As I learnt Schwanengesang from the deeply satisfying reading of Hotter and Moore, I start with a natural prejudice in its favour. I wondered, after some years of listening to numerous performances of more recent vintage, if it would still exert all its old power to move me. I need not have worried. In its new and excellent digital transfer the sensitivity and understanding of the performance seem even more potent; as does the cello-like beauty of Hotter's tone. The nobility and softness of the voice, the refinement of the diction (though never exaggerated) and the profound understanding of the text remain touchstones in interpreting this so-called cycle.
The fearsome defiance of ''Der Atlas'', the tragic involvement and import of ''Die Stadt'', even more of ''Der Doppelganger'' (one of the most overwhelming readings ever of this great song), are contrasted with the refinement, even delicacy (unexpected from such a large voice) of ''Abschied'' and ''Das Fischermadchen'', while ''Die Taubenpost'' receives an utterly charming and smiling interpretation, full of subtle colouring. Only in ''Standchen'' does the downward transposition lead one to wish for a lighter, higher singer. Throughout Moore seems to feel the music in exactly the same way as Hotter: they are a perfect match.
That is also true of the songs recorded on two fruitful days in October 1949. The granite-like strength of Gruppe aus dem Tartarus, not issued until 1982 on LP; the simple melancholy of that poignant song, Am Bach im Fruhling, which I listened to so often on a still-treasured 78; and, perhaps best of all, the timeless musings of the two Wandrers Nachtlieder, show Hotter and Moore at the peak of their powers. The three 1957 recordings issued in 1959 are not quite so satisfactory, the voice sounding a shade tired, particularly in Sei mir gegrusst, essentially a tenor piece in any case, but again the vast voice is nicely fined down for the whisperings of Geheimes.
As for the Winterreise, I discussed this 1943 radio version when it appeared on Acanta last year (10/93) and pointed out that it was markedly inferior to the studio one, made by the same performers a few months earlier and now available on DG Dokumente (10/93). The Preiser derives from that same 1943 broadcast, when Hotter was not in nearly so good voice as in the studio account, where the sound is also appreciably superior. So this reissue is really best avoided. One would do better to get the 1942 Dokumente or seek out the deleted EMI 1954 version with Moore when, as you should, you purchase your copy of the Schwanengesang disc.'