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

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 Munich 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 Heinrich Heine (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.

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