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Johannes Brahms (1833-1897)

The Complete Songs, Vol. 10 - Sophie Rennert

Sophie Rennert (mezzo-soprano), Graham Johnson (piano)
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Label: Hyperion
Recording details: October 2018
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by David Hinitt
Release date: October 2020
Total duration: 79 minutes 11 seconds

Cover artwork: Photograph of Sophie Rennert by Sim Canetty-Clarke

Perfectly judged performances, intelligently planned recitals, informative booklet notes and, throughout, accompaniments from a true master of the art: this final release in the songs of Brahms epitomizes all the familiar virtues which have distinguished the series.


‘Brahms was always drawn to the chiaroscuro of the mezzo-soprano voice and its instrumental equivalents, the clarinet and the viola. I suspect that Sophie Rennert’s tones, combining an amber glow with the freshness of youth and a free-soaring top, would have come somewhere near his ideal. She phrases broadly and expressively, and points and colours words with unexaggerated sensitivity. Her diction throughout is a model … a lovely singer, Sophie Rennert is a natural in lieder. Her partnership with Johnson makes a fitting culmination to what has proved a revelatory Brahms series’ (Gramophone)

‘Brahms, who loved the mezzo-soprano voice, would surely have relished the pure, glowing tones of the young Sophie Rennert. Partnered by the ever-discerning Graham Johnson, Rennert vividly characterises Brahms’s mother-daughter dialogues, catches the heightened passions of the Zigeunerlieder and sings the viola songs with musing inwardness. A superb finale to another revelatory Hyperion song edition’ (Gramophone)

‘I love the athletic passion of Sophie Rennert’s mezzo, rich but so responsive to these vignettes with their erotic overtones. Graham Johnson relishes the economy of Brahms’s settings and they make an excellent duo in the other songs here, including Brahms’s two gorgeous opus 91 songs with viola, played with moving eloquence by Lawrence Power … as always, the insights and notes from Graham Johnson’s booklet essay are almost worth the price of admission on their own’ (BBC Record Review)

‘A remarkable new voice, fresh, clear and warm, with a rare response to the text and incredible intonation. Oh, and there’s Graham Johnson’ (BBC Record Review)

‘Sophie Rennert’s voice is magnificently burnished, full and deep … the songs with viola form the centrepiece of the disc, and one could hardly hope for a finer exponent of the obbligato part than Lawrence Power … Graham Johnson, of course, needs no introduction, and everything one associates with him—the intelligence, the high musicality, the technical perfection—is here in spades’ (MusicWeb International)» More

‘Sophie Rennert doesn’t sound the slightest frail but she sings the song [Immer leiser wird mein Schlummer] so beautifully and sensitively that I feel transported back to the days of Erna Berger … she has a well-schooled high mezzo-soprano, beautiful and capable of both rhythmical lilt and dramatic exuberance … her interpretations are well up to the general standard of this series and collectors should with confidence invest in this final issue. This project is a worthy companion to Hyperion’s mammoth series with Schubert’s complete songs, also masterminded by Graham Johnson. Did I write that his accompaniments are just as masterly as they have ever been? They certainly are! Congratulations to Graham and Hyperion for bringing yet another song project to a successful close’ (MusicWeb International)» More

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This album is the tenth and last of a series that presents the entire piano-accompanied songs of Johannes Brahms. As such it is a companion to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.

Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in opus number groupings. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in their original opus number groupings. Of course, one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets (the composer’s own expression) for publication. Good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence) do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them.

Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.

Each disc of the Hyperion edition takes a journey through the career of Johannes Brahms. The songs are not quite sung in strict chronological sequence (Brahms had a way of including earlier songs in later opus numbers) but they do appear here more or less in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life).

We can imagine certain (but by no means all) of these groups of songs grouped and published together for various reasons, but it is quite unclear whether Brahms was making a point thereby. Far from dreaming of complete evenings of his songs in public performance, he preferred to hear no more than three of his own songs in any one concert. This astonishing information comes from an invaluable book of essays: K Hamilton and N Loges, eds: Brahms in the Home and the Concert Hall. Between Private and Public Performance (Cambridge: CUP). The conventions of music in the home, where so many songs were first heard and discussed in an environment of lively and cultivated enthusiasm, did not include listeners buckling down in respectful silence to a substantial sequence of songs, as if they were at a public concert. Brahms seems to have been happiest hearing his songs as Hausmusik and surrounded by supportive informality—and I dare say Schubert would have said the same about the Schubertiads. The present-day hunger for cycles—hidden, implicit, unknown or concealed—seeks to feed the appetite for a kind of recital format that is favoured, perhaps over-favoured, in the twenty-first century, but was almost unknown in the nineteenth.

It is clear, however, that certain opus numbers have long been more usually presented in their entirety, and this album has two such examples: excerpts from Zigeunerlieder, Op 103, are more rare in recital than performances of the whole work, and once a singer has found a violist skilled enough to rehearse and play one of the two songs of Op 91, it would be a foolish waste of resources in a concert not to perform both pieces. These are rare examples of Brahms songs that were clearly meant to be heard in the totality of their original groupings.

Graham Johnson © 2020

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