Schubert: Winterreise, D. 911 Stephan Genz & Michel Dalberto
- Franz Schubert (1797 - 1828): Winterreise, D. 911:
- 1Winterreise, D. 911: I. Gute Nacht04:54
- 2Winterreise, D. 911: II. Die Wetterfahne01:35
- 3Winterreise, D. 911: III. Gefrorne Tränen02:20
- 4Winterreise, D. 911: IV. Erstarrung02:42
- 5Winterreise, D. 911: V. Der Lindenbaum04:38
- 6Winterreise, D. 911: VI. Wasserflut04:27
- 7Winterreise, D. 911: VII. Auf dem Flusse03:29
- 8Winterreise, D. 911: VIII. Rückblick02:02
- 9Winterreise, D. 911: IX. Irrlicht02:39
- 10Winterreise, D. 911: X. Rast02:58
- 11Winterreise, D. 911: XI. Frühlingstraum04:20
- 12Winterreise, D. 911: XII. Einsamkeit02:36
- 13Winterreise, D. 911: XIII. Die Post02:11
- 14Winterreise, D. 911: XIV. Der greise Kopf02:49
- 15Winterreise, D. 911: XV. Die Krähe01:37
- 16Winterreise, D. 911: XVI. Letzte Hoffnung01:48
- 17Winterreise, D. 911: XVII. Im Dorfe02:41
- 18Winterreise, D. 911: XVIII. Der stürmische Morgen00:50
- 19Winterreise, D. 911: XIX. Täuschung01:32
- 20Winterreise, D. 911: XX. Der Wegweiser03:43
- 21Winterreise, D. 911: XXI. Das Wirtshaus04:17
- 22Winterreise, D. 911: XXII. Mut01:21
- 23Winterreise, D. 911: XXIII. Die Nebensonnen02:32
- 24Winterreise, D. 911: XXIV. Der Leiermann03:37
Info for Schubert: Winterreise, D. 911
“I arrived a stranger, and I leave a stranger”. These opening words of Schubert’s Winterreise (“Winter journey”) succinctly sum up the cycle as a whole: it is the quintessential Romantic work about an itinerant outsider, unlucky in love, whose inevitable goal on his journey is always death.
Schubert had already set Wilhelm Müller’s poetic cycle “Die schöne Müllerin” in 1823, and at some point he came across twelve new poems by Müller entitled “Wanderlieder … Die Winterreise” that had been published in the Urania almanac in Leipzig. He set them to music in early 1827. Not long afterwards, Schubert discovered that Müller had meanwhile added another twelve poems to form a larger cycle, publishing them collectively as “Die Winterreise” in a volume called “Poems from the posthumous papers of a travelling horn player”. In order to give his cycle more of a coherent narrative, Müller had juggled the order of his original twelve, mixing some of the new poems among them. But Schubert decided to leave his first twelve songs as they were, and in the late summer of 1827 simply set the new twelve poems to music in the order in which they appeared in Müller’s expanded cycle (the exceptions being “Mut” and “Die Nebensonnen”, which he swapped around). Schubert’s first group of twelve Winterreise songs was published by Haslinger in Vienna in early 1828. The proofs of the second dozen did not arrive until the late autumn. Schubert corrected them when he was already on his deathbed, and by the time the songs were published in December 1828, its composer had been dead for a month.
There is a narrator in the Winterreise, but not much of a narrative. Rejected by the woman he loves, the wanderer leaves home at night. He wanders past haphazard reminders of his lost love – the house where she lived, the linden tree into whose bark he’d carved his sweet nothings, the meadow where once they’d strolled together, then a post coach that he hopes might carry word from her (but doesn’t). A crow circles above as he wanders on. Dogs bark angrily as he crosses a village, he finds himself in a cemetery, and at the end he goes off with a barefoot hurdy-gurdy man who might or might not be real, but in any case represents death. Yet apart from the beginning and the end, there is little that is linear about any of this – not least because of Schubert’s refusal to bend to the final order of Müller’s cycle. Instead, Schubert offers us a depiction of a fractured, spiralling consciousness in which present, past and future intermingle. The wintry weather offers its signifiers of decay and dying throughout – the frozen tears, the falling leaves, the fir trees bent to the wind, the snow blowing in the wanderer’s face and his hair turned white from frost. The environment, both natural and emotional, is more important here than any story.
“From the outset we sense that Schubert's 'grim journey', as Samuel Beckett dubbed it, will be unflinchingly undertaken, devoid of self-pity...Genz's wanderer can protest and despair...But with Dalberto emphasising the percussive bleakness of Schubert's piano-writing, the abiding impression is of unsentimental, stoical resignation to his fate...For me, at least, they pass the crucial test of making Schubert's fathomless cycle a cathartic experience.” (Gramophone UK)
Stephan Genz, baritone
Michel Dalberto, piano
Born in Erfurt in 1973, Stephan Genz is an internationally recognized German baritone, particularly known for his excellency in the Lied repertoire.
After receiving his first musical training as a chorister of the Thomanerchor in Leipzig, he followed his vocal studies with Hans-Joachim Beyer at the conservatory of Leipzig, Mitsuko Shirai and Hartmut Höll at the conservatory of Karlsruhe and later, with Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf.
He came to prominence by winning prestigious competitions such as the International Johannes Brahms Competition in Hamburg (1994) and the International Hugo Wolf Competition in Stuttgart (1994). In 1998, Stephan Genz was awarded the “Brahms-Preis” of Schleswig- Holstein and in 2000, the Belgium music critics elected him “Young Artist of the Year”.
Since then, he appeared in leading opera houses, including the Berlin Staatsoper, Hamburg Staatsoper, Paris (Bastille, Theatre des Champs- Elysees, Chatelet), Teatro alla Scala Milano, Grand Theatre de Genève, Semperoper Dresden, Teatro La Fenice Venice, Bolshoi Moscow, Strasbourg, Cologne and the Festivals of Aix-en-Provence and Baden- Baden. He worked with conductors such as Myung-Whun Chung, Gerd Albrecht, Daniel Harding, Philippe Herreweghe, Thomas Hengelbrock, Gustav Kuhn, Sigiswald Kuijken, Rene Jacobs, Jesus Lopez-Coboz, Fabio Luisi, Georges Pretre, Bruno Bartoletti, Kent Nagano, Jeffrey Tate, Giuseppe Sinopoli, Kurt Masur, Eliahu Inbal, Mario Venzago, Lothar Zagrosek, Edo de Waart, and Nikolaus Harnoncourt.
first came to prominence when, between 1975 and 1978, he won the 1st Mozart Competition in Salzburg, the Clara Haskil Prize and 1st Prize at the Leeds International Piano Competition.
Born in Paris in a non-musical family which take roots in Dauphiné and Italian Piemonte, he began the piano at the age of three and a half. When he was twelve, he was introduced to Vlado Perlemuter, a favourite pupil of the late Alfred Cortot, and entered his class at the Paris Conservatoire where he completed his studies during nine years.
He has performed under the baton of Leinsdorf & Orchestre de Paris, Sawallisch & Orchestre de la Suisse Romande, Dutoit & Orchestre National de France and Montreal Symphony, C. Davis & Amsterdam Concertgebouw, A. Davis & London Philharmonia, Inbal & Wiener Symphoniker and RSO Frankfurt, Temirkanov & Roma Santa-Cecilia, Dausgaard & Oslo Philharmonic, Cambreling & Frankfurter Opern- und Museumsorchester, just to name a few.
Michel Dalbertos chamber music partners include Renaud & Gautier Capuçon, Boris Belkin, Vadim Repin, Nikolaj Znaider, Yuri Bashmet, Gérard Caussé, Truls Mork, Henri Demarquette, Emmanuel Pahud, Jessye Norman, Barbara Hendricks, Nathalie Stutzman, Stephan Genz, Quatuor Ebène and the Modigliani Quartet.
He has also been guest of Festivals such as Lucerne, Florence, Aix-en-Provence, Vienna, Edinburgh, Schleswig-Holstein, Grange de Meslay and La Roque d'Antheron and has made no less than fifteen visits to Japan.
From the beginning of his career, Michel Dalberto has been acknowledged as one of the foremost interpreters of Schubert and Mozart music. Liszt, Brahms, Schumann, Debussy, Fauré and Ravel are also among his favourite composers. He is the only living pianist to have recorded the complete piano works by Schubert.
From 1991 to 2009 he served as Chairman of the Jury of the Clara Haskil Competition which takes place in Vevey (Switzerland) every two years. In 2010, he joined the competition's organisation team. Michel Dalberto has been invited to teach masterclasses at Accademia Pianistica de Imola, Hochschule Hannover, Royal College Manchester, University Seoul, Toho Gakuen Tokyo, Tel Hai Academy in Israel and Interlochen Music University (USA). Since 2010, he has been appointed professor for piano at the Conservatoire de Paris. A keen sportsman, he does ski in Savoy and Switzerland (where he lives). He is also an expert in scuba-diving and a devoted fan of Formula 1. He has been awarded the Knight of the Ordre National du Mérite by the French Government in 1996.
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