EIF: Ilker Arcayürek and Malcolm Martineau

Queen’s Hall - 09/08/23

Songs by Beethoven, Schumann and Schubert 

Ilker Arcayürek, tenor | Malcolm Martineau, piano 

Five years ago today, Ilker Arcayürek made his Queen’s Hall debut with his regular accompanist, Simon Lepper, to sing German Lieder.  Yesterday morning he had no idea that he would be back here so soon.  German bass, Gunther Groissböck, called off because of illness, and Arcayürek, in Edinburgh to sing Tamino in Saturday’s ‘Magic Flute,’ got the call.  I gather he and Malcolm Martineau had time for rehearsals yesterday, and, as we would expect from two accomplished recitalists, today everything works perfectly, and the Queen’s Hall staff are issuing freshly-printed librettos. 

They begin with Beethoven’s ‘An die Ferne Geliebte‘ (To a distant beloved), a series of six songs from 1815 which are through-composed, and if there are any remaining nerves, the momentum of these songs, balancing reflection and emotion, carries them through. The subtle transitions in voice and piano from one song to the next are particularly effective.  Turkish-born Arcayürek was brought up in Vienna and has all the signs of a well-trained Lieder singer, the open stance, the discreet use of hand gestures to tell a story – and a wonderful voice.  He sings quietly through the Beethoven, only opening up fully at the end, but it’s obvious that he is comfortable throughout the range, with some delightful baritonal touches at the lower end of his voice.  

Schumann’s ‘Dichterlieber’ (a poet’s love) is the highlight of the recital. Arcayürek used a score to sing the Beethoven, but for this and the Schubert, he sings directly to the audience, and adds eye-contact to his narrative skills.  The sixteen, mainly short, songs by Heine are also sung straight through, so that we are pulled into the tentative hopes of the young man in love, with imagery of spring flowers and nightingales and then his eventual faltering towards despair. The eight lines of ‘When I look into your eyes’ mark the change, and Arcayürek gives emphasis to his “bitter tears.” Two songs later “Ich grolle nicht” (I bear no grudge) is a deeply ironic outburst, with pounding piano accompaniment.  Soon the merry piano signals the dancing at his former lover’s wedding, and as the he struggles to cope, the singer’s voice becomes weaker, and the accompaniment disjointed. Despite some hope in the fabled land conjured in ‘Old Fairy Tales,’ the heavy chords and despondent words of ‘The Bad Old Songs’ bring the work to a close.  There’s well-deserved applause for a splendidly acted and sung performance. 

Schubert’s three Harpist’s Songs, also by Heine, are the central works in the second half, while other stand-alone songs seem to reflect the experiences of older lovers.  ‘Der Winterabend’ (The winter evening) is sung tenderly, the old man’s acceptance of his wife’s ghost gradually and delicately revealed.  Lieder singing and sensitive accompaniment of the highest quality.  

Sadly, this terrific performance was not well-attended, and although I’d love to see those eligible take advantage of £10 seats on the day, this isn’t happening.  Why not make the offer open to all, and publicise it widely? 

Cover photo: Janina Laszlo