This is the third Italienisches Liederbuch to appear in recent months. At mid-price it is, paradoxically at once a bargain and not a bargain. All the rival versions are contained on one CD; this issue is spread over two, but as a generous compensation includes the Eichendorff Lieder in Fischer-Dieskau's and Barenboim's positive readings. Indeed, this highly coloured, vivid, if uneven collection is perfectly tailored to the pair's full-bodied, questing style and is altogether satisfying. The additional offering, the Gedichte von Michelangelo, receives a probing, deeply considered performance wanting only, from the singer's point of view, the true bass predicated by Wolf's setting.
In the Songbook, we have for once two low-voiced interpreters and in consequence an opera-scale performance. Fischer-Dieskau had already recorded his contribution twice before 1975, when this one was committed to disc, and since then a version (with Seefried) recorded at the 1958 Salzburg Festival, has appeared on an Orfeo CD. The virtues of his readings have often been rehearsed. On this occasion, possibly influenced by Barenboim's serious, large-scale playing, he infuses his songs with even more meaning, an even wider palette of sound. In consequence, he sometimes goes through his tone uncomfortably, but nevertheless seduces the listener with all his customary variety of dynamics and accomplishment of moods.
Ludwig is able to bring greater depth and powers than a soprano to such songs as ''Wir haben beide lange Zeit'', ''Wie soll ich frohlich sein'' and above all, the searing ''Was soll der Zorn''. In ''Ich esse nun mein Brot'' and ''Mein Liebster hat zu Tische'' she avoids the coy style too many sopranos fall into, while at the same time bringing all her gifts for characterization into play. And I know of no more rich, loving account of ''Wohl kenn' ich Eurer Stand''.
With her, as with the baritone, Barenboim is highly successful at following every nuance of the singer's interpretations and at the same time adding his own positive gifts to preludes and postludes—listen to his hushed close to the wonderful ''Schon streckt' ich aus dem Bett'' and his beautiful underpinning of Fischer-Dieskau's lovely ''Sterb' ich'', everything one could ask of any Lieder singer or pianist. All in all, this faultlessly recorded issue is complementary to those of the Songbook already available and, as a whole, engrossing from start to finish.'