, may perhaps be due to age, for Schubert's great work can mean different things to young and old and a spiritual winter's journey, which these songs represent, is perhaps more poignant and tragic when old age is upon you. Fischer-Dieskau has the advantage of Hotter of a more appealing and even-toned voice and he does not have to resort to such drastic transpositions (these I see are all given on the sleeve note of Hotter's disc: a useful practice) : and while the singer's tone in loud passages and also in very soft ones has not always been well supported (and has been even ugly at some climactic moments) he is here in exceptionally good voice, so that no such criticisms can be brought against him.

His articulation, also, is crisper than Hotter's and he has a very special sense of verbal values and a wide command of tone-colour.

These are impressive gifts: but the last of them can be dangerous: and it seems to me that Fischer-Dieskau has not always avoided the danger. If Hotter neglects some verbal point-making the other singer sometimes unnecessarily disturbs the vocal line with such point making: and he falls too often into the habit of applying a crescendo at the start or end of a phrase where is does not seem to be called for.

This first becomes obtrusive in Der Lindenbaum at "Sussen Traum", "Freud und Leide", and "hör ich's rauschen". I do not assume that the dynamic markings in the piano part are invariably to be copied in the voice part whenever they appear, but Fischer-Dieskau is, I think, over-apt to do so, and in this song I prefer Hotter's simpler approach and meditative legato.

A much more debateable point is whether one feels, or not, that Fischer-Dieskau overdramatises some of the songs, such as the end of Wasserfiul and the heart-breaking rising phrases, "wein', wein' auf meiner Hoiftiung Grab", at the end of Letzte Hoffnung. Here I find Hotter's controlled approach more moving.

This brings me to the main point. From the first song to the last Hotter presents a picture of a weary and disillusioned man, Fischer-Dieskau one of a man vigorous enough to snap his fingers at fate, and rather in revolt against life than disillusioned.- And so choice depends upon which interpretation you favour.

Hotter sings the last words of the cycle. in Der Leiermann softly, Fischer-Dieskau (as Gerhardt used to do) with ample tone. Another pointer. Hotter gives a peculiar bitterness to his articulation of "deinen Wurm" in Rajt, and this is one of the rare instances of Fischer-Dieskau neglect of a verbal value.

All this is to be, no doubt, hyper-critical. and I must therefore stress the high artistic pleasure I derived from Fischer-Dieskau's superb singing. His legato in Der Wegweisser and Der .J'febensonnen is particularly lovely. and in Gute naeht he infuses more beauty of tone at the change into the major key than Hotter is able to do. He is also much more successful with Erstarrung which is transposed too low by Hotter to sound at all well. He also makes a thrilling, and not too large, climax at the Die Kroiie.

I wrote my review of Hotter's performance when the landscape outside reflected that of the song-cycle and was particularly evocative ; but in different conditions I find it, in spite of certain points missed and some roughness, extremely moving on its own terms. Fischer-Dieskau's performance I admire very much indeed and would wish to possess, but it moves me less for the reasons givcn above. Gerald Moore, who excelled in the Hotter recording, plays, if possible, even more superbly here. He adds in .1m Dorfe a new touch in the bass part that that I will leave listeners to discover.

The recording gives better piano tone and generally rather cleaner definition in both parts. A.R.