How gratifying it is to enjoy the fruits of this generation’s lively interest in the art song, and in particular, German lieder. Recently, Australian audiences have had the good fortune to soak up the superb artistry of Ian Bostridge and Florian Boesch, two of this era’s greatest singers. Nor should we forget that outstanding singing is only one side of the lieder equation. Splendid accompanists are also indispensable in consummating the marriage between text and music.

Whilst current concert-hall performances of lieder undoubtedly bring huge musical rewards, they are obviously scaled to the performance space. With the piano often on full stick, singers are not afraid to calibrate their delivery accordingly. On the other hand, it is a pleasure to be reminded by Padmore and Bezuidenhout of lieder’s more intimate origins.

The South African born fortepianist (who began his studies in Australia and is back here this year guest leading the Australian Brandenburg Orchestra) uses a sweet-toned instrument by Rosenberger from about 1820 that is the perfect complement to Padmore’s lyrical tenor. Together they explore the tentative beginnings of lieder through the works of Haydn and Mozart, amongst which we have some delightful floral references; Haydn choosing a forget-me-not and Mozart a violet. Mozart’s burgeoning talent is also reflected in the charming Abendempfindung (Evening Reflections) and in a multi-sectioned cantata designed for masonic use that exhorts all to love and brotherhood. 

It is with Beethoven, however, that we begin to gain a sense of where the song genre is heading. Here singer and accompanist act with unanimous artistic intent, the fortepiano bringing no loss of communicative power to the music. Adelaide glows with romantic ardour and all the longing and hope of An die Ferne Geliebte is revealed. A disc to enjoy again and again.