Dichterliebe Op. 48 / Lenau-Lieder und Requiem Op. 90 / Wesendonck Lieder (Download)

 
 

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Dichterliebe Op. 48 / Lenau-Lieder und Requiem Op. 90 / Wesendonck Lieder

Christoph Prégardien / Michael Gees

Challenge Classics

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About the Album

Robert Schumann was the most confessional of composers. And many of the songs from his great Liederjahr of 1840 were in essence love songs to Clara Wieck. In them he could express overtly what had been merely implicit in his piano music: his fears and longing, his passion and devotion, his pain at their separation, his vision of sexual and spiritual fulfilment, and his recurrent fears of losing her.

In Dichterliebe (‘Poet’s Love’) Op.48, he turns again to the pithy verses of Heinrich Heine’s Buch der Lieder.
On one level, Dichterliebe can be heard as his most piercing recreation of the fluctuating emotions he had experienced during his long courtship of Clara.

Characteristically of Schumann, it is the piano that controls the musical narrative in Dichterliebe.
Characteristic, too, of Schumann’s 1840 songs is the piano postlude that encapsulates and deepens a song’s meaning. Dichterliebe takes this to the furthest extreme.

Schumann’s late Lieder have too often been dismissed as the products of an increasingly tired, sick mind. True, they tend to be more elusive than the songs of 1840, with piano parts that are often self-effacing and/or tortuously chromatic. But there are more than enough fine songs among them to challenge the cliché that Schumann’s genius declined irredeemably after the early 1840s. If the songs of 1849-52 are sometimes less ‘melodious and direct’ than their predecessors, that does not automatically make them inferior.
In August 1850, Schumann set six poems by the unstable and ultimately insane Austrian poet Nikolaus Lenau (1802-1850), whom he had briefly met in Vienna in 1839. Like Schumann and Wolf, Lenau spent his last years in an asylum, his mind destroyed by syphilis. Schumann was ill and dejected at the time, and his mood is reflected in these poems of satiety, oppressiveness and transience.

As a tribute to the dying poet (who he initially believed had already died), Schumann appended to the Lenau group one of his rare religious songs: Requiem, a setting of Héloïse’s lament for Peter Abelard. For this quasi-operatic music of solemn grandeur and mounting exaltation, Schumann devised a swirling keyboard accompaniment that takes its cue from the poem’s image of angelic harps.

During the autumn of 1857 Wagner began a set of five songs to poems by Mathilde Wesendonck, written in evident imitation of Wagner’s hothouse Tristan manner – one of the very rare occasions when he set words other than his own. The Wesendonck Lieder, as they are now known, were revised and completed in 1858, and first performed as a cycle in July 1862 at a country house belonging to the publisher Franz Schott.

Each of the songs shares with Tristan the concept of ‘endless melody’, a saturated, dissolving chromaticism – the musical emblem of unstilled desire – and a feverish, oppressive atmosphere.

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  1. Op. 48 In wundershönen Monat Mai Christoph Prégardien Michael Gees 0:30
  2. Op. 48 Aus meinen Tränen spriessen Christoph Prégardien Michael Gees 0:30
  3. Op. 48 Die Rose, die Lilie, die Taube Christoph Prégardien Michael Gees 0:30
  4. Op. 48 Wenn ich in deine Augen seh' Christoph Prégardien Michael Gees 0:30
  5. Op. 48 Ich will meine Seele tauchen Christoph Prégardien Michael Gees 0:30
  6. Op. 48 Im Rhein, im heiligen Strome Christoph Prégardien Michael Gees 0:30
  7. Op. 48 Ich grolle nicht Christoph Prégardien Michael Gees 0:30
  8. Op. 48 Und wüstens die Blumen, die kleinen Christoph Prégardien Michael Gees 0:30
  9. Op. 48 Das ist ein Flöten und Geigen Christoph Prégardien Michael Gees 0:30
  10. OP. 48 Hör' ich das Leidchen klingen Christoph Prégardien Michael Gees 0:30
  11. OP. 48 Ein Jüngling liebt ein Mädchen Christoph Prégardien Michael Gees 0:30
  12. OP. 48 Am leuchtenden Sommermorgen Christoph Prégardien Michael Gees 0:30
  13. OP. 48 Ich hab' im Traum geweinet Christoph Prégardien Michael Gees 0:30
  14. OP. 48 Allnächtlich im Traume Christoph Prégardien Michael Gees 0:30
  15. Op. 48 Aus alten Märchen Christoph Prégardien Michael Gees 0:30
  16. Op. 48 Die alten, bösen Lieder Christoph Prégardien Michael Gees 0:30
  17. Der Engel Christoph Prégardien Michael Gees 0:30
  18. Stehe Still Christoph Prégardien Michael Gees 0:30
  19. Im Treibhaus Christoph Prégardien Michael Gees 0:30
  20. Schmerzen Christoph Prégardien Michael Gees 0:30
  21. Träume Christoph Prégardien Michael Gees 0:30
  22. Op. 90 Lied eines Schmiedes Christoph Prégardien Michael Gees 0:30
  23. Op. 90 Meine Rose Christoph Prégardien Michael Gees 0:30
  24. Op. 90 Kommen und Scheiden Christoph Prégardien Michael Gees 0:30
  25. Op. 90 Die Sennin Christoph Prégardien Michael Gees 0:30
  26. Op. 90 Einsamkeit Christoph Prégardien Michael Gees 0:30
  27. Op. 90 Der schwere Abend Christoph Prégardien Michael Gees 0:30
  28. Requiem Christoph Prégardien Michael Gees 0:30

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Additional information

Performer(s)

Gees, Michael, Prégardien, Christoph

Genre

Late Romantic (1860 – 1920 A.D.)

Label

Challenge Classics

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