Continuing Naxos' Schubert-lieder project, this one focuses on settings of poems by the composer's friends, the "Schubert-Kreis", or Schubert circle. There are no real masterpieces...

Continuing Naxos' Schubert-lieder project, this one focuses on settings of poems by the composer's friends, the "Schubert-Kreis", or Schubert circle. There are no real masterpieces among these 17 selections, which focus on an aspect of Schubert's writing that rarely gets mentioned: songs that reflect the repressive political and social conditions in Austria in the early decades of the 19th century. The poetry (and musical realizations of it) is fascinating for its double-meanings in this context (à la poets and composers in the Soviet Union in the 1930s-'50s)--various flower themes actually refer to disappointment, dashed hopes, and diminished freedom; other nature references invoke such themes as Utopia and hope for a better life. Schubert bestows a fair measure of artistry to these pieces, but we have to search for melodies and harmonic invention as compelling as found in his best songs. "Am See" D746 is one such, a flowing, floating depiction of the reflections on a lake; likewise, "Nacht und Träume" D827 is an insistent, chord-rich evocation of a "holy night" and "lovely dreams".

Swiss soprano Brigitte Geller is an okay if not particularly memorable singer, her voice pleasing enough, her interpretations straightforward and characterful and technically solid but well short of inducing a "wow, that was really beautiful" reaction. The tone primarily hangs around a bright, tangy quality that can wear on the ear long before the end of the recital's full 70 minutes. As on his other appearances in this series, Ulrich Eisenlohr is an ideal partner/accompanist, fully engaged in letter and spirit with his singer--and the sound complements and accommodates voice and instrument with adequate space, naturalness, and clarity. Song enthusiasts who must have everything by Schubert will be interested in the music if not ultimately enthralled with Geller's performances.

--David Vernier, ClassicsToday.com