CHRISTOPH PRÉGARDIEN CYPRIEN KATSARIS Auf Flügeln des Gesanges Romantic songs and piano transcriptions

1 CHRISTOPH PRÉGARDIEN CYPRIEN KATSARIS Auf Flügeln des Gesanges Romantic songs and piano transcriptions FRANZ SCHUBERT (1797-1828) CLARA SCHUMANN [1] Die Forelle, Op. 32, D. 530 2:16 [9] 6 Lieder, Op. 23 3:31 FRANZ LISZT (1810-1886) No. 3: Geheimes Flüstern hier und dort [2] 6 Melodien von Franz Schubert, S. 563 3:02 FRANZ LISZT No. 6: Die Forelle (1st version) [10] Lieder von Robert und Clara Schumann, S. 569 2:26 No. 10: Geheimes Flüstern hier und dort FRANZ SCHUBERT [3] Schwanengesang, D. 957 2:46 FRANZ LISZT No. 1: Liebesbotschaft [11] Im Rhein, im schönen Strome (2nd version), S. 272 2:49 LEOPOLD GODOWSKY (1870-1938) [12] Buch der Lieder I, S. 531 2:17 [4] Transcription of Liebesbotschaft 3:31 No. 2: Im Rhein, im schönen Strome

FELIX MENDELSSOHN-BARTHOLDY (1809-1847) RICHARD WAGNER (1813-1883) [5] 6 Gesänge, Op. 34 2:53 [13] 5 Gedichte für eine Frauenstimme (Wesendonck-Lieder), WWV 91 4:28 No. 2: Auf Flügeln des Gesanges No. 5: Träume FRANZ LISZT AUGUST STRADAL (1860-1930) [6] Mendelssohns Lieder, S. 547 3:28 [14] Transcription of Träume 4:30 No. 1: Auf Flügeln des Gesanges HUGO WOLF (1860-1903) ROBERT SCHUMANN (1810-1856) [15] Anakreons Grab 2:52 [7] Liederkreis, Op. 39 1:16 BRUNO HINZE-REINHOLD (1877-1964) No. 12: Frühlingsnacht [16] 10 Piano Pieces after Hugo Wolf Lieder 2:54 CLARA SCHUMANN (1819-1896) No. 6: Idylle after Anakreons Grab [8] 30 Lieder und Gesänge von Robert Schumann 1:18 No. 28: Frühlingsnacht

4 5 RICHARD STRAUSS (1864-1949) JOHANNES BRAHMS [17] 5 Lieder, Op. 48 2:59 [25] 5 Lieder, Op. 49 1:54 No. 1: Freundliche Vision No. 4: Wiegenlied WALTER GIESEKING (1895-1956) GERALD MOORE (1899-1987) [18] Free arrangement of Freundliche Vision 3:07 [26] Transcription of Wiegenlied 2:26

THEODOR KIRCHNER (1823-1903) [19] 10 Lieder, Op. 1 1:53 total time 72:26 No. 4: Frühlingslied [20] 10 Klavierstücke nach eigenen Liedern, Op. 19 2:00 No. 10: Frühlingslied (In dem Walde sprießt und grünt es)

JOHANNES BRAHMS (1833-1897) [21] 8 Lieder und Gesänge, Op. 59 2:45 No. 5: Agnes THEODOR KIRCHNER 2:43 [22] Transcription of Agnes

JOHANNES BRAHMS [23] 5 Romanzen und Lieder, Op. 84 1:40 No. 4: Vergebliches Ständchen EDUARD SCHÜTT (1856-1933) [24] Paraphrase of Vergebliches Ständchen 4:29

6 7 Lieder recitals, so crucial to our musical life today, only began to come into their own in the early twentieth century. Before then audiences tended to prefer ‘individual blossoms’ of song to ‘entire garlands’, as one nineteenth- century Viennese critic archly put it after sitting through Winterreise. Mix- and-match programmes were the norm, with a singer typically sharing star billing with a solo pianist and/or a violinist. While a handful of famous singers sang Schubert’s songs in the concert hall, they reached a wider public largely through keyboard transcriptions. The trend was set by that passionate Schubert lover Franz Liszt, the most prolific and surely the greatest of all transcribers.

Set in motion by the playful piano figuration evoking the leaping fish, the ever- popular Die Forelle is a parable of innocence betrayed. In the transcription the watery imagery becomes a cue for a modest display of Lisztian glitter, while the mini-drama in the final verse provokes some added chromaticism. But Liszt’s devotion to Schubert ensures that this is a sensitive reimagining of the original in pianistic terms.

Equally faithful and unshowy are Liszt’s transcriptions of Clara Schumann’s Geheimes Flüstern, and Mendelssohn’s Auf Flügeln des Gesanges, beloved of swooning sopranos in Victorian and Edwardian parlours. Ignoring the mockery of romantic fantasy in Heine’s verses, Mendelssohn created a seductive melody of exquisite poise above rippling, harp-like accompaniment. In Liszt’s hands it becomes a beguiling Song without Words. As in Die Forelle, he sets the melody first in the tenor register before transferring it to the treble.

8 9 Published in the sentimentally titled Schwanengesang collection, the delectable six songs Clara composed in 1853 to verses from the novel Jucunde by the Liebesbotschaft, with its magical, gliding modulations, is Schubert’s last Austrian writer Hermann Rollett. evocation of the rippling brook. Its diaphonous water music proved irresistible to Liszt. His transcription, though, is a model of self-denial alongside that of Next we have Liszt transcribing himself. His first setting of Heine’sIm Rhein, Leopold Godowsky, who published it with reworkings of eleven other Schubert im schönen Strome dates from 1840, the year Schumann set the same poem in songs in 1927. True to form, his Liebesbotschaft dissolves Schubert’s limpid Dichterliebe (changing ‘schönen’ to ‘heiligen’). Where Schumann immediately textures into a dazzling maze of polyphonic complexity. seizes on the image of Cologne Cathedral reflected in the Rhine, Liszt’s opening paints the cascading waters, à la Wagner. Characteristically, though, ‘My most romantic music ever, with much of you in it, dearest Clara’ was Liszt made the water figuration less showily virtuosic when he revised the song Schumann’s typically effusive verdict on the Eichendorff Liederkreis, Op. 39, in 1854 (the version sung here). There is a ravishing remote modulation to he composed in May 1840, during an enforced absence from his fiancée. suggest the picture’s radiance, and a delicate evocation of fluttering angels’ The cycle’s closing song, Frühlingsnacht is a shimmering vision of physical wings at ‘Es schweben Blumen und Engelein’. and spiritual elation. Its autobiographical significance for Schumann is self- evident. After their marriage in September 1840 Clara returned the compliment Liszt’s future son-in-law Richard Wagner had an uncanny knack of falling in by transcribing the song as a scintillating piano miniature. love with the wives of his patrons and champions. One of these was Mathilde, wife of the Zurich silk merchant Otto Wesendonck who provided the composer Whereas Gustav Mahler, married to the talented Alma Schindler, let it be and his wife Minna with a villa during their enforced exile from Germany. known that there was room for only one composer in the family, and it wasn’t It was here in 1857, while Wagner was working on Tristan und Isolde, that her, Robert was always encouraging Clara to compose. ‘Why not write a song? mutual attraction ripened into love. That autumn he began a set of five songs Once you’ve begun you just can’t stop!’, he urged her in March 1840. Clara was to poems by Mathilde written in imitation of Wagner’s hothouse Tristan manner. initially reluctant: ‘I have no talent for it. In order to write a song, to understand The composer created music to match, not least in the sultry Träume, in effect a a text completely, that requires intelligence.’ But with Robert’s continuing study for the opera’s Act Two love duet. A student of Bruckner (many of whose encouragement, she produced over two dozen songs, most of them as birthday symphonies he arranged for piano), the Czech-born August Stradal was an avid or Christmas gifts to her husband. Many are easy to mistake for Robert’s, transcriber of Bach, Liszt and Wagner, though alongside his barnstorming opera including the floating, harmonically ambiguousGeheimes Flüstern, one of paraphrases, his transcription of Träume is a paragon of restraint.

10 11 In a characteristic manic burst of creativity, the avidly Wagnerian Hugo Wolf Never one to dish out compliments lightly, Johannes Brahms once remarked composed no fewer than fifty-one Goethe settings during the winter of 1888- that Kirchner could make better arrangements of his works than he could 89. Of these, Anakreons Grab is a tender, tranquil meditation on the Greek poet himself. Kirchner won the master’s approval with transcriptions for piano trio associated with the beauties of nature, the delights of the grape, love and song. of his two sextets. He also transcribed a number of Brahms songs, including As so often, Wolf’s keyboard writing here suggests the textures of a string the plaintive Agnes, where Brahms, characteristically, spices a quasi-folk tune quartet. True to its title, Bruno Hinze-Reinhold’s Idyll expands the song into with irregular phrase lengths and inventively varied accompaniments from a rapt romantic reverie. verse to verse.

Richard Strauss’s wife Pauline was famously domineering and abrasive. But she Also mingling the naivety of folksong and the sophistication of art song is the was also a gifted singer who inspired his abiding love affair with the soprano boy-girl dialogue (with the girl calling the shots) of Vergebliches Ständchen, voice. The pair gave frequent recitals for a decade from the early 1890s; and in the style of a Ländler. Eduard Schütt’s elaborate paraphrase, by turns many of Strauss’s songs were composed either expressly for Pauline or with glittering and soulful, takes this ‘serenade in vain’ as a cue for an étude that her voice in mind. Freundliche Vision, one of five Strauss songs transcribed by showcases fashionable Romantic piano textures. the German pianist Walter Gieseking, distils a mood of timeless enchantment. The vision is evoked in C sharp major, with voice and piano entwining their To end their recital Christoph Prégardien and Cyprien Katsaris perform the own distinct melodies; then, as dream blurs into reality, the music melts to the favourite Wiegenlied, first as the composer wrote it, then in a transcription by distant key of D major. the great Lieder pianist Gerald Moore that uses Brahms’s favourite technique of continuous variation. Brahms composed this exquisite waltz-lullaby for his Theodor Kirchner is hardly a name to set the pulse racing today. In his lifetime, friend Bertha Faber on the birth of her second child, in the process transmuting though, the Saxon-born composer-cum-organist was admired for his keyboard an Austrian folksong sung by Bertha when she was in Brahms’s Hamburg choir: music and songs, and warmly praised by Schumann and Brahms. From its a touching tribute, and one that again confirms the popular inspiration of so wistful off-key opening, Frühlingslied is audibly influenced by Schumann. many Brahms melodies. There were worse models for a Lied in 1843. Over three decades later, when he was losing his sight, Kirchner included Frühlingslied in a set of Richard Wigmore piano transcriptions of his own songs.

12 13 Christoph Prégardien and I first performed together in Schubert’s Winterreise The only arrangement here which is not a transcription but a paraphrase is the in Hamburg on 7. June 2015. After what proved to be a wonderful experience, piece by Eduard Schütt - best known for his 14 paraphrases of Johann Strauss with perfect mutual understanding, I wondered whether Christoph would be waltzes- based on Brahms’s Vergebliches Ständchen. interested in a CD project. But what repertoire? Most Lieder aficionados are not interested in piano, and pianophiles do not seem to be Lieder fans... As for the finale, I wanted to pay a tribute to the great accompanist Gerald Moore through his exquisite transcription of Brahms Wiegenlied. Then I thought, how about bringing together those two groups together? I was, though, aware that such a task would be even harder to achieve Cyprien Katsaris than the unexpected historical meeting between Kim Jung Un and Donald Trump.

Ok, but how? Suddenly... EURÊKA! ( Thank you, Archimedes!) The concept would be a combination of German Lieder, each followed by a piano transcription. Christoph immediately agreed.

After having prepared a list which combines famous music and rarities, I started researching the transcription scores, some of which were not easy to find...

For example, arrangements of Hugo Wolf Lieder are almost non-existent and, to my knowledge, only Theodor Kirchner (an excellent composer and friend of Brahms) transcribed a selection of his own Lieder.

For the transcription of Schubert’s famous Liebesbotschaft, I went for Godowsky instead of Liszt, who appears with Die Forelle.

14 15 Christoph Prégardien tenor

”His lyric tenor voice had a youthful glow, yet he sang with plaintive beauty and piercing insight.” The New York Times

Precise vocal control, clear diction, intelligent musicality and an ability to get to the heart of everything he sings ensures Christoph Prégardien’s place among the world’s foremost lyric tenors. Especially revered as a Lieder singer, he can be heard this season at the Wigmore Hall London, Tonhalle Düsseldorf, Mozarteum Salzburg, Wiener Konzerthaus, Singel Antwerp, La Monnaie de Munt, Auditorio Nacional de Música Madrid and Toppan Hall Tokyo. As a regular guest he will return to festivals which include the Schubertiade Schwarzenberg Hohenems, Oxford Lieder Festival and Schwetzingen SWR Festival.

Following the success of his conducting debut with J. S. Bach’s St. John Passion on a European tour with the ensemble Le Concert Lorrain and the Nederlands Kamerkoor in 2012 and 2013, Christoph Prégardien again led Le Concert Lorrain and the Balthasar-Neumann-Choir with the St. Matthew Passion in Paris, Luxembourg, Lucerne, Metz, Antwerp and Oslo a. o. in 2015.

Christoph Prégardien appears regularly with renowned orchestras the world over, including the Berlin and Vienna Philharmonics, Bavarian Radio Symphony, Amsterdam Concertgebouw Orchestra, Staatskapelle Dresden, Gewandhausorchester Leipzig, London’s Philharmonia Orchestra, Orchestre Philharmonique de Radio France, as well as the Boston and San Francisco

16 17 Symphonies. His wide orchestral repertoire includes the great baroque, classical Schubert CD Poetisches Tagebuch (Julius Drake) was awarded the German Critics’ and romantic oratorios and passions, as well as works from the 17th (Monteverdi, Award 2016. He recently re-recorded Schubert’s Winterreise with Michael Gees, Purcell, Schütz) and 20th centuries (Britten, Killmayer, Rihm, Stravinsky). He has which was nominated for the Grammy 2014, and teamed up with son Julian for collaborated with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, their first albumFather and Son, for which Michael Gees once again provided the Herreweghe, Luisi, Metzmacher, Nagano and Thielemann. In opera, his roles piano accompaniment. have included Tamino (Mozart’s Die Zauberflöte), Almaviva (Rossini’s Il Barbiere di Siviglia), Fenton (Verdi’s Falstaff), Don Ottavio (Mozart’s Don Giovanni) and Teaching remains a very important part of Christoph Prégardien’s musical life. the title roles in Mozart’s La Clemenza di Tito and Monteverdi’s Il Ritorno d’Ulisse From 2000 to 2004 he taught at the Hochschule für Musik und Theater in Zurich. in Patria. Since 2004, he has been a professor at the Academy of Music in Cologne. As part of Schott’s “Master Class” series, he published an innovative multi-media Much of Christoph Prégardien’s repertoire has been recorded on the BMG, EMI, DVD/book addressing vocal technique and musical interpretation. DG, Philips, Sony, Erato and Teldec labels. His discography numbers over 130 titles, many of which have been awarded international prizes and his celebrated recordings of German romantic song have won the Orphée d’Or of the Académie du Disque Lyrique, as well as the Prix Georg Solti, German Record Critics’ Prize, Edison Award, Cannes Classical Award and the Diapason d’Or. Christoph Prégardien forged a long-term collaboration with the Dutch label Challenge Classics; they first released Schubert’sDie schöne Müllerin (Michael Gees) and Schwanengesang (Andreas Staier) in 2008. Müllerin was highly praised as “Best of the Year” in Gramophone and was honoured at MIDEM 2009 (“Record and Vocal Recital of the Year”). Further recordings include Hugo Wolf’s Italienisches Liederbuch (Julia Kleiter, Hilko Dumno), Between Life and Death (Michael Gees), Wanderer (ensembleKONTRASTE) and the Grammy-nominated new release of Winterreise with Michael Gees. In 2014 the album Father and Son with his son Julian Prégardien (Michael Gees) received great acclaim, and the

18 19 Cyprien Katsaris piano

Cyprien Katsaris, the French-Cypriot pianist and composer, was born in Marseilles in 1951. A graduate of the Paris Conservatoire where he studied piano with Aline van Barentzen, Monique de la Bruchollerie, he won the International Young Interpreters Rostrum-UNESCO (Bratislava 1977), the First Prize in the International Cziffra Competition (Versailles 1974) and he was the only western-European prize-winner at the 1972 Queen Elisabeth of Belgium International Competition.

His major international career includes performances with the world’s greatest orchestras: Berlin Philharmonic, Staatskapelle Dresden, Leipzig Gewandhaus Orchestra, Cleveland Orchestra, Royal Concertgebouw Orchestra Amsterdam, Philharmonia (London), NHK Symphony Orchestra (Tokyo), Moscow Philharmonic Orchestra, Beijing Symphony Orchestra ... He has collaborated with conductors such as Leonard Bernstein, Kurt Masur, Myung Whun Chung, Sir Neville Marriner, Sir Simon Rattle, Antal Doráti, Mstislav Rostropovich, Charles Dutoit, Nikolaus Harnoncourt, Christoph von Dohnányi … and Karl Münchinger, who on the festive occasion of his farewell concert in 1986, with the Stuttgart Chamber Orchestra, personally invited Mr. Katsaris to perform the Haydn D major Concerto.

Mr. Katsaris has recorded extensively for Teldec (Grand Prix du Disque Frédéric Chopin, Warsaw 1985; Grand Prix du Disque Franz Liszt, Budapest 1984 and 1989; British Music Retailers Association’s Award 1986; Record of the Year 1984,

20 21 Germany, for the 9th Symphony of Beethoven/Liszt), Sony Classical, EMI, Cyprien Katsaris is “Artist of UNESCO for Peace” (1997), “Commandeur de Warner Classics, Deutsche Grammophon, BMG/RCA, Decca, Pavane, l’Ordre de Mérite du Grand-Duché de Luxembourg” (2009) and “Knight of the and now on his own label, PIANO 21. Order of Arts and Letters” (France 2000). He also received the “Médaille Vermeil de la Ville de Paris” (2001) and the “Nemitsas Prize” (Cyprus, 2011). In addition to the standard repertory, such as the complete Concertos by Mozart, recorded live and performed in Salzburg and Vienna with Yoon K. Lee and the Salzburger Kammerphilharmonie, he has revived long lost works such as the Liszt/Tchaikovsky’s Concerto in the Hungarian style which he has recorded with Eugene Ormandy and the Philadelphia Orchestra.

In 1992, the Japanese NHK TV produced with Cyprien Katsaris a thirteen- program series on Frédéric Chopin which included masterclasses and his own performance. On 17 October 1999, the New York concertgoers offered Mr. Katsaris a standing ovation in Carnegie Hall for his recital dedicated to Frédéric Chopin, performed on the day of his 150th death Anniversary. On 27 January 2006, the day of the 250th Anniversary of Mozart’s birth, he was the soloist at the inaugural concert of the Mozart Orchestra Mannheim founded and conducted by Thomas Fey. In March 2006 Cyprien Katsaris was the first pianist ever to give masterclasses in Franz Liszt’s house in Weimar since Liszt, who taught there for the very last time in 1886, the year of his death. In August 2008, he was invited to give two concerts on the occasion of the Beijing Olympic Games at the National Center for the Performing Arts. On 10 July 2014 Cyprien Katsaris performed in the first concert at the Fondation Louis Vuitton in Paris.

22 23 Die Forelle So zuckte seine Rute; Wenn sie am Ufer, Dort liegt ein rotblühender Garten (Christian Friedrich Daniel Schubart) Das Fischlein zappelt dran; In Träume versenkt, Im stillen Mondenschein, Und ich, mit regem Blute, Meiner gedenkend Die Lotosblumen erwarten In einem Bächlein helle, Sah die Betrog’ne an. Das Köpfchen hängt; Ihr trautes Schwesterlein. Da schoss in froher Eil Tröste die Süße Die launische Forelle Liebesbotschaft Mit freundlichem Blick, Die Veilchen kichern und kosen, Vorüber, wie ein Pfeil: (Ludwig Rellstab) Denn der Geliebte Und schaun nach den Sternen empor, Ich stand an dem Gestade, Kehrt bald zurück. Heimlich erzählen die Rosen Und sah in süsser Ruh Rauschendes Bächlein, Sich duftende Märchen ins Ohr. Des muntern Fischleins Bade So silbern und hell, Neigt sich die Sonne Im klaren Bächlein zu. Eilst zur Geliebten Mit rötlichem Schein, Es hüpfen herbei und lauschen So munter und schnell? Wiege das Liebchen Die frommen, klugen Gazell’n, Ein Fischer mit der Rute Ach trautes Bächlein In Schlummer ein. Und in der Ferne rauschen Wol an dem Ufer stand, Mein Bote sei Du; Rausche sie murmelnd Des heiligen Stromes Well‘n. Und sah‘s mit kaltem Blute Bringe die Grüße In süße Ruh, Wie sich das Fischlein wand. Des Fernen ihr zu. Flüstre ihr Träume Dort wollen wir niedersinken So lang dem Wasser Helle, Der Liebe zu. Unter dem Palmenbaum, So dacht‘ ich, nicht gebricht, All‘ ihre Blumen Und Liebe und Ruhe trinken, So fängt er die Forelle Im Garten gepflegt, Auf Flügeln des Gesanges Und träumen seligen Traum. Mit seiner Angel nicht. Die sie so lieblich (Heinrich Heine) Am Busen trägt, Frühlingsnacht Doch endlich ward dem Diebe Und ihre Rosen Auf Flügeln des Gesanges, (Joseph von Eichendorff) Die Zeit zu lang; er macht In purpurner Glut, Herzliebchen, trag ich dich fort, Das Bächlein tückisch trübe: Bächlein, erquicke Fort nach den Fluren des Ganges, Über‘m Garten durch die Lüfte Und eh‘ ich es gedacht, Mit kühlender Flut. Dort weiß ich den schönsten Ort; Hört‘ ich Wandervögel ziehn,

24 25 Das bedeutet Frühlingsdüfte, Du schließest mich mit Sturmgebraus Träume (Mathilde Wesendonck) Anakreons Grab Unten fängt‘s schon an zu blühn. In deine kühlen Räume! (Johann Wolfgang von Goethe) Sag, welch wunderbare Träume Jauchzen möcht‘ ich, möchte weinen, Was leise mich umschwebt, umklingt, Halten meinen Sinn umfangen, Wo die Rose hier blüht, wo Reben um Lorbeer Ist mir‘s doch, als könnt‘s nicht sein! Ich will es treu bewahren, Daß sie nicht wie leere Schäume sich schlingen, Alte Wunder wieder scheinen Und was mir tief zum Herzen dringt, Sind in ödes Nichts vergangen? Wo das Turtelchen lockt, wo sich das Mit dem Mondesglanz herein. Will ich, vom Geist der Lieb‘ beschwingt, Grillchen ergötzt, In Liedern offenbaren! Träume, die in jeder Stunde, Und der Mond, die Sterne sagen‘s, Jedem Tage schöner blühn, Welch ein Grab ist hier, das alle Götter mit Leben Und im Traume rauscht‘s der Hain, Im Rhein, im schönen Strome (Heinrich Heine) Und mit ihrer Himmelskunde Schön bepflanzt und geziert? Es ist Anakreons Und die Nachtigallen schlagen‘s: Selig durchs Gemüte ziehn! Ruh. Sie ist deine! Sie ist dein! Im Rhein, im schönen Strome, Da spiegelt sich in den Wellen Träume, die wie hehre Strahlen Frühling, Sommer, und Herbst genoß der Geheimes Flüstern hier und dort Mit seinem großen Dome In die Seele sich versenken, glückliche Dichter, (Hermann Rollett) Das große, heil‘ge Köln. Dort ein ewig Bild zu malen: Vor dem Winter hat ihn endlich der Hügel Allvergessen, Eingedenken! geschützt. Geheimes Flüstern hier und dort, Im Dom da steht ein Bildnis, Verborgnes Quellenrauschen -- Auf goldnem Leder gemalt; Träume, wie wenn Frühlingssonne Freundliche Vision (Otto Julius Bierbaum) O Wald, o Wald, geweihter Ort, In meines Lebens Wildnis Aus dem Schnee die Blüten küßt, Laß mich der Liebe reinstes Wort, Hat‘s freundlich hineingestrahlt. Daß zu nie geahnter Wonne Nicht im Schlafe hab‘ ich das geträumt, in Zweig und Blatt belauschen! Sie der neue Tag begrüßt, Hell am Tage sah ich‘s schön vor mir: Es schweben Blumen und Eng‘lein Eine Wiese voller Margeritten; Und schreit‘ ich in den Wald hinaus, Um unsre liebe Frau; Daß sie wachsen, daß sie blühen, Tief ein weißes Haus in grünen Büschen; Da grüßen mich die Bäume. Die Augen, die Lippen, die Wänglein, Träumend spenden ihren Duft, Götterbilder leuchten aus dem Laube. Du liebes, freies Gotteshaus, Die gleichen der Liebsten genau. Sanft an deiner Brust verglühen, Und ich geh‘ mit Einer, die mich lieb hat, Und dann sinken in die Gruft. Ruhigen Gemütes in die Kühle

26 27 Dieses weißen Hauses, in den Frieden, Schnitterrinnen singen. Ach, mach‘ mir auf die Tür, Wiegenlied (Volkslied) Der voll Schönheit wartet, daß wir kommen. Aber, ach! mir krankem Blut, mach‘ mir auf die Tür! Mir krankem Blut Guten Abend, gut’ Nacht, Frühlingslied (Heinrich Heine) Will nichts mehr gelingen. Sie: Mit Rosen bedacht, Meine Tür ist verschlossen, Mit Näglein besteckt, In dem Walde sprießt und grünt es Schleiche so durch‘s Wiesental, Ich laß dich nicht ein; Schlupf‘ unter die Deck, Fast jungfräulich lustbeklommen; So durch‘s Tal, Mutter, die rät‘ mir klug, Morgen früh, wenn Gott will, Doch die Sonne lacht herunter: Als im Traum verloren, Wär‘st du herein mit Fug, Wirst du wieder geweckt. Junger Frühling, sei willkommen! nach dem Berg, da tausendmal, Wär‘s mit mir vorbei! Tausendmal, Guten Abend, gut’ Nacht, Nachtigall! auch dich schon hör‘ ich, Er mir Treu‘ geschworen. Er: von Eng’lein bewacht, Wie du flötest seligtrübe So kalt ist die Nacht, di zeigen im Traum Schluchzend langgezogne Töne, Oben auf des Hügels Rand, so eisig der Wind, dir Christkindleins Baum: Und dein Lied ist lauter Liebe! Abgewandt, Daß mir das Herz erfriert, Schlaf nun selig und süß, Wein‘ ich bei der Linde; Mein‘ Lieb‘ erlöschen wird; schau im Traum ’s Paradies. Agnes (Eduard Mörike) An dem Hut mein Rosenband, Öffne mir, mein Kind! Von seiner Hand, Rosenzeit! wie schnell vorbei, Spielet in dem Winde. Sie: Schnell vorbei Löschet dein‘ Lieb‘; Bist du doch gegangen! Vergebliches Ständchen (Anton von lass‘ sie löschen nur! Wär‘ mein Lieb‘ nur blieben treu, Zuccalmaglio) Löschet sie immerzu, Blieben treu, Geh‘ heim zu Bett, zur Ruh‘! Sollte mir nicht bangen. Er: Gute Nacht, mein Knab’! Guten Abend, mein Schatz, Um die Ernte wohlgemut, guten Abend, mein Kind! Wohlgemut Ich komm‘ aus Lieb‘ zu dir,

28 29 Recorded at: Église Évangelique Saint-Marcel, Paris, France Recording dates: 4-8 March 2018 Recording producer: Nikolaos Samaltanos Piano Technician: Cyril Mordant (Régie Pianos) Piano: C.Bechstein D-282 Concert Grand, no 206565 A&R Challenge Classics: Anne de Jong Liner notes: Richard Wigmore Booklet editing: Boudewijn Hagemans Photography: Jean-Baptiste Millot Product coordination: Boudewijn Hagemans Graphic Design: Natasja Wallenburg & Juan Carlos Villarroel, newartsint.com

www.challengerecords.com / www.cyprienkatsaris.net / www.pregardien.com

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