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Christian Gerhaher

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FolksLied

FolksLied


Beethoven:

Could this ill world, Op. 108 No. 16

Come fill, fill, my good fellow!, Op. 108 No. 13

Oh! Sweet were the hours, Op. 108 No. 3

Faithfu' Johnie, Op. 108 No. 20

Sunset, Op. 108 No. 2

Britten:

Ca’ the yowes

Sally in Our Alley

The Miller of Dee

O can ye sew cushions?

How Sweet the Answer

At the mid hour of night

Dear Harp of My Country

Avenging and Bright

Haydn:

Fließ leise mein Bächlein, Hob.XXXIa/253 A

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ein Wandrer kommt von ferne, Hob.XXXIb:3

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ich stehe auf der Heide, Hob.XXXIb:27

Anton Barachovsky (violin), Sebastian Klinger (cello)

Es weiden meine Schafe, Hob.XXIa

Anton Barachovsky (violin), Sebastian Klinger (cello)

Im Schummern, da kam ich einst zu dir, Hob.XXXIb:36

Anton Barachovsky (violin), Sebastian Klinger (cello)

Rose weiss Rose rot, Hob.XXXb:10

Anton Barachovsky (violin), Sebastian Klinger (cello)


Christian Gerhaher (baritone), Gerold Huber (piano)

As a Lied interpreter, on the concert stage and, increasingly, on the operatic stage as well, the baritone Christian Gerhaher is currently setting new artistic standards. After publication of two choral-symphonic recordings with this exceptional singer, BR-KLASSIK now presents a Lieder CD containing recorded material from Gerhaher's time as Artist in Residence with the Symphonieorchester des Bayerischen Rundfunks. Gerhaher's finely coordinated programme –ambiguously entitled "folkslied" – examines the exciting contrast between the Volkslied(folk song) and the Kunstlied (art song). It contains the rarely heard Folk Song Arrangementsby Benjamin Britten, the folk song arrangements for piano trio and voice by Beethoven and Haydn. Gerhaher's decision to use German texts to Haydn's melodies that were published inthe 1920s represents a tribute to Fritz Wunderlich, whose first recording of the German text versions is particularly close to his heart. The instrumental partners are: Gerold Huber, Gerhaher's longtime accompanist; Sebastian Klinger, the principal cellist of the Symphonieorchester des Bayerischen Rundfunks who is currently pursuing a solo career; and, on the violin, Anton Barachovsky, leader of the Symphonieorchester.

“Best of all are the bittersweet, sometimes disturbing Britten arrangements that form the recital’s centrepiece. In beauty of tone and sensitivity to text and mood, Gerhaher’s vividly ‘lived’ performances are a match for any of his baritone predecessors, British or German…Gerold Huber’s playing is in the Britten class (in his recordings with Pears) for colour, point and wry inventiveness” Gramophone Magazine, June 2016

“Word-lively, supple and instinctive of inflection, Gerhaher is the perfect voice for a song such as Haydn’s ‘Flow gently, sweet Afton’…and his command of both English and Lallans Scots is formidable…[the recording] is enhanced by the violin and cello playing of Anton Barachovsky and Sebastian Klinger, and the always sentient piano accompaniments of the faithful Gerold Huber.” BBC Music Magazine, July 2016 ****

“[These arrangements are] delightful and share characterful piano trio accompaniment, here superbly played. Gerhaher is in fine voice throughout, and his English (and Scottish!) is idiomatic and convincing.” Classical Music, August 2016 *****

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BR Klassik - 900131

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Schumann: Scenes from Goethe's Faust, WoO 3

Schumann: Scenes from Goethe's Faust, WoO 3

Live-Recording, Herkulessaal Munich, 18./19.01.2013


Christiane Karg (soprano), Mari Eriksmoen (soprano), Bernarda Fink (mezzo), Andrew Staples (tenor), Christian Gerhaher (baritone), Alastair Miles (bass), Tareq Nazmi (bass), Kurt Rydl (bass)

Chor & Symphonieorchester des Bayerischen Rundfunks, Daniel Harding

Ever since his debut in 2005 with Berg's "Wozzeck" (concertante) with the Symphonieorchester des Bayerischen Rundfunks, Daniel Harding has regularly attracted public attention with spectacular concerts. With the "Faust Scenes" by Robert Schumann – Daniel Harding's first recording on the BR-KLASSIK label – the conductor presents us with a work that until now had long been on the fringes of the repertoire, Schumann having primarily attracted attention as a composer of lieder, piano works and chamber music. The exceptional baritone Christian Gerhaher succeeds, perhaps more than any others, in credibly and forcefully conveying the sheer diversity of expression in Goethe's literature here, and makes full use of his expertise as a profound lieder performer. He is joined by Christiane Karg as Gretchen, together with further internationally renowned soloists, the Chamber Choir of Augsburg Cathedral Boys' Choir, and the Bavarian Radio Choir.

“[Gerhaher brings] his matchless sensitivity to verbal meaning and colour to vocal writing, while Christiane Karg is the touching Marguerite...Harding’s handling of the whole span of the score is also deeply impressive. The detail is telling but never overdone, the build up to the glorious peroration paced very expertly.” The Guardian, 15th October 2014 ****

“Some great baritones have recorded this little-performed work, but Christian Gerhaher is the equal of any, an inspiration in his fusion of poetry and music.” Financial Times, 18th October 2014 ***

“Harding scores with his casting: Christian Gerhaher’s Faust is incomparable, while Christiane Karg’s radiant Gretchen is the finest on disc. Alastair Miles is a formidable Mephisto and the smaller parts are excellently taken by Andrew Staples and Bernarda Fink. A record of the year, no doubt.” Sunday Times, 9th November 2014

“[Harding] shapes some elegant playing and clear choral textures, and there's some fine solo singing, notably from Christiane Karg, Bernarda Fink and Andrew Staples.” BBC Music Magazine, Christmas 2014 ****

GGramophone Magazine

Disc of the Month - December 2014

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Britten: War Requiem, Op. 66

Britten: War Requiem, Op. 66


Emily Magee (soprano), Mark Padmore (tenor), Christian Gerhaher (baritone)

Chor and Symphonieorchester des Bayerischen Rundfunks & Tölz Boys’ Choir, Mariss Jansons

This release commemorates the life of the English composer Benjamin Britten, who would have celebrated his 100th birthday this year. Britten, who in May 1942 refused to fight in World War II, began working in 1960 on a "War Requiem". In March of this year, during the performances by the Bavarian Radio Symphony Orchestra under Mariss Jansons, the work delivered its shattering impact once again – due not only to the Tölz Boys' Choir but also an outstanding trio of soloists.

“Jansons brings a powerful sense of momentum...Gerhaher brings his shamainstic focus to key moments...Magee is fiery and imperious” BBC Music Magazine, Christmas Issue 2013 ****

“Padmore always makes verbal poetry, despite some shortness of breath...Gerhaher, singing in excellent English, is simply outstanding - powerful, supremely expressive and unforgettable in the intensity that he creates in 'Strange Meeting'.” Gramophone Magazine, December 2013

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Hartmann, K: Simplicius Simplicissimus

Hartmann, K: Simplicius Simplicissimus


Camilla Nylund (Simplicius), Christian Gerhaher (Farm Worker/Narrator), Will Hartmann (Hermit/Governor) & Michael Volle (Farmer/Sergeant)

Münchner Rundfunkorchester, Ulf Schirmer

The absolute highlight of Karl Amadeus Hartmann’s centenary year was the concert performance of his opera Des Simplicius Simplicissimus Jugend in Munich’s Prinzregententheater. It was the first performance of the original version, reconstructed by Wilfried Hiller and Robert Klimesch on commission from Bavarian Broadcasting. Besides the Münchner Rundfunkorchester under Ulf Schirmer, the performance had the good fortune of featuring a first-rate quartet of soloists including Christian Gerhaher, Will Hartmann, Camilla Nylund and Michael Volle. With this release, Simplicius Simplicissimus is now available in an exemplary recorded production both editorially and musically. While Hartmann described his work as an “opera” he avoided “stock operatic gestures” in the shaping of his musical language – it seems more likely to have been based on the style of Stravinsky’s L’histoire du soldat. The style of the work is directly related to the historical context of its composition: the original version was composed in 1934 1936 on the suggestion of Hermann Scherchen, who had lived in Swiss exile since 1933. The plot follows the destiny of a person threatened with the loss of himself and his world in the maelstrom of the Thirty Years War. Hartmann confronts this period with harsh refractions, nameless sorrow and biting satire. He dedicated the overture, composed in 1939, to Sergei Prokofiev, whose music embodied the style of the international avant-garde decried by the Nazis. Hartmann’s feelings when he set to work on the revision (1955/56) following World War II would be hard to describe! Incl. Bonus: Bernhard Neuhoff in conversation with Wilfried Hiller and Ulf Schirmer, with sound documents from Karl Amadeus and Elisabeth Hartmann.

“This edition sounds taut and pungent under Ulf Schirmer's baton. Camilla Nylund sings gleamingly as the idealist Simplicius, and there are incisive yet pliable performances from the three excellent male soloists” BBC Music Magazine, June 2010 ****

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