ArticleNr. 93713 | 1 CD | 54 min | Booklet language englisch
Tr. 1 Peter Cornelius: Vater unser, der du bist im Himmel op. 2 No. 1
Tr. 2 Peter Cornelius: Zu uns komme dein Reich op. 2 No. 3
Tr. 3 Peter Cornelius: Führe uns nicht in Versuchung op. 2 No. 8
Tr. 4 Peter Cornelius: Erlöse uns vom Übel op. 2 No. 9
Tr. 5 Hans Pfitzner: Im Herbst op. 9 No. 3
Tr. 6 Hans Pfitzner: In Danzig op. 22 No. 1
Tr. 7 Hans Pfitzner: Der Kühne op. 9 No. 4
Tr. 8 Hans Pfitzner: Der Gärtner op. 9 No. 1
Tr. 9 Wolfgang Fortner: An die Parzen
Tr. 10 Wolfgang Fortner: Hyperions Schicksalslied
Tr. 11 Wolfgang Fortner: Abbitte
Tr. 12 Wolfgang Fortner: Geh unter, schöne Sonne
Tr. 13 Johannes Brahms: Dein blaues Auge hält so still op. 59 No. 8
Tr. 14 Johannes Brahms: Wie Melodien zieht es mir op. 105 No. 1
Tr. 15 Johannes Brahms: Die Mainacht op. 43 No. 2
Tr. 16 Richard Strauss: Tomorrow! op. 27 No. 4
Tr. 17 Richard Strauss: Freed op. 39 No. 4
The great German lyric baritone Hermann Prey was one of the 20th century's most beloved and versatile singers. Following studies at the Hochschule für Musik in Berlin, began his musical journey through the world of opera, operetta, oratorio and lied, a journey that would last for more than 4 and-a-half decades. While justifiably celebrated for his performances on stage, in concert and on television and in film, Prey is best remembered for his recitals. He was a gifted interpreter of Lieder from Medieval 'Minnesang' through the Second Vienna School and beyond.
Prey's tireless search for new and unusual repertoire can be witnessed in the works he selected for his 1963 Schwetzingen recital with pianist Günther Weißenborn. In addition to familiar lieder by Brahms and Richard Strauss, Prey has mined the lesser known works of the late romantic composer Peter Cornelius, the self-described 'anti-modernist' Hans Pfitzner and at the other end of the spectrum, a quartet of terse, linear setting of lines from Hölderlin by the unabashed modernist Wolfgang Fortner.
Every performance by Hermann Prey is deserving of attention from any serious vocal collector, but the unusual repertoire featured on this recording will make it particularly attractive to lieder enthusiasts.