Robert Schumann: Der Rose Pilgerfahrt - CD, Choir Coach, multimedia | Carus-Verlag

Robert Schumann Der Rose Pilgerfahrt

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STB, Coro, Piano
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German
Robert Schumann’s fairy-tale idyll Der Rose Pilgerfahrt (1851) was a regular part of the repertoire of singing societies well into the first third of the 20th century. The fact that today it has practically disappeared from concert life has frequently been blamed on the sentimental, prevailing romantic taste in connection with the libretto by Moritz Horn, which combined the typically romantic themes (redemption, the incursion of the fantastic into the world of reality) with Biedermeier ideals (the intact world of village life, domestic motherhood) which in the 20th century quickly went out of fashion. However, Schumann’s musical transposition shows his experimental and always innovative confrontation with the genre of the oratorio: he plays adroitly, for example, with the forms of the recitative, arioso and folk song, which alternate rapidly within a short space of time. The present recording with Christoph Prégardien in the title role is based on the original version with piano accompaniment, which Schumann himself preferred: it was first performed at a house concert at Schumann’s private residence in Düsseldorf in 1851.
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  • Sopran I, II, Alt solo, Frauenchor: Die Frühlingslüfte bringen
  • Tenor, Alt: Johannis war gekommen
  • Chor der Elfen, Frauenchor: Wir tanzen
  • Tenor, Rose, Elfenfürstin, Chor der Elfen: Und wie sie sangen
  • Tenor, Rosa: So sangen sie
  • Rose, Marthe: Bin ein armes Waisenkind
  • Tenor, Rosa, Totengräber: Es war der Rose erster Schmerz!
  • Chor, Rosa, Totengräber, Alt: Wie Blätter am Baum
  • Tenor, Totengräber, Rosa: Die letzte Scholl’ hinunterrollt
  • Rosa, Chor der Elfen: Dank, Herr, dir dort im Sternenland
  • Tenor, Rosa, Totengräber: Ins Haus des Totengräbers
  • Sopran I, II, Alt: Zwischen grünen Bäumen
  • Tenor, Totengräber, Rosa, Müller, Müllerin: Von dem Greis geleitet
  • Tenor: Bald hat das neue Töchterlein
  • Männerchor: Bist du im Wald gewandelt
  • Alt: Im Wald, gelehnt am Stamme
  • Sopran, Alt, Max, Rosa: Der Abendschlummer
  • Chor: O sel’ge Zeit
  • Bass: Wer kommt am Sonntagsmorgen
  • Sopran, Alt: Ei Mühle, liebe Mühle
  • Tenor, Bariton, Chor, Sopran: Was klingen denn die Hörner
  • Chor: Im Hause des Müllers
  • Tenor, Rosa: Und wie ein Jahr verronnen ist
  • Frauenchor (Engelsstimmen): Röslein!
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Print editions & CDs
Compact Disc Carus 83.450/00, EAN 4009350834507 CD, digipac
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19,90 € / copy
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Contents (24 works) Biographical details and role Reviews Feedback

Contents

  • Robert Schumann is still primarily known as a composer of piano and lieder and as a symphonic composer. In his later creative years, however, he saw the composition of choral music as an important focus of his work. Even today, it is important to discover a largely unknown Schumann, whose choral music masterfully combines popular appeal and artistic ambition. Carus offers Schumann's complete works for mixed choir and for female choir a cappella and with piano. They demonstrate his love of experimentation, his sensitivity in the selection and musical realisation of the texts and, last but not least, his independent choral style, which places particular emphasis on refined details in the composition. Personal details
  • The Süddeutscher Kammerchor was founded in 1973. The vocal ensemble has undertaken concert tours to many European countries as well as Israel, Canada and the USA, and there are invitations to visit Israel and Hong Kong in the coming years. In addition to performing large oratorios, the choir concentrates on less well-known a cappella works from all periods. The Süddeutscher Kammerchor adapts the size of its ensemble to the demands of each composition. The core of the choir consists of young, professional singers who are also active as soloists. Semi-professional choral singers complement them for the performance of works requiring a larger ensemble. Invitations to festivals and concerts at home and abroad, as well as collaborations with well-known orchestras such as the Munich Chamber Orchestra, the Festival Strings Lucerne and the Junge Deutsche Philharmonie testify to the quality of the ensemble. This also includes working with renowned early music orchestras such as Freiburg Baroque Orchestra, Drottningholms Baroque Ensemble Stockholm or Concerto Köln. The choir also works together closely with German radio networks, including the Bayerischer Rundfunk and the Hessischer Rundfunk and regularly records selected works both for CDs and radio broadcasts. Personal details
  • Gerhard Jenemann studied at the Staatliche Hoch - schule für Musik in Frankfurt/Main. This was followed by private studies and courses in choral and orchestral conducting with Michael Stephani, Helmuth Rilling, Andreas Weis, Eric Ericson and Thomas Ungar. He is director of the Süddeutscher Kammerchor and the Vocalsolisten Frankfurt, an ensemble of professional concert and opera singers. He performs in Germany and abroad, working with many well-known orchestras including the Hessische Staatsorchester Wiesbaden, Prague Symphony Orchestra, the radio symphony orchestras of Prague, Krakow and Budapest, Munich Chamber Orchestra and Festival Strings Lucerne. For several years Gerhard Jenemann has specialized in the performance of pre-classical music, and has conducted renowned ensembles in this field such as the Freiburg Baroque Orchestra, La Stravaganza Köln, Cappella Savaria and Drottningholm Baroque Ensemble Stockholm. He has been a lecturer in choral music and conducting at the Richard Strauss Conservatory in Munich since 1991. Personal details
  • Mezzo-soprano Elvira Bill studied singing with Christoph Prégardien at the Cologne Musikhochschule. While studying for her Abitur in Mönchengladbach, she received significant encouragement in her vocal studies from Reinhard Becker (Wuppertal). Her repertoire ranges from the established classics to contemporary music. She also studies historical performance practice with the countertenor Kai Wessel. In her solo work, she specializes in oratorio. As a soloist, Elvira Bill has sung under Marcus Creed, Peter Neumann, Robin Gritton, Christopher Hogwood and many other conductors. At the Theater Krefeld-Mönchengladbach she has sung in Friedrich Cerha’s opera Der Riese vom Steinfeld. Concert tours have taken her to many German cities, to France, Austria, the Benelux countries, Italy, Portugal, Hungary, Russia, China and Oman. Personal details
  • As one of the outstanding lyric tenors of today, Christoph Pregardien is highly regarded as a lieder singer. He specializes in lieder and oratorio and his repertoire encompasses all periods. Christoph Pregardien and his accompanist Michael Gees received the MIDEM Classical Award 2009 for their recording of Schubert’s “Die schone Mullerin”. Personal details
  • Baritone Michael Dahmen has studied with Christoph Prégardien at the Hochschule für Musik Cologne since 2006. Since then, he has sung in opera and concerts in Germany and abroad, including Italy, France, Switzerland, Brazil and Mexico. On the operatic stage, he has sung the roles of Masetto in Mozart’s Don Giovanni and Dr. Falke in Strauss’s Die Fledermaus. His performances with leading musicians such as the pianist Michael Gees, gamba player Christophe Coin, and conductors Peter Neumann and Marcus Creed have been documented on radio and CD. A former scholarship holder from the Richard Wagner Foundation, Michael Dahmen has performed at the International Bach Festival Schaffhausen and the Beethoven Festival Bonn. Personal details

Reviews

...bei diesem «Kammeroratorium» geht mir immer das Herz auf. Es berührt mich tief und als Zuhörer zerfließe ich förmlich vor Rührung.
Chorzeit, November 2017

[...] The recording is excellent - the sound-stage is believable, with the piano naturally placed.
(Colin Clarke, musicweb-international, März 2011)

[...] bei der hier vorliegenden neuen CD-Einspielung ist mit Michael Gees eine Idealbesetzung zur Stelle. Ein ungemein gewandter und höchst sensibler Aktivposten, der zudem eminent viel Liederfahrung mitbringt. Gleiches gilt natürlich auch für den Tenorlyriker Christoph Prégardien, der ja zusammen mit Gees seit Jahren ein hochkarätiges Liedgespann bildet. [...]
(Johannes Adam, Badische Zeitung, 8.1.2011)

[...] Die andere [Säule] stellt der wundervoll nuanciert und intonationsrein singende Süddeutsche Kammerchor unter der sicheren, sensiblen Leitung von Gerhard Jenemann dar, der die vielen komplexen rhythmischen Variationen der Musik brillant meistert. [...] eine Ehrenrettung Schumanns und seines doch problematischen Werkes verwirklicht. [...]
(pizzicato, Oktober 2010)

[...] Christoph Prégardien lässt als erzählender Tenor keine Wünsche offen: Jedes Wort, jede Phrase ist exakt herausgearbeitet, mit fließenden Legatobögen werden alle Höhen mühelos gemeistert und jede Kantilene mit intensivem Leben erfüllt. Michael Dahmen verleiht dem Totengräber ausdrucksstarkes Profil, seine hohe Baritonstimme ist warm und leuchtend timbriert. Der Süddeutsche Kammerchor (Einstudierung: Gerhard Jenemann) verfügt über ein abwechslungsreiches Potenzial - vom wundervoll schwebenden, sauber intonierten Elfen- und Engelschor über einen frisch vorgetragenen Waldchor, dem mit Schwermut erfüllten Trauergesang bis hin zur fröhlichen Schilderung der Hochzeit. Michael Gees, langjähriger Liedbegleiter von Prégardien, spielt den Klavierpart meisterhaft mit perlenden Läufen und Verzierungen, kraftvollen Akkorden und innig gefühlvollen Passagen.
(G. Schunk, Das Opernglas, 7–8/2010

Grandios deklamiert Christoph Prégardien den Erzähler und Förstersohn. Mit bemerkenswerter Präsenz singt die 1990 geborene Anna Lucia Richter ihre Sopranpartien. Dazu überzeugt Michael Gees mit perlend leichtfüßigem Klavierspiel. Durch die vielfältig angelegten Sätze hindurch animiert Jenemann seinen Kammerchor zu schwungvoll-vitalen Gesängen. Abschließend schwingt sich der Frauenchor zu engelsgleichem Ausdruck empor - ein Höhepunkt zum Weinen. „Sei uns gegrüßt, liebliche Rose!”
(Karsten Blüthgen, Neue Chorzeit, Juli/August 2010)

[...] Wohl dem Chor, der solche Stimmen hat ... [...]
(Reiner Schulte, WDR3, Juli 2010)

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