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Arte Verum | RECITAL VOCAL (1 CD)

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16,95 €

Johannes Brahms
Lieder


REF.: ARV 011
EAN 13: 5425019971113
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el miércoles 15/07/2020


FECHA DE PUBLICACIÓN
26/04/2013

INTÉRPRETES
Barbara Hendricks, soprano
Roland Pöntinen, piano


CONTENIDO

Johannes Brahms (1833-1897):

Lieder

— 1 Wir wandelten op. 96 n° 2
— 2 Alte Liebe op. 72 n° 1
— 3 Das Mädchen spricht op. 107 n° 3
— 4 Immer leiser wird mein Schlummer op. 105 n° 2
— 5 Meine Liebe ist grün op. 63 n° 5
— 6 Von ewiger Liebe op. 43 n° 1
— 7 Der Tod, das ist die kühle Nacht op. 96 n° 1
— 8 Ständchen op. 106 n° 1
— 9 Mädchenlied op. 107 n° 5
— 10 Sommerabend op. 84 n° 1
— 11 Der Kranz op. 84 n° 2
— 12 Liebestreu op. 3 n° 1
— 13 Der Jäger op. 95 n° 4
— 14 Von Waldbekränzter Höhe op. 57 n° 1
— 15 Wenn du nur zuweilen lächelst op. 57 n° 2
— 16 Es träumte mir op. 57 n° 3
— 17 Ach, wende diesen Blick op. 57 n° 4
— 18 Unbewegte laue Luft op. 57 n° 8
— 19 Der Ganz zum Liebchen op. 48 n° 1
— 20 Vergebliches Ständchen op. 84 n° 4
— 21 Wie Melodien zieht es mir op. 105 n° 1
— 22 Salamander op. 107 n° 2
— 23 Agnes op. 59 n° 5
— 24 Therese op. 86 n° 1
— 25 Feldeinsamkeit op. 86 n° 2
— 26 Wiegenlied op. 49 n° 4
— 27 Botschaft op. 47 n° 1

1 CD - DDD - 61'40''


RESEÑA (La Quinta de Mahler)

Contrary to what might be thought, the lied for Johannes Brahms (1833-1897) was no secondary genre of composition. He did in fact compose more than 200 with surprising regularity throughout his career, though for the most part between 1851 and 1888. Unlike his teacher and friend Schumann or Wolf who both had ‘lieder years’, the lied was omnipresent in Brahms’ musical production, often forming a complimentary pole with his instrumental music, and serving as a model for an atmosphere or theme he would later exploit. In the choice of texts Brahms was generally guided by the climate or message of a poem, more than by its formal perfection; it was no doubt for this reason that he set very little Goethe to music, whose poems, he said, “are all so accomplished that music cannot be added to them”. Brahms thus preferred to set more elliptical poems to music, feeling that the lied should say something that words alone could not express. And whereas for some composers the words inspired the music, Brahms used them for creating an atmosphere and often for reflecting his own experiences. His favourite theme, indeed, was, naturally enough, love, in all its forms, whether evoking joy, optimism or nostalgia, loss, resignation, memory… in short: universal love. One finds in these lieder profound symbols of the real-life feelings, of the authentic, personal experiences of Johannes Brahms. Caught between romanticism and classicism, he offered in his lieder music that is individual, unbelievably pure, consummate. For years, Barbara Hendricks has been communicating her love of the lied, in concerts and on disc. After Schumann, Schubert, Beethoven, after Spanish songs and those of Poulenc, it is the turn of Brahms to find sublimation in this disc of the Swedish soprano, magnificently accompanied on the piano by her partner Roland Pöntinen.

---

For years, Barbara Hendricks has been communicating her love of the lied, in concerts and on disc. After Schumann, Schubert, Beethoven, after Spanish songs and those of Poulenc, it is the turn of Brahms to find sublimation in this disc of the Swedish soprano, magnificently accompanied on the piano by her partner Roland Pöntinen.

In 1974 I sang an audition for the great conductor Herbert von Karajan who was beginning an American tour with the Berlin Philharmonic Orchestra. After hearing me he asked me to prepare the soprano solo from Brahms’s Requiem so that I could sing it for him on his way back to Berlin at the end of the tour. I did not know the solo and I loved it right away. In addition to singing for Maestro von Karajan again I was also his guest at the orchestra’s Carnegie Hall concert in NYC; the program was Brahms’s 2nd and 4th Symphonies. I cannot imagine a better introduction to Brahms than the majestic and moving performance that I heard on that night in Carnegie Hall while working on the moving solo from his Requiem.

I heard Brahms’s lieder sung for the first time in one of Jennie Tourel’s recitals and the other interpretations that touched me were usually sung by lower voices: mezzo-sopranos, contraltos and baritones. At age 25 I longed to sing his lieder but was impatiently waiting for my voice to become more mature in its lower range; I longed to have a larger palette of color in my timbre so that I might approach the expressive range that I felt was needed for the songs. More than 20 years ago I began gradually to add Brahms’s lieder to my repertoire and Roland Pöntinen and I toured with them for many years before deciding to go to Nybrokajen, the concert hall of the Swedish Academy to record them.

Roland brings to Brahms’ music his usual care and attention to dynamics and color, establishing a cushion of sound that enables me to speak the music of Brahms while singing the texts with all of the nuances that the score demands. Roland and I have already recorded Hugo Wolf and Robert Schumann lieder, Nordic songs and Schubert’s Schöne Müllerin and this Brahms recording is a continuation of that very rich and satisfying partnership.

Barbara Hendricks

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