It is difficult when faced by a recording like this, particularly if you’ve never heard the artist live, to assess to what extent the limitations of the sound are those of the artist or whether they are simply restrictions enforced by the recording. Sometimes the recorded sound so strangles the performance that one can only think of what might have been, but more usually such restrictions are a shared responsibility. Here, Banowetz surely deserves a warmer and more opulent sound, especially for repertoire of this kind, although the lack of tonal beauty and nuance, and the failure to project a singing line, cannot be pinned entirely on the recording.
This is an attractive programme, sensibly collecting Liszt’s complete transcriptions of songs by Chopin, Mendelssohn and the two Schumanns, Robert and Clara. Liszt’s arrangements of six of Chopin’s Polish Songs are well known, as are some of Schumann’s songs (Widmung, in particular, is a perennial favourite), but most of the Mendelssohn and Clara Schumann transcriptions are less familiar. Banowetz is a secure guide through the Chopin group, weaving a delicately-spun line in “Fruhling” (“Spring”, track 2), although “Bacchanal” (“Merrymaking”, track 4) should surely have a more extroverted swagger. The songs of Mendelssohn and Clara Schumann are played with a charming simplicity, but it is Robert Schumann’s songs that contain the richest music. In these Banowetz is variable: some are too blunt, lacking poise and subtlety, although others have an appealing sensitivity. Try “Des Sennen Abschied” (track 11) or “An die Turen will ich schleichen” (track 16) and you will hear the gentle colouring and melodic projection of which Banowetz is capable, although my feelings are mixed with regret that the recorded sound is so boxed in. In Widmung, however (given here in both its more elaborate concert version and the smaller first version, tracks 19 and 20), the vocal lines need to be more radiant and sustained, and Banowetz doesn’t convey sufficient affection or lyrical composure.
Such an intelligent and collectable programme is certainly worth the super-budget price, but I am left thinking that this was a missed opportunity for Naxos. This Liszt series remains an exciting prospect, but as I have said before, if they are to get the most out of the enterprise their recorded sound needs improving. As it is, my recommendation is qualified.'