Schubert: Winterreise, Op. 89, D. 911 (Live) Nahuel di Pierro & Alphonse Cemin

• Franz Schubert (1797-1828): Winterreise, Op. 89, D. 911:
• 1No. 1, Gute Nacht04:51
• 2No. 2, Die Wetterfahne 01:34
• 3No. 3, Gefrorne Tränen 02:16
• 4No. 4, Erstarrung 02:51
• 5No. 5, Der Lindenbaum 03:58
• 6No. 6, Wasserflut 03:35
• 7No. 7, Auf dem Flusse 03:09
• 8No. 8, Rückblick 02:03
• 9No. 9, Irrlicht 02:31
• 10No. 10, Rast 02:38
• 11No. 11, Frühlingstraum 03:32
• 12No. 12, Einsamkeit02:29
• 13No. 13, Die Post 02:12
• 14No. 14, Der greise Kopf 02:37
• 15No. 15, Die Krähe 02:19
• 16No. 16, Letzte Hoffnung02:07
• 17No. 17, Im Dorfe 03:10
• 18No. 18, Der stürmische Morgen 00:46
• 19No. 19, Täuschung 01:32
• 20No. 20, Der Wegweiser 03:42
• 21No. 21, Das Wirtshaus 03:55
• 22No. 22, Mut!01:25
• 23No. 23, Die Nebensonnen 02:10
• 24No. 24, Der Leiermann04:10
• Total Runtime01:05:32

Info for Schubert: Winterreise, Op. 89, D. 911 (Live)

Im Frühjahr 1827 trug Schubert seinen Freunden erstmals den ersten Teil seines bekanntesten Liederzyklus „Winterreise“ vor. Zu dieser Zeit ging er noch davon aus, hiermit sämtliche dazugehörigen Lieder vertont zu haben. Erst später stieß er in Müllers 1824 erschienenem Bändchen „ Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten“ auf den vollständigen Zyklus von 24 Gesängen. Daraufhin fasste er die zwölf weiteren Gedichte zu einer eigenen, die Lieder der ersten Abteilung teils paraphrasierenden, teils weiterführenden Gruppe zusammen.

Im Anhang der vorliegenden Bände erscheinen zudem vier Lieder – „Wasserflut“, „Rast“, „Mut“ und „Der Leiermann“ – in Schuberts originalen Tonlagen, bevor er bzw. sein Verleger Haslinger diese um einen Ganzton nach unten transponierten. Somit bietet der Band für hohe Stimme (BA 9118) einen zusätzlichen Anreiz für Tenöre, während die Tonlagen im Hauptteil eher für höhere Baritone geeignet sind. In der Ausgabe für mittlere (BA 9138) und tiefe Stimme (BA 9158) wird dementsprechend im Anhang zu diesen Liedern auch eine höhere Alternative angeboten.

Nahuel di Pierro, Bass
Alphonse Cemin, Klavier

Nahuel Di Pierro
was born in 1984 in Buenos Aires. He studied singing at the Institute of the Teatro Colón, starting with rôles such as Masetto (Don Giovanni), Haly (L’Italiana in Algeri), Figaro (Le nozze di Figaro), Colline (La bohème), and Guglielmo (Così fan tutte). He continued with rôles including Sarastro (Die Zauberflöte) in Dessau and Basilio (Il barbiere di Siviglia) at the Deutsche Oper Berlin. For the Palacio de las Artes in Valencia he collaborated in a series of productions, including Fidelio, Don Giovanni and Cyrano de Bergerac. He has appeared as Colline (La bohème) in London, Basilio (Il barbiere di Siviglia) in Toulouse, Léandre (The Love for Three Oranges) and at the Paris Opéra, Bastille as Masetto (Don Giovanni).

Alphonse Cemin
was born in 1986. He studied piano and flute at the Regional Conservatory of Boulogne Billancourt, analysis at the Regional Conservatory of Paris (Alain Louvier) and harmony with Jacques Castérède before attending classes with Brigitte François Sappery and Michael Levinas.

He studied piano with Paul-André Gaye, Marie-Paule Siruguet, Dorothée Bocquet, Carine Zafirian and received the advice of Jean-Claude and Jean-François Pennetier Heisser.

Alphonse Cemin is one of the founders of the assemble "Le Balcon" (address Maxime Pascal) with which mainly plays music composers of his generation but have a wide repertoire of music of the past century.

Takes charge at the request of René Martin workshops transcripts of the "Folle Journée de Nantes". He appeared in chamber music with personalities such as Emmanuel Pahud, Paul Meyer, Olivier Charlier, the Modigliani Quartet, Fanny Clamagirand and played under the direction of Pierre Boulez (Pierrot Lunaire), Peter Eötvös, David Robertson.

In his repertoire as a soloist is the 2nd concert and Paganini Variations by Rachmaninov, the 20th concert of Mozart, the Triple Concerto of Beethoven and worked with the actors Michael Lonsdale (Concert-Reading Wagner-Nietzche) and Danièle Douet (Alouette in the Sorano-Vincennes) theater.

It has been presented at the Opera Garnier, the Grand Theatre de Bordeaux, the Auditorium du Louvre, the Opera de Nantes, KKL-Lucerne, the Villa Medicis, the Palazzetto Bru-Zane-Venice, the Abbey of Royaumont, the National Auditorium Madrid, Florida International University in Miami. He attended festivals in Aix-en-Provence, Folle journée de Nantes, Folle journée de Tokyo, the festival Emperi music, Strasbourg Music Festival and Cordes-sur-Ciel festival.

Over the years, he became the privileged companion soprano Julie Fuchs with whom he recorded an album dedicated to the melodies of Youth Mahler and Debussy (I removed).

Also he works as head of singing and musical director in productions of operas and the opera workshop of the National Opera of Paris. This activity allowed him to collaborate with teachers such as Esa-Pekka Salonen, Kent Nagano, George Benjamin, Franck Ollu and work at the Festival of Aix-en-Provence, in the Bayerische Staatsoper in Munich, the Teatro Maggio Musicale Fiorentino, the Capitole Theatre Toulouse and Paris Opera Comique.

He participated in the creation of the opera by George Benjamin and Martin Crimp Written on Skin in the Festival of Aix-en-Provence.

Booklet for Schubert: Winterreise, Op. 89, D. 911 (Live)