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A Matter of Heart

Olivier Darbellay / Christoph Prégardien / Michael Gees

A Matter of Heart

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917277128
Catnr: CC 72771
Release date: 06 October 2017
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Label
Challenge Classics
UPC
0608917277128
Catalogue number
CC 72771
Release date
06 October 2017

"The horn is then also the connecting instrument to the other titles of the recording."

Operalounge, 21-2-2019
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Artist(s)
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About the album

By 1800, several songs with horn, harp or piano accompaniment had been written, but it was not until the heyday of the romantic art song – its main exponent being Franz Schubert – that the combination of voice, horn and piano came into flower. From the nineteenth century alone, around 200 songs with obbligato horn parts survive.

When Franz Schubert composed Auf dem Strom, D.943 (“On the river”), in 1828, he had created a masterpiece in the genre of the so-called concert song. Schubert’s circle of friends in Vienna comprised many young composers, including Franz Lachner. “Die Seejungfern”(“The mermaids”) was written on 1 January 1833 in Vienna. “Herbst” (“Autumn”), was written earlier in either 1830 or 1831. Another composer who lived in Vienna at the same time as Franz Schubert was Conradin Kreutzer (1780-1849). His two songs with horn accompaniment, of which “Das Mühlrad”(“The mill wheel”) became very famous, whilst the later “Ständchen” (“Serenade”) is hardly performed, both pay homage to the fashion of the time, but also reveal a well-versed composer at every turn.

Carl Kossmaly (1812-1893), born in Wrocław, was well-regarded during the nineteenth century as a composer, conductor, music writer and teacher. For decades he contributed to the “Neue Zeitschrift für Musik, founded by Robert Schumann, making his mark as an antipode of the “New German School” of composers including Wagner and Liszt. Only a smattering of his compositions has been published, such as “Fischermädchen”(“Fisher girl”), and “Sehnsucht”(“Longing”).

Henry Hugo Pierson (1815-1873) had a chequered life; his works were also published under the name of Edgar Mannsfeldt. Alongside operas, oratorios and orchestral works his oeuvre also comprises several songs, including “Jägers Abschied.

In 1956 Benjamin Britten created, in collaboration with the poet Edith Sitwell, a musico-literary programme for the Aldeburgh Festival. This programme, entitled “The Heart of the Matter” centred around Canticle III, a work for Tenor, Horn and Piano. In 1983, Peter Pears revised and revived the work, and it is in this version that “The Heart of the Matter” has been performed since.

The booklet with libretto can be downloaded here.
Liederen voor zang, hoorn en piano
Rond 1800 waren al verscheidene liederen voor hoorn, harp of pianobegeleiding geschreven, maar pas in hoogtijdagen van het Romantische Kunstlied - waarvan Schubert de belangrijkste vertolker was - kwam de combinatie van zang, hoorn en piano tot bloei. Van alleen de 19e al zijn zo'n 200 liederen met hoornbegeleiding overleverd. Toen Schubert zijn Auf dem Strom, D.943, componeerde in 1828, creëerde hij meesterwerk in een nieuw genre genaamd het "concert lied".

Schuberts kring van vrienden in Wenen bestond uit veel jonge componisten, waaronder Franz Lachner. Hij componeerde zijn Die Seejungfern op 1 januari 1833 in Wenen. Herbst was een stuk eerder geschreven, in 1830 of 1831. Een andere bekende van Schubert was Conradin Kreutzer, die in dezelfde tijd ook in Wenen leefde. Zijn twee liederen met hoorn begeleiding, waarvan Das Mühlrad het bekendst is geworden, kunnen gezien worden als een hommage aan de smaak van de tijd, maar tonen tegelijkertijd dat Kreutzer een bijzonder goed onderlegde componist was.

Carl Kossmaly, geboren in Wrocław, stond in 19e eeuw in hoog aanzien als componist, dirigent, criticus en docent. Hij schreef jarenlang voor het “Neue Zeitschrift für Musik", van Robert Schumann, en verkreeg bekendheid als tegenhanger van de Nieuwe Duitse school, waar componisten als Wagner en Liszt toe behoorden. Slechts enkele van zijn composities zijn gepubliceerd, waaronder de Fischermädchen en Sehnsucht.

Henry Hugo Pierson had een veelbewogen leven. Zijn werken werden ook gepubliceerd onder de naam Edgar Mannsfeldt. Naast zijn opera's, oratorio, en orkestwerken bevat zijn oeuvre enkele liederen, waaronder Jägers Abschied.

In 1956 werkte Benjamin samen met de dichter Edith Sitwell om een muziek-literair programma te maken voor het Aldeburgh Festival. Het programma kreeg de titel “The Heart of the Matter”, en was gecentreerd rondom Canticle III, een stuk voor tenor, hoorn en piano. In 1983 herschreef Peter Pears het stuk en blies het zo nieuw leven in. Sindsdien wordt deze versie van “The Heart of the Matter” het meest uitgevoerd.
1800 waren zahlreiche Lieder mit Horn-, Harfen- oder Klavierbegleitung geschrieben worden, doch es dauerte bis zur Blütezeit des romantischen Liedes, dessen bekanntester Vertreter Franz Schubert ist, bis auch die Kombination von Stimme, Horn und Klavier blühte. Aus dem 19. Jahrhundert sind lediglich etwa 200 Lieder mit obligaten Hornparts erhalten.

Als Franz Schubert 1828 Auf dem Strom (D. 943) komponierte, erschuf er ein Meisterwerk auf dem Gebiet des Konzertliedes. Zu Schuberts Freundeskreis in Wien zählten viele junge Komponisten, darunter Franz Lachner. Die Seejungfern entstand am 1. Januar 1833 in Wien; Herbst davor, entweder 1830 oder 1831. Ein weiterer Komponist, der zu Schuberts Zeit in Wien lebte, war Conradin Kreutzer (1780-1849). Seine beiden Lieder mit Hornbegleitung, von denen Das Mühlrad sehr berühmt wurde, während das spätere Ständchen kaum gespielt wird. Beide zollen der Mode der Zeit Tribut, zeigen zur gleichen Zeit aber auch zu jeder Zeit einen gewandten Komponisten.

Carl Koßmaly (1812-1893) veröffentlichte jahrzehntelang in der von Robert Schumann gegründeten und hinterließ Spuren als Gegner der Neuen Deutschen Schule von Komponisten wie Wagner und Liszt. Von seinen Kompositionen wurde nur ein sehr kleiner Teil veröffentlicht, beispielsweise Fischermädchen und Sehnsucht.

Henry Hugo Pierson (1815-1873) führte ein bewegtes Leben; seine Werke wurden auch unter dem Namen Edgar Mannsfeldt veröffentlicht. Neben Opern, Oratorien und Orchesterwerken finden sich in seinem Oeuvre auch zahlreiche Lieder, darunter Jägers Abschied.
1956 schuft Benjamin Britten in Zusammenarbeit mit der Dichterin Edith Sitwell ein musikalisch-literarisches Programm für das Aldeburgh Festival. Im Zentrum des Programms mit dem Titel „The Heart oft he Matter“ stand Canticle III, ein Werk für Tenor, Horn und Klavier. Peter Pears überarbeitete das Werk 1983 und hauchte ihm neues Leben ein, und es ist diese neue Fassung von The Heart oft he Matter, die seither aufgeführt wird.

Artist(s)

Olivier Darbellay (horn)

Olivier Darbellay was born in Berne in 1974 and started his musical studies at the Berne Conservatory in the cello class of Patrick Demenga and Peter Hörr and in the horn class with Thomas Müller and David Johnson as his teachers. He completed his studies with Bruno Schneider in Freiburg and for the natural horn with Th. Müller in Basel at the “Schola Cantorum Basiliensis”. Since winning the music competition of the “Communauté des Radios publiques de langue françaises” in 1999 as 'Soliste de l’année 2000' and being awarded first prize at the competition of the 'Tribune des jeunes interprètes' 2000 in Lissabon he is a regular guest in the most prestigious halls and festivals. As soloist he performed with orchestras like...
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Olivier Darbellay was born in Berne in 1974 and started his musical studies at the Berne Conservatory in the cello class of Patrick Demenga and Peter Hörr and in the horn class with Thomas Müller and David Johnson as his teachers. He completed his studies with Bruno Schneider in Freiburg and for the natural horn with Th. Müller in Basel at the “Schola Cantorum Basiliensis”.
Since winning the music competition of the “Communauté des Radios publiques de langue françaises” in 1999 as "Soliste de l’année 2000" and being awarded first prize at the competition of the "Tribune des jeunes interprètes" 2000 in Lissabon he is a regular guest in the most prestigious halls and festivals.
As soloist he performed with orchestras like the Moscow Symphony, the Moscow State Philharmonic, the Philharmonia Zurich, the Orchestre Philharmonique de Liège, the Orquestra Sinfonica Portuguesa, the Radio Chamber Orchestra Bucharest, the Tokio Sinfonietta, the Südwestdeutsche Philharmonie, the chamber orchestras of Basel and Zurich, the Symphony Orchestras of Berne and Biel and the Camerata Bern as well as the Camerata Zurich with conductors like Luisi, Schiff, Holliger, McCreesh, Kitajenko and Sakari.
Chamber music plays an important role in Olivier Darbellay’s career, bringing him to perform across Europe , Russia, the USA and Canada, Asia and Australia, with various ensembles and partners such as Joshua Bell, Patricia Kopatchinskaya, Sol Gabetta, Mischa Maisky, Daniil Trifonov, Christian Zacharias, Konstantin Lifschitz, Christoph Prégardien, Mark Padmore and the Ensemble Raro.
He is a regular guest at festivals such as the Lucerne Festival, Menuhin Festival Gstaad, Verbier Festival, Berlin (Festwochen and März Musik), Kuhmo, Présence Paris, Montpellier, Wratislawia, Rheingau Festival, Grafenegg, Davos, Ittingen, Murten, Meiringen, Boswiler Sommer, as well as the Barossa and Oxford Chamber Music festivals.
An important part of his activities focuses also on the contemporary repertory as a soloist and as a member of the Collegium Novum Zurich and the Ensemble Contrechamps Geneva. Among several pieces dedicated to him was Holliger’s “Induuchlen”-Duo, the world premiere of which was at the 2006 Lucerne Festival.
In addition he is regularly invited to play and record on historical baroque and classical natural horn with groups such as the "Tafelmusik Baroque Orchestra", the Basel Chamber Orchestra and the Bach Collegium Japan.
Olivier Darbellay is currently Principal Horn at the Berne Simphony Orchestra, the Basel Chamber Orchestra and the Gstaad Festival Orchestra.
Since 2001 he is a professor at the HEMU de Lausanne and holds the same position at the Musikhochschule Lucerne since 2010.
He is regularly invited to held workshops and masterclasses throughout Europe.
CD recordings for Challenge Records, ECM, Grammont, Cascavelle, cpo and Divox.

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Christoph Prégardien (tenor)

Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class. Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky. Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his...
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Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class.
Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky.
Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his concert tours throughout Italy, Japan and North America.
A longstanding collaboration unites him with his favourite piano partners Michael Gees and Andreas Staier. Soloist of choice for renowned orchestras, he performed with the Berlin and Vienna Philharmonic, Bavarian Radio Symphony, Royal Concertgebouw Orchestra Amsterdam, Gewand-hausorchester Leipzig, London Philharmonia, Staatskapelle Dresden, Philharmonie de Radio France, the Montreal, Boston, St. Louis and San Francisco Symphony Orchestras.
An important part of his repertory has been recorded by labels such as BMG, EMI, Deutsche Grammophon, Philips, Sony, Erato, Challenge Classics and Teldec. He is represented on more than a hundred and twenty titles, including nearly all of his active repertoire. His recordings of German Romantic Lied repertory have been highly acclaimed by the public and press and have received international awards including the prestigious Orphée d’Or of the Académie du Disque Lyrique-Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award and Diapason d’Or.
As an opera singer, Christoph Prégardien has made stage appearences in major European houses, performing leading roles as Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Almaviva (Il Barbiere di Seviglia), Fenton (Falstaff) and Monteverdi’s Ulisse. In Spring 2005, Christoph Prégardien sang the leading part in Mozart’s “La Clemenza di Tito” at the Paris National Opera conducted by Sylvain Cambreling.
An important aspect in the musical life of Christoph Prégardien is his intensive and varied educational work. From 2000 to 2005 Christoph Prégardien was in charge of a vocal class at the Hochschule für Musik und Theater in Zurich. Since the autumn of 2004, he is a professor at the Musikhochschule Köln. In a new combination of DVD and book, released in the serie “Schott Master Class”, he presents for the first time questions of singing technique and interpretation in word and picture. Film examples accompagny him during his lessons with masterclass students.
Christoph Prégardien now has a long-term cooperation with Challenge Classics. The first production on our label, released in February 2008, was Schubert’s “Die schöne Müllerin” with pianist Michael Gees. In the fall of 2008 “Schwanengesang” with pianist Andreas Staier followed and “Die schöne Müllerin” was awarded the Midem ‘Record of the Year’ 2009 at MIDEM, the world’s largest music industry trade fair. The duo Christoph Prégardien/Michael Gees also received the MIDEM ‘Vocal Recitals’ Award 2009. Throughout 2008 the recording received critical acclaim from many national and international magazines (Gramophone, Editor’s Choice & „Best of 2008“ among others).

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Michael Gees (piano)

'Throughout the evening Gees played as if he had composed the pieces himself and was therefore extremely vigilant to make sure the performance was carried out according to his inner ear. His eyes were not those of an artist intent on reproduction, but  shone rather a lambent look of passion, just as one might imagine the composer as the creator.“ N. Campogrande Michael Gees’ biography certainly justifies the term: exceptional. Few others can claim to have a career already behind them at the tender age of fifteen: Born in 1953 into a world of sound and music, both parents are singers, the piano is his favourite toy at age three. Formal piano lessons follow at age five, and the young musician subsequently goes...
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"Throughout the evening Gees played as if he had composed the pieces himself and was therefore extremely vigilant to make sure the performance was carried out according to his inner ear. His eyes were not those of an artist intent on reproduction, but shone rather a lambent look of passion, just as one might imagine the composer as the creator.“ N. Campogrande Michael Gees’ biography certainly justifies the term: exceptional. Few others can claim to have a career already behind them at the tender age of fifteen: Born in 1953 into a world of sound and music, both parents are singers, the piano is his favourite toy at age three. Formal piano lessons follow at age five, and the young musician subsequently goes on to win the Steinway Competition at age eight and receives a scholarship at the Mozarteum in Salzburg.
The child prodigy is hailed as “Westphalian Mozart“, takes up studies at the conservatories in Detmold and Vienna and it seems as if he is fast on his way to become an internationally acclaimed pianist. Were it not for the gifted child’s longing to explore the world of sound on his own terms, to playfully experience his self like the great masters’ music, to invent their music all over again, note for note instead of limiting himself to a technical practice regimen. Michael Gees flees the pressure of a predetermined competitional career at the age of fifteen, leaves school, conservatory and home behind, supports himself through odd jobs, works as archeological assistant and, in the process, for the duration of two full years, becomes a sailor.
Chance leads him back to the Hochschule für Musik und Theater in Hannover, where he resumes his compositional studies and eventually graduates. He now develops first rate pianistic chops on his own, composes a number of works, gains international renown as lied accompanist of extraordinary proportions with Christoph Prégardien and also appears in concerts globally; in Paris, London, New York and Tokio. All the while, he nurses and feeds his preference for combining the performance of music of past masters with living inspiration, thereby creating remarkable performances with his instrument.
In 1989, Gees founds “forum kunstvereint“ in his adopted hometown of Gelsenkirchen; the Consol Theater, also installed by him, opens its doors in 2001 on the confines of the former mining area Consolidation. There, music, dance and theatre projects take shape, where children, youths and adults alike are incited and encouraged to discover and realize their own artistic impulses. A steady number of CDs have been released from 1996 onward on forum kunstvereint, CPO and EMI, showcasing Michael Gees’ range.
Since 2008 Michael Gees is associated to the Netherlands label Challenge Classics. The 2009 release of the Schöne Müllerin with Christoph Prégardien won the MIDEM Classical Award and became Recording of the Year. Michael Gees works on solo-recitals which enjoy breaking with tradition, on modernized lied-renditions, melodramas and stage music.

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Composer(s)

Franz Schubert

Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the...
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Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early nineteenth century.
It was in the genre of the Lied that Schubert made his most indelible mark. Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism. Schubert expanded the potentialities of the genre like no other composer before.

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Benjamin Britten

Benjamin Britten is one most important British composers from the second half of the twentieth century. Remarkably, he focused on opera, a dying genre, at least in its current form. Britten's contributions however, among which Peter Grimes, The Rape of Lucretia, Gloriana, The Turn of the Screw, and Death in Venice, managed to remain core repertoire for opera companies to this day. Many of these productions included a role for his artistic partner and life companion Peter Pears. Britten also wrote a number of lieder for this tenor, among which his Serenade for tenor, horn and string orchestra. Yet, Britten excelled in many more genres. He wasn't even 20 years old when he composed his brilliant Phantasy for hobo quartet and his friendship with...
more

Benjamin Britten is one most important British composers from the second half of the twentieth century. Remarkably, he focused on opera, a dying genre, at least in its current form. Britten's contributions however, among which Peter Grimes, The Rape of Lucretia, Gloriana, The Turn of the Screw, and Death in Venice, managed to remain core repertoire for opera companies to this day. Many of these productions included a role for his artistic partner and life companion Peter Pears. Britten also wrote a number of lieder for this tenor, among which his Serenade for tenor, horn and string orchestra. Yet, Britten excelled in many more genres. He wasn't even 20 years old when he composed his brilliant Phantasy for hobo quartet and his friendship with the legendary cellist Rostropovich led to a Cello sonata, three Suites for cello solo and a Symphony for Cello and orchestra in the 1960s.

Britten never became Master of the Queen's Music, yet he surely had feeling for public sentiments. For example, as a pacifist, he taught his people about world peace through his War Requiem from 1962. Britten was an excellent interpreter of his own work, just like Bartók and Stravinsky. Many of his recordings have been matched, but never exceeded.


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Press

The horn is then also the connecting instrument to the other titles of the recording.
Operalounge, 21-2-2019

The fact that this CD is a matter of the heart of the three musicians cannot be overheard ... and the expectations ... are certainly fully fulfilled.
DAS ORCHESTER, 07-9-2018

Tenor, horn and piano - that was a combination that was made for the Romantics!...a small but attractive selection.
OUVERTURE, 03-8-2018

...the works are more than just curiosities with horn, the sound of this "heavy" wind instrument provides an exciting grounding, all the more because here everything sounds all of a piece.
Fono Forum, 23-4-2018

Prégardien, the horn player Olivier Darbellay and the pianist Michael Gees manage this difficult balance excellently.
Opernwelt, 23-3-2018

Darbellay emphatically comes forward. The horn player sings a full-fledged song. I do not think that is a crazy choice. It gives an enormous power of expression. This without the horn dominating. Both Gees on the piano and tenor Prégardien offer more than enough counterweight.
Luister, 19-1-2018

GREAT INTERPRETERS: Ivan Fischer, Christoph Prégardien, Kuijken Piano Quartet, Marc Albrecht
Classic Voice, 02-1-2018

Prégardien sings these songs with an unfailing, subtle sense of the meaning of each word. His bright, exceptionally beautiful  and expressive tenor comes into its own in this anthology.
Opernglas, 16-11-2017

Play album Play album
01.
The Heart of the Matter: Prologue
02:43
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
02.
The Heart of the Matter: Reading: The earth of my heart was broken and gaped low
00:39
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
03.
The Heart of the Matter: Fanfare: Where are the seeds of the Universal Fire
00:21
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
04.
The Heart of the Matter: Reading: In the hour when the sapphire of the bone
00:46
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
05.
The Heart of the Matter: Song: We are the darkness in the heat of the day
01:28
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
06.
The Heart of the Matter: Reading: In such a heat of the earth
02:57
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
07.
The Heart of the Matter: Canticle III, Op. 55: Still Falls the Rain
12:09
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
08.
The Heart of the Matter: Reading: I see Christ?s wounds weep in the Rose on the wall
02:02
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
09.
The Heart of the Matter: Epilogue
02:55
(Benjamin Britten) Olivier Darbellay, Christoph Prégardien, Michael Gees
10.
Die Seejungfern
02:25
(Franz Lachner) Olivier Darbellay, Christoph Prégardien, Michael Gees
11.
Das Muehlrad
04:23
(Conradin Kreutzer) Olivier Darbellay, Christoph Prégardien, Michael Gees
12.
3 Lieder, Op.30: I. Herbst
03:08
(Franz Lachner) Olivier Darbellay, Christoph Prégardien, Michael Gees
13.
Ständchen
05:44
(Conradin Kreutzer) Olivier Darbellay, Christoph Prégardien, Michael Gees
14.
Sehnsucht
02:44
(Carl Kossmaly) Olivier Darbellay, Christoph Prégardien, Michael Gees
15.
Das Fischermädchen
02:28
(Carl Kossmaly) Olivier Darbellay, Christoph Prégardien, Michael Gees
16.
Jägers Abschied
02:52
(Henry Hugo Pierson) Olivier Darbellay, Christoph Prégardien, Michael Gees
17.
Auf dem Strom, D. 943
08:18
(Franz Schubert) Olivier Darbellay, Christoph Prégardien, Michael Gees
show all tracks

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