o? Was zieht mich hinaus? Und windet und schraubt mich Aus Zimmer und Haus? Wie dort sich die Wolken Am Felsen verziehn! Da möcht ich hinüber, Da möcht ich wohl hin! Nun wiegt sich der Raben Geselliger Flug; Ich mische mich drunter Und folge dem Zug. Und Berg und Gemäuer Umfittigen wir; Sie weilet da drunten, Ich spähe nach ihr. Da kommt sie und wandelt; Ich eile sobald, Ein singender Vogel, Im buschigen Wald. Sie weilet und horchet Und lächelt mit sich: "Er singet so lieblich Und singt es an mich." Die scheidende Sonne Vergüldet die Höh'n; Die sinnende Schöne, Sie läßt es geschehn. Sie wandelt am Bache Die Wiesen entlang, Und finster und finstrer Umschlingt sich der Gang; Auf einmal erschein ich, Ein blinkender Stern. "Was glänzet da droben, So nah und so fern?" Und hast du mit Staunen Das Leuchten erblickt, Ich lieg dir zu Füßen, Da bin ich beglückt! -- Hermann Prey was born in Berlin and grew up in Nazi Germany. He was scheduled to be drafted when World War II ended. He studied voice at the Hochschule für Musik in Berlin and won the prize of the Frankfurt contest of the Hessischer Rundfunk in 1952.He began to sing in song recitals and made his operatic debut the next year in Wiesbaden. He joined the Hamburger Staatsoper, where he sang until 1960. During his last years in Hamburg, he also made frequent guest appearances elsewhere, including the Salzburg Festival. He sang frequently at the Metropolitan Opera between 1960 and 1970 and made his Bayreuth debut in 1965. Although he often sang Verdi early in his career, he later concentrated more on Mozart and Richard Strauss. Prey, a light baritone, was vocally well suited to portray Figaro. He was at home with comic opera Italian-style, displaying scenic intelligence, liveliness and hilarity. His athletic agility and great comic acting made him an obvious choice for numerous productions of Mozart's and Rossini's operas in the 1970s. In 1972 he performed as Figaro in Jean-Pierre Ponnelle's television film of Rossini's Il Barbiere di Siviglia with Teresa Berganza as Rosina, Luigi Alva as Almaviva and conductor Claudio Abbado. He appears alongside Fritz Wunderlich in the live televised version of Il Barbiere di Siviglia in its German translation, Der Barbier von Sevilla. He also portrayed Figaro in 1976 in Ponnelle's film of Mozart's Le nozze di Figaro. Prey also sang operetta and performed on German television, becoming extremely popular with television audiences.He is best remembered for his recitals, his first American recital having been given in 1956. He was a gifted interpreter of Schubert, as well as other Lieder. He also appeared frequently in concert, particularly in the Bach Passions and Brahms' A German Requiem.Prey's straightforward, clear tone - very different from the nuanced manner of his slightly older contemporary Dietrich Fischer-Dieskau - often suggested the baritonal equivalent of Fritz Wunderlich, with whom he sometimes made records. At his best he could soar into the tenor range without the smallest suggestion of vocal effort.He recorded a multi-volume set for Phillips, tracing the history of the Lied from the Minnesänger to the twentieth century. In addition, he released numerous recordings of opera and song. Starting in 1982, he taught at the Musikhochschule Hamburg, and he wrote an autobiography which was translated as First Night Fever (ISBN 0-7145-3998-8).In 1988, he directed a production of The Marriage of Figaro in Salzburg. His son Florian is also a baritone. He died in Krailling, Bavaria. For many years, Michael Endres was the pianist to Hermann Prey. http://en.wikipedia.org/wiki/Hermann_Prey ================================ *Note:Support the artist, their families and their legacy by purchasing their music.

es Requiem, nach Worten der heiligen Schrift, Op. 45 (English: A German Requiem, to words of the Holy Scriptures) is a large-scale work for chorus, orchestra, and soloists, composed by Johannes Brahms between 1865 and 1868. Ein deutsches Requiem is sacred but non-liturgical. It comprises seven movements, which together last 70-80 minutes, making Ein deutsches Requiem Brahms's longest composition. Brahms's mother died in February 1865, a loss that painfully grieved him and that may well have inspired Ein deutsches Requiem. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain. By the end of April 1865, Brahms had completed the first, second, and fourth movements. The second movement used some previously abandoned musical material written in 1854, the year of Schumann's mental collapse and attempted suicide, and of Brahms's move to Düsseldorf to assist Clara Schumann and her seven children. Brahms completed all but what is now the fifth movement by August 1866. Johannes Herbeck conducted the first three movements in Vienna on December 1, 1867. Though the partial premiere went poorly, all six movements then extant were premiered in the Bremen cathedral six months later on Good Friday, 10 April 1868, with Brahms conducting and Julius Stockhausen as the baritone soloist. The performance was a great success and marked a turning point in his career. Brahms added the fifth movement in May 1868. It was first sung in Zurich on September 12, 1868 by Ida Suter-Weber, with Friedrich Hegar conducting the Zurich Tonhalle Orchestra. The final, seven-movement version of Ein deutsches Requiem was premiered in Leipzig on February 18, 1869 with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krükl.

ie Natur, Wie glänzt die Sonne, wie lacht die Flur! Es dringen Blüten aus jedem Zweig Und tausend Stimmen aus dem Gesträuch, Und Freud und Wonne aus jeder Brust; O Erd', o Sonne, o Glück, o Lust! O Lieb', o Liebe! So golden schön Wie Morgenwolken auf jenen Höhn! Du segnest herrlich das frische Feld, Im Blütendampfe die volle Welt. O Mädchen, Mädchen, wie lieb ich dich! Wie [blickt]2 dein Auge, wie liebst du mich! So liebt die Lerche Gesang und Luft, Und Morgenblumen den Himmelsduft Wie ich dich liebe mit warmen Blut, Die du mir Jugend und Freud und Mut [Zu]1 neuen Liedern und Tänzen gibst. Sei ewig glücklich, wie du mich liebst! -- Hermann Prey was born in Berlin and grew up in Nazi Germany. He was scheduled to be drafted when World War II ended. He studied voice at the Hochschule für Musik in Berlin and won the prize of the Frankfurt contest of the Hessischer Rundfunk in 1952.He began to sing in song recitals and made his operatic debut the next year in Wiesbaden. He joined the Hamburger Staatsoper, where he sang until 1960. During his last years in Hamburg, he also made frequent guest appearances elsewhere, including the Salzburg Festival.He sang frequently at the Metropolitan Opera between 1960 and 1970 and made his Bayreuth debut in 1965. Although he often sang Verdi early in his career, he later concentrated more on Mozart and Richard Strauss. Prey, a light baritone, was vocally well suited to portray Figaro.He was at home with comic opera Italian-style, displaying scenic intelligence, liveliness and hilarity. His athletic agility and great comic acting made him an obvious choice for numerous productions of Mozart's and Rossini's operas in the 1970s. In 1972 he performed as Figaro in Jean-Pierre Ponnelle's television film of Rossini's Il Barbiere di Siviglia with Teresa Berganza as Rosina, Luigi Alva as Almaviva and conductor Claudio Abbado. He appears alongside Fritz Wunderlich in the live televised version of Il Barbiere di Siviglia in its German translation, Der Barbier von Sevilla. He also portrayed Figaro in 1976 in Ponnelle's film of Mozart's Le nozze di Figaro. Prey also sang operetta and performed on German television, becoming extremely popular with television audiences.He is best remembered for his recitals, his first American recital having been given in 1956. He was a gifted interpreter of Schubert, as well as other Lieder. He also appeared frequently in concert, particularly in the Bach Passions and Brahms' A German Requiem.Prey's straightforward, clear tone - very different from the nuanced manner of his slightly older contemporary Dietrich Fischer-Dieskau - often suggested the baritonal equivalent of Fritz Wunderlich, with whom he sometimes made records. At his best he could soar into the tenor range without the smallest suggestion of vocal effort.He recorded a multi-volume set for Phillips, tracing the history of the Lied from the Minnesänger to the twentieth century. In addition, he released numerous recordings of opera and song.Starting in 1982, he taught at the Musikhochschule Hamburg, and he wrote an autobiography which was translated as First Night Fever (ISBN 0-7145-3998-8).In 1988, he directed a production of The Marriage of Figaro in Salzburg. His son Florian is also a baritone. He died in Krailling, Bavaria.For many years, Michael Endres was the pianist to Hermann Prey. http://en.wikipedia.org/wiki/Hermann_Prey ================================ *Note:Support the artist, their families and their legacy by purchasing their music.