LINCOLN CENTER
Alice Tully Hall
Great Performers
Christian Gerhaher - Baritone
Gerold Huber - Piano
All-Mahler Program
Die Einsame im Herbst, from Das Lied von der Erde (1908–09)
Sieben Lieder aus letzter Zeit
Blicke mir nicht in die Lieder! (1901)
Ich atmet’ einen linden Duft (1901)
Um Mitternacht (1901)
Liebst du um Schönheit (1902)
Ich bin der Welt abhanden gekommen (1901)
Liebst du um Schönheit (1902)
Ich bin der Welt abhanden gekommen (1901)
Revelge (1899)
Der Tamboursg’sell (1901)
Wo die schönen Trompeten blasen, from Des Knaben Wunderhorn (1898)
Der Abschied, from Das Lied von der Erde (1908–09)
Der Tamboursg’sell (1901)
Wo die schönen Trompeten blasen, from Des Knaben Wunderhorn (1898)
Der Abschied, from Das Lied von der Erde (1908–09)
A flavor of Gerhaher singing Mahler...
“One of the greatest proponents of the German lied tradition.”—New York Times on Christian Gerhaher
Gustav Mahler’s mature songs divide fairly neatly into two periods that transition during the summer of 1901, as he turned 40: Early lieder inspired by the anthology of folk poetry Des Knaben Wunderhorn (“The Youth’s Magic Horn”) and later ones setting the elevated poetry of Friedrich Rückert. At first overtly, and later in subtler ways, many of these lieder are intimately connected to Mahler’s symphonies, the other genre commanding his attention.
Mahler’s great synthesis of song and symphony came in one of his last works, Das Lied von der Erde (“The Song of the Earth”), which he called a “Symphony for Tenor and Alto (or Baritone) Voice and Orchestra.” It consists of six extraordinary songs para- phrased into German from 8th-century Chinese poems, the second and sixth of which frame the program this evening.
Mahler’s lieder are best known today in their orchestral guises, but most exist both in piano and orchestral versions; which he com- posed first varied from case to case. The songs project a distinctive flavor appropriate to their accompaniment—the piano versions are not pale reductions of orchestral splendors, the orchestral songs not overblown expansions of intimate utterances. Tonight’s concert offers the relatively rare opportunity to hear some of Mahler’s supreme lied achievements with piano accompaniment.
One of our goals in moving to New York City was to learn about and learn to appreciate a wider range of art and music. German lieder is now a new, acquired taste for us.
"Called “the most moving singer in the world” (Telegraph, U.K.) and widely considered the successor to lieder legend Dietrich Fischer-Dieskau, Christian Gerhaher presents an all-Mahler program in which artist and repertoire transcend the limits of time. For this unique recital, the German baritone sings excerpts from Mahler’s “Song of the Earth,” a “symphony of songs” by a man bidding farewell to the complex beauty of existence. He also explores Mahler’s renowned Rückert-Lieder, brooding, intimate settings of text by the lyrical poet Friedrich Rückert."
"Called “the most moving singer in the world” (Telegraph, U.K.) and widely considered the successor to lieder legend Dietrich Fischer-Dieskau, Christian Gerhaher presents an all-Mahler program in which artist and repertoire transcend the limits of time. For this unique recital, the German baritone sings excerpts from Mahler’s “Song of the Earth,” a “symphony of songs” by a man bidding farewell to the complex beauty of existence. He also explores Mahler’s renowned Rückert-Lieder, brooding, intimate settings of text by the lyrical poet Friedrich Rückert."
Gustav Mahler’s mature songs divide fairly neatly into two periods that transition during the summer of 1901, as he turned 40: Early lieder inspired by the anthology of folk poetry Des Knaben Wunderhorn (“The Youth’s Magic Horn”) and later ones setting the elevated poetry of Friedrich Rückert. At first overtly, and later in subtler ways, many of these lieder are intimately connected to Mahler’s symphonies, the other genre commanding his attention.
Mahler’s great synthesis of song and symphony came in one of his last works, Das Lied von der Erde (“The Song of the Earth”), which he called a “Symphony for Tenor and Alto (or Baritone) Voice and Orchestra.” It consists of six extraordinary songs para- phrased into German from 8th-century Chinese poems, the second and sixth of which frame the program this evening.
Mahler’s lieder are best known today in their orchestral guises, but most exist both in piano and orchestral versions; which he com- posed first varied from case to case. The songs project a distinctive flavor appropriate to their accompaniment—the piano versions are not pale reductions of orchestral splendors, the orchestral songs not overblown expansions of intimate utterances. Tonight’s concert offers the relatively rare opportunity to hear some of Mahler’s supreme lied achievements with piano accompaniment.
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