The internationally acclaimed baritone Hermann Prey was born in Berlin in 1929. He made his breakthrough in 1956 as Figaro in the Vienna State Opera’s production of Rossini’s “Barber of Seville”. He has since performed at all of the world’s great opera houses and festivals. Hermann Prey has always loved lieder, especially the works of Franz Schubert and Robert Schumann. In spite of his many engagements on the opera stage or in the concert hall, in the TV and recordings studios, Hermann Prey always takes the time to pass his knowledge and experience on to younger generations by giving master classes in lied singing all over the world.
Schumann, Piano Concerto in A minor, op.54
Schumann dedicated his piano concerto to Ferdinand Hiller, but it was his wife Clara Schumann who premiered it on 1 January 1846 in Leipzig, thus ensuring its overwhelming success. Written after a profound study of the works of Bach, the piece bears no trace of learned polyphony or complex counterpoint. It seems to flow effortlessly, without flashy virtuosity or Beethovenian drama. Not surprisingly, it is one of the most popular piano concertos in the repertoire. Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Mischa Maisky.
Schumann, Symphony No.3 in E flat major, op.97
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Symphony No.1 in B flat major, op.38
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Three Songs
Schumann, Nocturne, op.23 (Carinthian Summer 1971)
The great Russian pianist Emil Gilels was universally acclaimed for his breathtaking performances of the most demanding concertos and most challenging piano pieces of piano literature. But he was also a master of the miniature form, and his interpretations of the “Songs Without Words” and other little pieces by Mendelssohn, Schumann, Chopin, Grieg and others were nothing short of mesmerizing. A specialist of the German repertoire, Gilels gave an all German-Austrian program at the 1971 Carinthian Summer Festival in Austria, where Schumann’s Nachtstück was recorded.
Schumann, Cello Concerto in A minor, op.129
Robert Schumann wrote his Violoncello Concerto in Düsseldorf in only two weeks. He himself did not play the cello, a fact which is immediately apparent from his treatment of the solo part. Passages of sweeping lyricism contrast sharply with excruciatingly difficult technical passages quite unsuited to the instrument. They make the concerto one of the most fearsome in all of cello literature. Schumann never heard the concerto played in public: the first performance did not take place until four years after his death. Recorded in 1985/86 at the “Grosser Musikvereinssaal” in Vienna, this recording features world-renowned cellist Mischa Maisky as the soloist accompanied by the Vienna Philharmonic Orchestra under the direction of Leonard Bernstein.
Schumann, Manfred-Overture, op.115
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Symphony No.2 in C major, op.61
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Symphony No.4 in D minor, op.120
In the early 1960s, Herbert von Karajan (1908-1989) became fascinated by the movie director Henri-Georges Clouzot, who had directed “Quai des orfèvres” and “Mystère Picasso.” He suggested that Clouzot work with him on a “visual interpretation” of musical masterworks. Their fruitful collaboration included Schumann’s Fourth Symphony (1965), Beethoven’s Symphony No. 5 (1966), Mozart’s Fifth Concerto (1966), Dvorak’s Ninth Symphony (1966) and Verdi’s Requiem (1967). The chemistry between the two men was unparalleled: the score becomes a script, the musical phrases are translated into cuts where the musicians are treated as “actors” of music. The director creates an extraordinarily captivating climate, reproducing in images all the nuances and strength of the work. Tracked by Clouzot’s camera, Karajan’s concentration is equally fascinating. Never had a conductor been filmed with as much strength and passion.