Early music master Thomas Guthrie turns the bitter materials in Schubert’s “The Beautiful Müllerin” into sonic intensity.
Thomas Guthrie is a brave and raw poet who speaks of suffering, passion, and jealousy. Barokksolisten instruments enter sharply into this repertoire and are almost as painful as the agonizing sentiments in Schubert and Müller’s report on disappointment in love. Thomas Guthrie wants to revive the knowledge of diction and rhetorical design in music and “art song.” This means that the wavebands and rhythmic forms of accompaniment no longer provide any protection from Schubert’s melodic pain repertoire. On the contrary: with the precision of a director and the precision of a first music master, Thomas Guthrie extracts the bitter material from the notes and transforms them into the harshness of sound. Not everyone will enjoy this basic arrangement of soul-fire-hardened lyrics and melody-dappled stabs. But this position comes oppressively close to the depths of Schubert.
Schubert/Guthrie: Müller’s Beautiful D 795
Paroxolistin, Beart Ecke (violin and directing)
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