WANDERER Songs by Schumann, Killmayer & Mahler Christoph Prégardien Ensemble Kontraste

1 WANDERER Songs by Schumann, Killmayer & Mahler Christoph Prégardien Ensemble Kontraste

Anke Trautmann flute Günter Voit clarinet Annedore Oberborbeck violin Mathias Bock violin Andreas Ticozzi viola Cornelius Bönsch violoncello Ruben Hoppe double bass Stefan Danhof piano Gunther Rost Harmonium harmonium Christian Wissel percussion Robert Schumann (1810-1856) Wilhelm Killmayer (1927) Arrangements for small ensemble by Marcus Maria Reißenberger Arrangements for small ensemble by the composer

[1] Frühlingsfahrt op. 45,2 (1840) 2:46 Four songs from “Hölderlin-Lieder II” [2] Eintritt op. 82,1 (Waldszenen) instrumental 2:11 [17] In lieblicher Bläue 10:04 [3] In der Fremde op. 39,8 (1840) (from Liederkreis op. 39) 1:15 [18] Der Mensch 2:12 [4] Waldesgespräch op. 39,3 (1840) (from Liederkreis op. 39) 2:05 [19] Wie Wolken 1:33 [5] Mondnacht op. 39,5 (1840) (from Liederkreis op. 39) 3:57 [20] Griechenland 3:27 [6] Einsame Blumen op. 82 (Waldszenen) instrumental 2:05 [7] Trost im Gesang op. 142,1 1:56 [8] Sehnsucht nach der Waldgegend op. 35,5 (1840) 2:10 [9] Wanderung op. 35,7 (1840) 1:18 Gustav Mahler (1860 -1911) [10] Herberge op. 82 (Waldszenen) instrumental 2:33 Arrangements for small ensemble by Arnold Schönberg [11] Es leuchtet meine Liebe op. 127,3 1:23 [12] Dein Angesicht op. 127,2 (1840) 1:53 Lieder eines fahrenden Gesellen [13] Lehn Deine Wang op. 142,2 (1840) 0:44 [21] Wenn mein Schatz Hochzeit macht (1883-85) 3:35 [14] Mein Wagen rollet langsam op. 142,4 (1840) 2:52 [22] Ging heut morgen übers Feld (1883-85) 4:18 [15] Abschied op. 82 (Waldszenen) instrumental 2:32 [23] Ich hab’ ein glühend Messer (1883-85) 2:53 [16] „Der Dichter spricht“ (Kinderszenen op. 15) 1:45 [24] Die zwei blauen Augen von meinem Schatz (1883-85) 5:10

total time 66:53

4 5 Not even our contemporary inclination was Gustav Mahler (1860-1911), and by contemporary composer Wilhelm by the wayfarer, disappointed in love, towards ‘authenticity’ and ‘loyalty to the orchestration for his Lieder eines Killmayer, who wrote his own instru- and his self-imposed ramblings, the the composer’s intentions’ has been fahrenden Gesellen (Songs of a Way- mentation to fit in with the idiom used best known example of which is the able to stop the trend of adapting farer, written in 1883-1885) followed in the lieder of Mahler and Schumann. Winterreise cycle by Schubert on texts scores for a different instrumentation the piano version so quickly that the of Wilhelm Müller. than what the composer originally very first performance in 1886 imme- To ensure that the project would be had in mind. The rapidly growing diately featured the orchestra. In 1920, a closed thematic unit, the Lieder The reason for the wanderings of number of smallish ensembles with Arnold Schoenberg created a new eines fahrenden Gesellen formed Mahler’s ‘Wayfarer’ is heard in the first combinations of instruments for which version for flute, clarinet, harmonium, the guiding principle. This short lied, ‘Wenn mein Schatz Hochzeit hat’, very little music is available has even piano, string quintet and percussion, four-movement cycle describes the in which the poet describes how he proved to be an added incentive in and this instrumentation was taken wanderings of a craftsman travelling weeps bitter tears in solitude while his this direction, leading towards a new by the ensemble KONTRASTE as the the wide world after a personal disap- beloved is celebrating her wedding. development within classical music. starting point for a project called pointment. The texts from Mahler’s In ‘Ging heut’ morgen übers Feld’ Not infrequently, a particular interest Wanderer, in collaboration with the own hand suggest the same auto- nature seems to offer him consolation, is shown in lieder which were originally tenor Christoph Prégardien. It re- biographic slant that would continue but ‘Ich hab’ ein glühend Messer … in written for solo voice with piano ac- volves around Mahler’s Lieder eines to resound in his later compositions, meiner Brust’ shows this to be only companiment. Sometimes the com- fahrenden Gesellen as well as sixteen but the content of the four poems is a pretence. The two blue eyes of his posers themselves put a small instru- lieder by Robert Schumann, which also related to two central Romantic beloved are still the reason behind his mental ensemble or even a complete were arranged for this project by themes. On the one hand, Mahler aimless wandering, and the solemn symphony orchestra in the place of the Marcus Reißenberger. The idea was to seizes on the familiar parallel between rhythm of a funeral march at the end original piano part, but it is not unu- retain the liveliness heard in the piano the artist and the honourable crafts- of the fourth lied foretells the inevita- sual for others to undertake this task. accompaniment while at the same man as worked out by Wagner in its ble outcome. time creating an instrumental colour best-known form in Die Meistersinger One of the composers who adapted a palette that far surpassed it. A sort of von Nürnberg. But German Romanti- In the works of Robert Schumann piano score for a complete orchestra intermezzo is formed by four lieder cism is the more strongly represented (1810-1856) fate seems to hang over

6 7 his head as well, and it is very tempt- even fatalism such as ‘Mein Wagen Festspiele of 1986 and 1987. Because ed by life, the narrator in Hölderlin’s ing to seek out forebodings of the rollet langsam’ may have a high opus his instrumentation leaves open the poems has taken to wandering and tragic final phase of his life in the number (142) but this does not mean possibility of replacing individual his mind is focused on an idealised lieder from earlier periods. But Schu- that it is one of his later compositions. string players by several flutes, Eng- antiquity: an object which he knows mann is a child of his time, and this In fact it dates from 1840, the year lish horn, bass clarinet or contra- is dead and gone, and which has thus is unmistakably reflected in his work. in which not only a large number of bassoon, the performance by the become unattainable. The lieder to texts of Justinus Kerner Schumann’s most important lieder ensemble KONTRASTE is an almost (1786-1862) already feature various were composed, but also the year in seamless continuation of the lieder of Paul Korenhof romantic motifs, but this is even more which Robert and Clara Schumann Mahler and Schumann. Translation: Carol Stennen/Muse Translations pronounced in the Liederkreis op. 39 were finally able to marry. on texts by Joseph von Eichendorff Killmayer based his Hölderlin-Lieder (1788-1856). In his poetry Schumann Despite the totally different eras, on poems from the last years of found a wide spectrum of romantic we find a comparable theme in the Friedrich Hölderlin (1770-1843). The feelings such as hope, love, melan- lieder of Wilhelm Killmayer, born in four lieder in this project are the choly and, especially, longing, both for in 1927 and who, in addition conclusion to the second cycle and unattainable happiness and for death. to musical talents, showed a great are presented as a single piece, a affinity for both German and Mediter- ‘monodrama’, in which the composer The view of life favoured by Romanti- ranean literature. The result of these freely adapted Hölderlin’s texts to his cism is perhaps even stronger in the influences can be found not only in needs. For instance, from the poem poems of (1797-1856), a number of stage works, but also in written by the poet four days before although we must guard against a large number of lieder and other his death, ‘wie Wolken um die Zeiten drawing rash conclusions about an vocal compositions, including two legt’, Killmayer used only the first line autobiographic slant in Schumann’s cycles of Hölderlin-Lieder for tenor as a flowing transition from a preg- compositions. For instance, a song and a small instrumental ensemble, nant hush to a cry filled with nostalgia that shows resignation and perhaps first performed during the Salzburger and longing, ‘Griechenland’. Wound-

8 9 Marcus Maria Reißenberger yet he has written several pieces as the starting point of various forms Schubert piano songs, Webern’s fa- The composer Marcus Maria Reißen- of incidental music for the stage of musical practice. The genres that mous instrumentation of Bach’s Ricer- berger is from Coburg; here he began and straight theatre, also two full- belong in their essence to the field of car from the “Musical Offering” all bear his musical education at the Gymna- length ballets. His film music for the musical arrangement and reworking witness to the urge for individual inter- sium Albertinum and also received his silent movie “Der ewige Zweifel” are cantus firmus-related chorale pretation and the high artistic standard first piano lessons. He enrolled at the (The Eternal Doubt) by Richard settings, variations on established that can emerge in a transcription – in Würzburg University of Music in 1983, Oswald commissioned by ARTE/ melodic and harmonic models such as complete contrast to the countless studying composition with Bertold ZDF television likewise received folia and passamezzo, compositional arrangements of well-known melodies, Hummel and piano with Marta Sosin- widespread acclaim. principles of the passacaglia and mostly from the operatic repertoire, ska. In 1989 he attended master class chaconne, purely pragmatic study aids that were widely circulated for house studies with Heinz Winbeck, also at Another focus of his composing is such as vocal and piano scores and, music throughout Europe in the eight- the Würzburg University of Music. on the artistic arrangement and not least, practically every form of eenth and nineteenth centuries. The transcription of classical works, for polyphonic folksong performance. main feature of these transcriptions is In 1990 he won a scholarship at the which he has already won high the relatively direct transportation of “Cité internationale des Arts” in Paris esteem in specialist circles. Time after time, the genre of the the existing melody or harmonic mate- and in 1991 a Bavarian State Ministry transcription in the works of great rial onto the corresponding musical scholarship for supporting the young Since 1998 he has had a lectureship composers – both of their own ensemble, without any regard to the generation of artists. in music theory at the Würzburg as well as those of others – was peculiarities of the original musical He completed his studies in 1992 by University of Music, where he teaches often of decisive importance for scoring for the specific instruments. successfully passing his master class instrumentation. artistic development and aesthetic examination. orientation. Referring to the transcription of his Schumann arrangements piano sonata op. 14 no. 1 for string As well as orchestral and chamber Ever since the very beginnings of J. S. Bach’s Vivaldi transcriptions, W. A. quartet (letter to Breitkopf & Härtel of music, he places a special focus as European art music, transcription Mozart’s setting of Handel’s Messiah, 13 July 1802), Ludwig van Beethoven a composer on music theatre. As techniques have played a key role Berlioz’ and Brahms’ orchestrations of commented:

10 11 “If only this unnatural mania for The transcriptions of Schumann’s ticulation and melody into an anatomi- to Baroque and classical procedures grafting piano pieces, yes, even piano songs and piano pieces arranged cally compliant setting; what certainly was sought after quite deliberately, as pieces, into stringed instruments especially for the ensembleKontraste doesn’t happen here is a configuration Schönberg applied it for example in – instruments that are so contrary from Nuremberg are on the one of orchestral ideas simulating a piano his “Pierrot lunaire” op. 21. to each other – could stop once hand an attempt at a “transformation” score. So what emerged in a multifac- and for all. It is my firm opinion that in the spirit of Beethoven, on the eted form was the necessity to trans- Translation: Abigail Prohaska Mozart alone was able to transcribe other the outcome of a detailed form the scoring for the piano, even to his own works from the piano to consideration of two further aspects. the extent of composing autonomous other instruments, Haydn, too – and, piano parts anew, which represent without wanting to put myself on a Firstly, the scoring corresponds to more or less abstract surrogates of the par with these two great men, I would the “Verein für musicalische Priva- original texture. claim this as well for my piano sonatas. taufführungen” (Association for Musi- It’s not only that entire passages have cal Private Performance) in Vienna Secondly, the task required the to be deleted and changed; one must initiated by Arnold Schönberg and de- composition of a superordinated add things – and here we have the mands a special treatment of the piano musical form, since the only awkward stumbling block, which can part. It contains both the original and connecting element in juxtaposing be overcome only by having to take also the transformation of the piano the various songs and piano pieces the master’s part oneself or at least by part, a rather unusual treatment when is a poetic idea, in this case the exercising the same skill and powers orchestrating for larger ensembles. Romantic idiom of the “Wanderer”. In of invention as the master. I have After all, a key aspect of Schumann’s order to set up the necessary musical changed one single sonata of mine piano music consists in part precisely architecture, the attempt was made to into a quartet for strings, at an ardent in his manner of setting the fingering create a form-overlapping correlation request, and I know for certain that in a way specifically designed for the by means of a systematic variety in hardly anyone else can hold a candle instrument, brilliantly concentrating the choice of different part groups in to me in this respect.” the structures of harmony, rhythm, ar- the overall orchestration. The analogy

12 13 Christoph Prégardien of Paris, London, Brussels, Berlin, represented on more than a hundred as Tamino (Zauberflöte), Don Ottavio Born 1956 in Limburg, Germany, Cologne, Amsterdam, Salzburg, and twenty titles, including nearly all (Don Giovanni), Almaviva (Il Barbiere Christoph Prégardien began his Zurich, Vienna, Barcelona and of his active repertoire. di Seviglia), Fenton (Falstaff) and musical education as a choirboy. Geneva, as well as during his concert Monteverdi’s Ulisse. He then studied singing with tours throughout Italy, Japan and His recordings of German Romantic Martin Gründler and Karlheinz North America. A longstanding Lied repertory have been highly In Spring 2005, Christoph Prégardien Jarius in Frankfurt, Carla Castellani collaboration unites him with his acclaimed by the public and press sang the leading part in Mozart’s in Milan, Alois Treml in Stuttgart favourite piano partners Michael and have received international “La Clemenza di Tito” at the Paris and attended Hartmut Höll’s lieder- Gees and Andreas Staier. Soloist awards including the prestigious National Opera conducted by Sylvain class. Widely regarded as among of choice for renowned orchestras, Orphée d’Or of the Académie du Cambreling. the foremost lyric tenors, Christoph he performed with the Berlin and Disque Lyrique-Prix Georg Solti, Prégardien frequently collaborates Vienna Philharmonic, Bavarian Radio Preis der Deutschen Schallplatten- An important aspect in the musical with conductors such as Barenboim, Symphony, Royal Concertgebouw kritik, Edison Award, Cannes life of Christoph Prégardien is his Chailly, Gardiner, Harnoncourt, Orchestra Amsterdam, Gewand- Classical Award and Diapason intensive and varied educational Herreweghe, Luisi, Metzmacher, hausorchester Leipzig, London d’Or. A recording (with pianist work. From 2000 to 2005 Christoph Nagano, Sawallisch and Thielemann. Philharmonia, Staatskapelle Dresden, Michael Gees) of works by Robert Prégardien was in charge of a vocal His repertory spans a wide range Philharmonie de Radio France, the Schumann (Liederkreis op. 39) class at the Hochschule für Musik und from the great Baroque, Classical Montreal, Boston, St. Louis and San and Hugo Wolf with poems by Theater in Zurich. Since the autumn and Romantic Oratorios to 20th Francisco Symphony Orchestras. Eichendorff has been released in of 2004, he is a professor at the century works by Britten, Killmayer, June 2006 (Hänssler-Classics). Musikhochschule Köln. Rihm, Stravinsky. An important part of his repertory has been recorded by labels As an opera singer, Christoph In a new combination of DVD and Recognized as an eminent recitalist, such as BMG, EMI, Deutsche Prégardien has made stage book, released in the serie “Schott Christoph Prégardien is regularly Grammophon, Philips, Sony, Erato, appearences in major European Master Class”, he presents for welcomed at the major recital venues Challenge Classics and Teldec. He is houses, performing leading roles the first time questions of singing

14 15 technique and interpretation in others). In January 2009 a live DVD of Festival, the mdr Music Summer, for the seriousness and intensity of word and picture. Film examples “Die schöne Müllerin” was released by the Janacek Festival Ostrava, the the ensemble’s work is its involvement accompagny him during his lessons the label EuroArts. Berlinale, the Munich Film Festival, with the Second Viennese School. with masterclass students. the Festival international du film Highly-lauded, almost rapturous d’Arras, the Fidena, the Rheinland- interpretations arose under the Christoph Prégardien started a new ensembleKONTRASTE Pfalz Culture Summer, Les Giboulées direction of its long-standing artistic long-term cooperation with the Dutch ensembleKONTRASTE was founded de la Marionnette/ Strasbourg and conductor Hermann Beyer, which is label Challenge Classics. The first in Nuremberg in 1990. Right from the Imaginale. documented by works of Schönberg production, released in February the beginning it caught the attention and Webern in a CD from Ambitus 2008, was Schubert’s “Die schöne of the public and the critics through In 1999 eK received the Wolfram-von- Records. Müllerin” (CC72292) with pianist its uncompromising programs Eschenbach award, in 2000 the Michael Gees. In the fall of 2008 and interpretations. Variable Sponsors’ Award of the Ernst-von- The ensemble has a basic predilection “Schwanengesang” (CC72302) with instrumentation allows it to engage Siemens Cultural Foundation, in for the human voice and it gives pianist Andreas Staier followed and in the most varied styles and genres 2004 the Cultural Award of the City concerts with such exceptional “Die schöne Müllerin)” was awarded of chamber music. The Nuremberg of Nuremberg, as well as in 2007 the singers as Anke Vondung, Christoph the Midem ‘Record of the Year’ 2009 concert series opened in 1992 and Friedrich-Baur award of the Academy Pregardien, Salome Kammer or the at MIDEM, the world’s largest music was followed by concerts at home of Fine Arts. Vocal Ensemble Singer Pur. industry trade fair. The duo Christoph and abroad. Since then eK has Prégardien/Michael Gees also given concerts in major European Numerous productions originated The eK received major international received the MIDEM ‘Vocal Recitals’ centers such as Vienna, Krakow, Paris, in conjunction with various German recognition by accompanying silent Award 2009. Throughout 2008 the Athens, Munich, Berlin and received broadcasting corporations (SWR, movies live with newly composed recording received critical acclaim invitations to renowned festivals SFB, RB, SR), the cooperation with music. It produces regularly for ZDF/ from many national and international such as the Vienna Festival, Salzburg the (Bavarian arte and has been a guest performer magazines (Gramophone, Editor’s Festival, Schleswig Holstein Music Broadcasting Service) being a at film festivals all over Europe, Choice & „Best of 2008“ among Festival, the Ludwigsburg Palace particularly close one. Exemplary including the Berlinale. The ensemble

16 17 cooperates in this area chiefly with the (Music K. Ospald, Libretto F. Apke), the conductor and film specialist Frank project “Blasmusik” (brass music) with Strobel. the trumpeter Hans Gansch or a stage version of the novel Chronicler of the eK celebrated its 15th anniversary with Winds by Henning Mankell for three the premiere of “Schuberts Winter- actors and four musicians with the reise “- a Composed Interpretation” by children’s theatre Mummpitz. Hans Zender (soloist: C. Pregardien) and launched in collaboration with the In collaboration with the puppet writer and translator Hans Wollschläger theatre Thalias Kompagnons, the a series with the topic of music and countertenor Daniel Gloger and the literature under the title “Dichtercafe” Tafelhalle Nürnberg “Die Zauberflöte (Poets’ Café). - eine Prüfung” emerged. With this unique, wry and exciting version of Moreover, eK has commissioned the Magic Flute by Mozart for two numerous compositions, from among puppet artists, a countertenor and others M. Smolka, A. Hamary, H. eight musicians eK has achieved Winbeck, and engages in subjects that success throughout Europe, equally overstep boundary lines such as dance celebrated by audience and press. and theatre. This led, for instance, to The production was represented the commissioned work “Die Nachtigall among others at the Vienna Festival und die Rose” (The Nightingale and with five performances and for the Rose), an audio play for the stage the coming year has received for two actors and chamber ensemble, invitations to France, Croatia, freely adapted from Oscar Wilde Denmark, Switzerland and Japan.

18 19 1. Frühlingsfahrt op. 45,2 (1840) Und wie er auftaucht vom Schlunde, Die Mondesschimmer fliegen, So reich geschmückt ist Roß und Weib, Es zogen zwei rüst’ge Gesellen Da war er müde und alt, Als säh ich unter mir So wunderschön der junge Leib, Zum erstenmal von Haus, Sein Schifflein das lag im Grunde, Das Schloß im Tale liegen, Jetzt kenn ich dich – Gott steh mir bei! So jubelnd recht in die hellen, So still wars rings in der Runde, Und ist doch so weit von hier! Du bist die Hexe Lorelei. Klingenden, singenden Wellen Und über die Wasser weht’s kalt. Des vollen Frühlings hinaus. Als müßte in dem Garten, »Du kennst mich wohl – von hohem Stein Es singen und klingen die Wellen Voll Rosen weiß und rot, Schaut still mein Schloß tief in den Rhein. Die strebten nach hohen Dingen, Des Frühlings wohl über mir; Meine Liebste auf mich warten, Es ist schon spät, es wird schon kalt, Die wollten, trotz Lust und Schmerz, Und seh’ ich so kecke Gesellen, Und ist doch lange tot. Kommst nimmermehr aus diesem Wald!« Was Recht’s in der Welt vollbringen, Die Tränen im Auge mir schwellen - Und wenn sie vorüber gingen, Ach, Gott, führ’ uns liebreich zu Dir! Text by Josef Karl Benedikt von Eichendorff Text by Josef von Eichendorff Da lachten Sinnen und Herz. - Text by Josef von Eichendorff Der erste, der fand ein Liebchen, Die Schwieger kauft’ Hof und Haus; 4. Waldesgespräch op. 39,3 5. Mondnacht op. 39,5 Der wiegte gar bald ein Bübchen, Es ist schon spät, es wird schon kalt, Es war, als hätt der Himmel Und sah aus heimlichem Stübchen 3. In der Fremde op.39,8 Was reitst du einsam durch den Wald? Die Erde still geküßt, Behaglich ins Feld hinaus. Ich hör die Bächlein rauschen Der Wald ist lang, du bist allein, Daß sie im Blütenschimmer Im Walde her und hin, Du schöne Braut! Ich führ dich heim! Von ihm nun träumen müßt. Dem zweiten sangen und logen Im Walde in dem Rauschen Die tausend Stimmen im Grund, Ich weiß nicht, wo ich bin. »Groß ist der Männer Trug und List, Die Luft ging durch die Felder, Verlockend’ Sirenen, und zogen Vor Schmerz mein Herz gebrochen ist, Die Ähren wogten sacht, Ihn in die buhlenden Wogen, Die Nachtigallen schlagen Wohl irrt das Waldhorn her und hin, Es rauschten leis die Wälder, In der Wogen farbigen Schlund. Hier in der Einsamkeit, O flieh! Du weißt nicht, wer ich bin.« So sternklar war die Nacht. Als wollten sie was sagen Von der alten, schönen Zeit.

20 21 Und meine Seele spannte Die menschenleere Bahn, Hier in diesen weiten Triften Noch schläft die weite Erde, Weit ihre Flügel aus, Noch ziehen Sangesbilder. Ist mir alles öd und stumm, Kein Vogel weckt den Hain, Flog durch die stillen Lande, Und ich schau‘ in blauen Lüften Doch bin ich nicht verlassen, Als flöge sie nach Haus. Text by Justinus Kerner (1786-1862) Mich nach Wolkenbildern um. Doch bin ich nicht allein:

Text by Josef von Eichendorff In den Busen eingezwinget, Denn, ach! auf meinem Herzen Regt sich selten nur das Lied; Trag’ ich ihr teures Pfand, Wie der Vogel halb nur singet, Ich fühl’s, und Erd’ und Himmel 8. Sehnsucht nach der Waldgegend Den von Baum und Bach man schied. Sind innig mir verwandt. 7. Trost im Gesang op. 142,1 op.35,5 Dem Wandrer, dem verschwunden Wär‘ ich nie aus euch gegangen, Text by Justinus Kerner Text by Justinus Kerner So Sonn‘ als Mondenlicht, Wälder, hehr und wunderbar! Der singt ein Lied ins Dunkel Hieltet liebend mich umfangen Und härmt sich länger nicht. Doch so lange, lange Jahr‘! – Er schreitet mutig weiter 9. Wanderung op.35,7 11. Es leuchtet meine Liebe op.127,3 Die menschenleere Bahn, Wo in euren Dämmerungen Wohlauf und froh gewandert Es leuchtet meine Liebe, Viel lichte Sangesbilder, Vogelsang und Silberquell, Ins unbekannte Land, In ihrer dunkeln Pracht, Die ziehen ihm voran. Ist auch manches Lied entsprungen Zerrissen, ach! zerrissen Wie‘n Märchen traurig und trübe, Meinem Busen, frisch und hell; Ist manches teure Band. Erzählt in der Sommernacht. Nacht ist‘s auch mir geworden, Die Freunde stehen fern, Eure Wogen, eure Halle, Ihr heimatlichen Kreuze, "Im Zaubergarten wallen Von meinem Himmel schwindet Euer Säuseln, nimmer müd, Wo ich oft betend lag, Zwei Buhlen, stumm und allein; Der allerletzte Stern; Eure Melodien all Ihr Bäume, ach! ihr Hügel, Es singen die Nachtigallen, Doch geh‘ ich mutig weiter Weckten in der Brust das Lied. O blickt mir segnend nach. Es flimmert der Mondenschein.

22 23 "Die Jungfrau steht still wie ein Bildnis, 13. Lehn Deine Wang op.142,2 (1840) Sie hüpfen und schneiden Gesichter, Die Sonne gehet hoch darüber und färbet Der Ritter vor ihr kniet. Lehn deine Wang an meine Wang, So spöttisch und doch so scheu, das Blech, Da kommt der Riese der Wildnis, Dann fließen die Tränen zusammen; Und quirlen wie Nebel zusammen, Im Winde aber oben stille krähet Die bange Jungfrau flieht. Und an mein Herz drück fest dein Herz, Und kichern und huschen vorbei. die Fahne. Dann schlagen zusammen die Flammen! "Der Ritter sinkt blutend zur Erde, Text by Heinrich Heine from „Buch der Lieder“ Wenn einer unter der Glocke dann Es stolpert der Riese nach Haus -“ Und wenn in die große Flamme fließt herabgeht, jene Treppen, Wenn ich begraben werde, Der Strom von unsern Tränen, Ein stilles Leben ist es, weil, wenn Dann ist das Märchen aus. Und wenn dich mein Arm gewaltig abgesondert so sehr die Gestalt ist, umschließt – 16. „Der Dichter spricht“ Die Bildsamkeit herauskommet dann Text by Heinrich Heine (1797-1856) Sterb ich vor Liebessehnen! aus „Kinderszenen“ op.15 des Menschen. from „Buch der Lieder“ „Schläft ein Lied in allen Dingen, Die Fenster, daraus die Glocken tönen, Text by Heinrich Heine from „Buch der Lieder“ Die da träumen fort und fort, Sind wie Tore an Schönheit. Und die Welt hebt an zu singen, Nehmlich, weil noch der Natur sind 12. Dein Angesicht op.127,2 Triffst du nur das Zauberwort.“ diese Tore, Dein Angesicht so lieb und schön, 14. Mein Wagen rollet langsam op.142,4 Haben diese die Ähnlichkeit von Bäumen Das hab‘ ich jüngst im Traum gesehn, Mein Wagen rollet langsam Text by Josef von Eichendorff (1788-1857) des Walds. Es ist so mild und engelgleich, Durch lustiges Waldesgrün, Und doch so bleich, so schmerzenreich. Durch blumige Taler, die zaubrisch Reinheit aber ist auch Schönheit. Im Sonnenglanze blühn. Innen aus Verschiedenem entsteht ein Und nur die Lippen, die sind rot; 17. In lieblicher Bläue ernster Geist. Bald aber küßt sie bleich der Tod. Ich sitze und sinne und träume, In lieblicher Bläue blühet mit dem So sehr einfältig aber die Bilder, so sehr Erlöschen wird das Himmelslicht, Und denk‘ an die Liebste mein; metallenen Dache der Kirchturm. heilig sind die, Das aus den frommen Augen bricht. Da grüßen drei Schattengestalten Den umschwebet Geschrei der Schwalben, Daß man wirklich oft fürchtet, die Kopfnickend zum Wagen herein. Den umgiebt die rührendste Bläue. zu beschreiben. Text by Heinrich Heine from „Buch der Lieder“

24 25 Die Himmlischen aber, die immer gut sind, 18. Der Mensch 20. Griechenland dunkles Kämmerlein! Alles zumal, wie Reiche, haben diese, Wenn aus sich lebt der Mensch und wenn Wie Menschen sind, Weine! Wein‘! um meinen Schatz, Tugend und Freude. sein Rest sich zeiget, so ist das Leben prächtig, um meinen lieben Schatz! Der Mensch darf das nachahmen. So ist‘s, als wenn ein Tag sich Tagen Die Menschen sind der Natur unterscheidet, ofters mächtig, Blümlein blau! Verdorre nicht! Darf, wenn lauter Mühe das Leben, Daß ausgezeichnet sich der Mensch zum Das prächt‘ge Land ist Menschen Vöglein süß! Du singst auf grüner Heide! Ein Mensch aufschauen und sagen: Reste neiget, nicht verborgen Ach! Wie ist die Welt so schön! Ziküth! So will ich auch sein? Ja. Von der Natur getrennt und unbeneidet. Mit Reiz erscheint der Abend Singet nicht, blühet nicht! Lenz ist ja vorbei! und der Morgen. Alles Singen ist nun aus! So lange die Freundlichkeit noch am Als wie allein ist er im andern Die offnen Felder sind Des Abends, wenn ich schlafen geh, Herzen, die Reine, dauert, weiten Leben, als in der Erndte Tage Denk ich an mein Leid, an mein Leide! Misset nicht unglücklich der Mensch sich Wo rings der Frühlings grünt, Mit Geistigkeit ist weit umher die alte Sage, mit der Gottheit. der Sommer freundlich weilet Und neues Leben kommt Text by Gustav Mahler after „Des Knaben Ist unbekannt Gott? Bis daß das Jahr im Herbst aus Menschheit wieder Wunderhorn“ edited by Achim von Arnim & Ist er offenbar wie der Himmel? hinunter eilet, So sinkt das Jahr mit einer Stille nieder. Clemens Brentano Dieses glaub‘ ich eher. Und immerdar die Wolken Des Menschen Maaß ist‘s. uns umschweben. Text by Friedrich Hölderlin

Voll Verdienst, doch dichterisch, wohnet Text by Friedrich Hölderlin 22. Ging heut morgen übers Feld aus der Mensch auf dieser Erde. Ging heut morgen übers Feld, Doch reiner ist nicht der Schatten der Tau noch auf den Gräsern hing; Nacht mit den Sternen, 21. Wenn mein Schatz Hochzeit macht Sprach zu mir der lust‘ge Fink: Wenn ich so sagen könnte, als der Mensch, 19. Wie Wolken Wenn mein Schatz Hochzeit macht, "Ei du! Gelt? Guten Morgen! Ei gelt? Der heißet ein Bild der Gottheit. ...wie Wolken um die Zeiten legt... Fröhliche Hochzeit macht, Du! Wird‘s nicht eine schöne Welt? Hab ich meinen traurigen Tag! Zink! Zink! Schön und flink! Text by Friedrich Hölderlin (1770-1843) Text by Friedrich Hölderlin Geh‘ ich in mein Kämmerlein, Wie mir doch die Welt gefällt!“

26 27 Auch die Glockenblum‘ am Feld 23. Ich hab‘ ein glühend Messer 24. Die zwei blauen Augen von Auf der Straße steht ein Lindenbaum, Hat mir lustig, guter Ding‘, Ich hab‘ ein glühend Messer, meinem Schatz Da hab‘ ich zum ersten Mal im Schlaf geruht! Mit den Glöckchen, klinge, kling, Ein Messer in meiner Brust, Die zwei blauen Augen von meinem Schatz, Unter dem Lindenbaum, Ihren Morgengruß geschellt: O weh! Das schneid‘t so tief Die haben mich in die weite Welt Der hat seine Blüten über mich geschneit, "Wird‘s nicht eine schöne Welt? In jede Freud‘ und jede Lust. geschickt. Da wußt‘ ich nicht, wie das Leben tut, Kling, kling! Schönes Ding! Ach, was ist das für ein böser Gast! Da mußt ich Abschied nehmen vom War alles, alles wieder gut! Wie mir doch die Welt gefällt! Heia!“ Nimmer hält er Ruh‘, nimmer hält er Rast, allerliebsten Platz! Alles! Alles, Lieb und Leid Nicht bei Tag, noch bei Nacht, O Augen blau, warum habt ihr mich Und Welt und Traum! Und da fing im Sonnenschein wenn ich schlief. angeblickt? Gleich die Welt zu funkeln an; O Weh! Nun hab‘ ich ewig Leid und Grämen. Text from „Des Knaben Wunderhorn“ edited by Alles Ton und Farbe gewann Achim von Arnim & Clemens Brentano Im Sonnenschein! Wenn ich in dem Himmel seh‘, Ich bin ausgegangen in stiller Nacht Blum‘ und Vogel, groß und klein! Seh‘ ich zwei blaue Augen stehn. Wohl über die dunkle Heide. "Guten Tag, ist‘s nicht eine schöne Welt? O Weh! Wenn ich im gelben Felde geh‘, Hat mir niemand Ade gesagt. Ei du, gelt? Schöne Welt?“ Seh‘ ich von fern das blonde Haar Ade! Mein Gesell‘ Im Winde wehn. O Weh! war Lieb‘ und Leide! Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein‘, Wenn ich aus dem Traum auffahr‘ Mir nimmer blühen kann! Und höre klingen ihr silbern‘ Lachen, O Weh! Text by Gustav Mahler after „Des Knaben Ich wollt‘, ich läg auf der schwarzen Bahr‘, Wunderhorn“ edited by Achim von Arnim & Könnt‘ nimmer die Augen aufmachen! Clemens Brentano Text by Gustav Mahler after „Des Knaben Wunderhorn“ edited by Achim von Arnim & Clemens Brentano

28 29 This High Definition Surround Recording was Produced, Engineered and Edited by Previously released on Challenge Classics Bert van der Wolf of NorthStar Recording Services, using the ‘High Quality Musical check www.challengerecords.com for availability Surround Mastering’ principle. The basis of this recording principle is an optimal realistic and holographic, 3 dimensional representation of the musical instruments, CC72292 Franz Schubert Die Schöne Müllerin voices and recording venue, according to traditional concert practice. For most historic Christoph Prégardien / Michael Gees music this means a frontal representation of the musical performance, nevertheless CC72302 Franz Schubert Schwanengesang and songs after Seidl such that width and depth of the ensemble and acoustic characteristics of the hall do Christoph Prégardien / Andreas Staier resemblance ‘real life’ as much as possible. Some compositions in history, and many CC72324 Various Between life and death - songs and arias contemporary works do specifically ask for placement of musical instruments and voices Christoph Prégardien / Michael Gees all over the 360 degrees sound scape however, and in such cases this is also recorded CC72378 Hugo Wolf Italienisches Liederbuch (Italian songbook) as realistic as possible within the possibilities of the 5.1 Surround Sound standard. Christoph Prégardien / Julia Kleiter / Hilko Dumno This all requires a very innovative use of all 6 loudspeakers and the use of fully equal and full frequency range loudspeakers for all 5 discrete channels, and a Executive producer: Anne de Jong complementary sub-woofer for the ultra low frequencies under 40Hz, is highly Recorded at: Galaxy Studios, Mol (Belgium) recommended to optimally benefit from the sound quality of this recording. Recording dates: 14-18 September 2010 Recording producer, engineer: Bert van der Wolf This recording was produced with the use of Sonodore microphones, Avalon Recording: Northstar Recording Services BV, The Netherlands Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters. A&R Challenge Records International: Wolfgang Reihing Liner notes: Paul Korenhof Translation: Abigail Prohaska Booklet editing: Wolfgang Reihing Cover photo: Marco Borggreve Photo page 19: Uwe Dhlouy Art direction: Marcel van den Broek, new-art.nl www.challengerecords.com / www.pregardien.com / www.ensemblekontraste.de

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