Classical Music

This release concludes the CPO exploration of the song oeuvre of Johannes Brahms. Time of course has taken nothing away from the enduringly high value of the song interpretations by top artists like Juliane Banse, Ingeborg Danz, Andreas Schmidt, Christoph Prégardien, and others. Already the sheer quantity of twenty duets and twenty-seven quartets as well as the eighteen Liebeslieder-Walzer and fifteen Neue Liebeslieder-Walzer still mostly designed as vocal quartets clearly demonstrate that settings for more than one solo voice have an important place in Brahms’s lied oeuvre. Although the quartets in principle were written for ensembles of soloists, from the very beginning choral performance for presentation in the concert hall formed an alternative that at least was tolerated by the composer. While Brahms himself could not decide about the ideal ensemble dimensions, solo or choral, for the two series of Liebeslieder-Walzer, for the Quartets op. 64 he even expressly reckoned with the possibility, as he stated to his publisher, that the settings “occasionally would be sung by a little choir.” Things were different with the duets: they belonged to the core inventory of middle-class home performance in the nineteenth century and were even more strongly anchored there than the solo lied beginning in the 1850s, when the increasing number of lieder recitals meant that this song form more frequently found its way to the concert hall.

Growing up in Vienna, with its great Lied tradition, Hans Gál had written about 100 songs before leaving secondary school. He later destroyed them, along with all his other works composed prior to 1910, but between 1910 and 1921 he wrote many more. Except for the five songs of Op. 33, these were never published, and Gál himself would later refer to them as ‘laid aside’. Many of these songs were publicly performed at the time, however, often with the composer at the piano. Through the initiative of Christian Immler and Helmut Deutsch, 26 of the ‘laid-aside’ songs are now being made available to a modern audience. A labor of love for the performers, the project has had the support of the composer’s family – in fact the recording was produced by Hans Gál’s grandson, Simon Fox-Gál. The songs provide a missing link in Gál’s creative development, and show him engaging with a wide variety of poets, extending back from the twelfth-century (Walther von der Vogelweide) to contemporaries, such as Hermann Hesse and Richard Dehmel, by way of the classics (Heine, Mörike). Reflecting a taste for the exotic which was fashionable at the time, the selection also includes settings of poems by Rabindranath Tagore. The performers close their recital with the Op. 33 set, the only songs that Hans Gál did publish during his long career.

REVIEW:

This is a treasure-trove of songs in the tradition of Richard Strauss, melodically radiant and full of sensitivity to atmosphere. Immler is ideally suited to them, with expansive, radiant tone and splendid diction; Helmut Deutsch sets his peerless pianism at the disposal of composer and singer.

– BBC Music Magazine

There is no better repertoire with which to display a leider singer than the Schubert Song Cycles. For this release, baritone Hermann Prey tackles Schubert’s Die Schone Mullerin, Schwanengesang accompanied by Leonard Hokanson and Winterreise accompanied by Helmut Deutsch. As a bonus, this release includes an interview with Prey on these song cycles and a documentary on the artist. “In his finest interpretations Hermann Prey sang “Winterreise” and “Die schone Mullerin” with a captivatingly natural phrasing that flowed organically like a river and as such was the very opposite of the more intellectual approach of his rival, Dietrich Fischer-Dieskau.” (Die Zeit online) “The velvety, silky timbre of his soft-grained and yet distinctively striking baritone voice, his charm, his excellent diction and the naturalness of his delivery spiced with a hint of emotion- it is all this that distinguishes the truly outstanding lieder singer.” (Opernglas)

A prolific composer and bandleader, Erik's seven albums have received critical acclaim by RollingStone, Jazz Times, USA Today, and the Huffington Post, including Relix magazine naming Deutsch's 4th album Outlaw Jazz the #16 best album of 2015. He was recently voted the #5 Rising Star Organist in Downbeat Magazine's annual poll, where he has been recognized for consecutive years. Deutsch's most recent album, Live at Lunatico, was recorded in Bedstuy, Brooklyn and features his NYC sextet: Avi Bortnick, Mike McGinnis, Tony Mason, Brian Drye, and Fred Cash. � From 2016-19 Deutsch was a full-time member of the pioneering Colorado jamband Leftover Salmon, performing 100+ shows per year throughout the US. In 2020 Erik changed directions and joined forces with 12-time Grammy-winning band The Chicks (formerly Dixie Chicks). � The eclectic path of Erik's 25-year career has led him to performances in North and South America, Europe, Africa, and Asia; to Red Rocks, Carnegie Hall, Lincoln Center, the Blue Note, and Madison Square Garden; to Late Night with David Letterman, the Tonight Show with Jay Leno, Ellen and The View; and to appearances in the feature films "Begin Again" and "Trans." Erik has played on more than 150 records and has taught thousands of students-who knows what to expect in the next 25 years? You can plan on a wealth of music and creative spirit from this one-of-a-kind pianist.

Classical Music

Includes work(s) by Baldassare Galuppi, Alexander Arkhangelsky, Peter Ilyich Tchaikovsky, Dimitri Bortniansky, Alexander Gretchaninov, Pavel Chesnokov, Alexander Nikolsky. Ensemble: National Cathedral Choral Society Washington, D.C.. Conductor: J. Reilly Lewis.