To describe the song cycle, Wintereisse (D. 911, published as Op. 89 in 1828) by Schubert on Wilhelm Müller's collection of poetry, Der Weintereisse, is to try to explain the ordering of internal and external chaos; or more succinctly, a breakup. The cycle consists of 24 deeply emotional and intensely evocative lieder to be sung at once, usually by a tenor or baritone of considerable endurance. This week, as a part of the Ohio State University School of Music's program to offer exceptional student and faculty performances at no cost, no ticket required, Dr. Scott McCoy presented the song cycle in its entirety to much audience acclaim. For more performances at OSU brought to you free of charge, check out the School of Music's website. The performance opened with a backdrop projector glowing in the darkened Weigel Auditorium with images of falling snow and its austere silence; the effect was palpable for audience members, and it perfectly set the stage for the often quiet angst of the song cycle. Pianist Ryan Behan sat onstage for a full two minutes in silence before Dr. McCoy made his first appearance at which time the singer promptly sat at an alternate piano, in complete darkness, and accompanied himself for the desperate, seething, opening work, Gute Nacht. Take a look at Dietrich Fischer Dieskau's interpretation of the work. The following 23 pieces were accompanied by Ryan Behan, and offered a moving view of the internal despair of the narrator who took advantage of a seated position for a few of the internal lieder both for his own physical endurance and to give visual depth to pieces such as Rast. Rast can be seen here, performed by Hans Hotter with Gerald Moore accompanying on YouTube After around an hour of sincere performing, McCoy finished the cycle with the most insightful and articulate performance of Der Leiermann (The Hurdy-Gurdy Man) I have seen. Earlier this week, I sat down with Dr. McCoy, the director of the Helen Swank Voice Teaching and Research Lab and professor of Voice Science and Pedagogy, in his office to discuss how and why he would take on such an extensive and demanding work in the middle of a busy semester. His responses were nothing short of heartfelt consideration for the nature of the work, the necessity of presenting its entirety, and his deep empathy for the work of Schubert. This performance marked his first vocal stage appearance in at least five years with eight or nine years since his last presentation of the full 'Wintereisse' cycle for audiences, so his maturity and a sense of returning to the art of performing were keynote in our discussion. Dr. McCoy expressed that this character, known in German Romantic poetry and lieder as Der Wanderer, has evolved for him as he has matured in life, and it was evidenced in his theatricality. His work was unconventionally alive and more physically active than a typical art song recital or lieder performance, and it is the effect of what McCoy ascertained to be his depiction of the German gesamptkunstwerk, or "complete work," a term often associated with Wagner. In this context, and in our conversation, it referred to his desire to present more than the notation and text on the page, but to become, in his words, "the vessel of Schubert's work." If you are interested in more on Art Songs, Opera, and Lieder, be sure to check out:
- Christopher Purdy's Opera Abbreviated podcast on The Marriage of Figaro and his show Serenata, which features adventures with the art song, Saturdays at 1pm on Classical 101.
- Stay tuned for more concerts at The Ohio State University coming Sundays at 1pm, January through February, as part of Classical 101's Columbus in Concert series.