Matthias Goerne and Christoph Eschenbach in Die schöne Müllerin
In the final song, “Des Baches Wiegenlied,” the lullaby enveloped the miller, the brook and its music dragging him in ineluctably, each verse slowing gently, getting quieter, until time entirely dissolved at the mention of the eternal heavens above. It had seduced once, and it entranced one last time.
It was bewitchingly gentle, coaxed to a duration half as long again as any other version of this song I have heard. The paradox was that Goerne and Eschenbach wove the spell so beautifully that, as the beat slackened, one’s heart raced, ever more loudly, eventually hanging on as all that was left.
This was exquisite. Read the rest of my review at Bachtrack here.