Dort in den Weiden steht ein Haus - No. 31 from 49 Deutsche Volkslieder WoO 33
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Brahms, Johannes Traditional , lyricist s. Not a subscriber yet? Naxos Records, a member of the Naxos Music Group. We use cookies to improve the use of our website, our products and services, and confirm your login authorization or initial creation of account.
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Dort in den Weiden steht ein Haus - No. 31 from "49 Deutsche Volkslieder" WoO 33 - Kindle edition by Johannes Brahms. Download it once and read it on your. 49 Deutsche Volkslieder, WoO 33 (Brahms, Johannes) .. Lebhaft und herzlich ( G major): Dort in den Weiden steht ein Haus. Zierlich und lebhaft (G minor).
Welcome to Naxos Records. Sagt mir, o schonste Schafrin mein Erlaube mir, feins Madchen Guten Abend, mein tausiger Schatz Die Sonne scheint nicht mehr Da unten im Tale Ach, englische Schaferin Jungfraulein, soll ich mit euch gehn Feinsliebchen, du sollst mir nicht barfuss gehn Wach auf, mein Hort Wach auf mein Herzensschone Ach Gott, wie weh tut Scheiden So wunsch ich ihr ein gute Nacht Schonster Schatz, mein Engel He was a particularly warm and genial recitalist, and was known for varying his lieder interpretations according to the moods and reactions he picked up from the audience.
Works on This Recording
Such lieder performances were at the core of his work as a singer, although he was also a gifted actor on the opera stage, and was noted for his very human, rather than buffoonish interpretation of Beckmesser in Die Meistersinger. He and Dietrich Fischer-Dieskau were near-contemporaries, sharing almost the same repertoire.
Though they rarely sniped at one another in public or threw temper tantrums over the other's publicity unlike many of their precedents or successors , there was a certain tension between them, which did ease as time progressed, and both were generally acknowledged as different artists who brought different strengths to music, rather than one being a less successful version of the other.
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He was also a noted teacher, both of singing technique and lieder interpretation. While his father had no special interest in music, his mother was a music lover, particularly devoted to vocal music. At school, Prey sang in the choir, with occasional solos, and at the age of eleven successfully auditioned for the highly selective Berlin Mozart Choir.
The war disrupted all of this, but Prey still sang whenever possible and also played in some amateur bands. After school, he applied to the local music conservatory, and while he was not accepted, the judges recommended that he study with a young teacher, Harry Gottschalk, though Gottschalk was still in college at the time. One of the first tasks was determining whether Prey was a tenor or a baritone, and while his voice did deepen throughout his career, he kept a strong upper register.
Gottschalk's teaching focused on vocal exercises and songs, and Prey made enough progress that when he re-auditioned for the conservatory in , he was accepted.
About Hermann Prey
At the conservatory he greatly improved his aural training and intonation, and developed a wide repertoire of musical styles, from the medieval to contemporary. Here Prey received his first in-depth introduction to lieder, and it was while he was a student that he decided that 19th century lieder would be the core of his career. In he made his first professional concert appearance in a concert at Grunewald Castle, singing the baritone part of Paul Hoffer's Woodland Serenade.
During this period, when he was getting as much experience as he could, he also sang a good deal of popular music, and was even urged to become a popular rather than a classical singer. Though his heart remained with lieder and, to a lesser extent, opera, he maintained an interest in popular music, performed and recorded it to some extent throughout his career, and was steadfast in maintaining that a singer need be neither "just classical" or "just popular.
By that time, however, he had enough experience and exposure as a singer that his career was not particularly affected. Shortly after this, he won the first prize in the American Army's German youth organization's Mastersinger Competition out of 3, singers who auditioned , which brought him even more publicity, and so many new offers for engagements that unlike most students, he was turning down more offers than he accepted.
One of the ones he accepted was for the Hesse State Theater in Wiesbaden, and he made his stage debut as Moruccio in d'Albert's Tiefland. In late , as part of the prize package of the Mastersinger Competition, he made a four-week tour of the United States, where he made his first television appearance on The Ed Sullivan Show, as well as singing in several concerts. In , he made his San Francisco opera debut as Rossini's Figaro.
He sang Papageno for the first time in , and it was to become his most popular operatic role; in , he sang Wolfram in his Bayreuth debut. He first met Fritz Wunderlich in , and they two became very close friends as well as professional associates. He and Wunderlich had recorded an album of Christmas music, which was published about a month after Wunderlich's death.
Gemini - Brahms: Deutsche Volkslieder / Schwarzkopf, Et Al
Prey wrote a tribute to Wunderlich on the record sleeve, ending "We were going to take the world by storm. We were to become the Castor and Pollux of song.
But fate would have it otherwise. I must remain as the lonely and abandoned twin. I mourn the loss of a friend and brother singer, whom no one can ever replace. In , he made his first television show, Schaut Her, Ich's Bin, which became wildly popular.
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In , made an eight-LP collection of folk songs for Philips, and in he made a belated debut at the Lyric Opera of Chicago, as Rossini's Figaro. He made a still more belated debut in the same role at Covent Garden in During the '70s and '80s, he continued to record and present recitals, even adding new roles to his repertoire such as Beckmesser in Die Meistersinger. In , Phonogram released a long-time project of Prey's, a recording of The Prey Lied Edition, a collection of German songs, from Minnesinger compositions to modern works.
That same year, he established the Schubertiade Festival at Hohenems, which he directed until , when he and the management disagreed over some of the festival's artistic aims, specifically Prey's wish to present all of Schubert's songs in strict chronological order. He made his directorial debut in in Salzburg, directing Le Nozze di Figaro. He died unexpectedly in of heart failure.
O Tod, wie bitter bist du Text: Such lieder performances were at the core of his work as a singer, although he was also a gifted actor on the opera stage, and was noted for his very human, rather than buffoonish interpretation of Beckmesser in Die Meistersinger. Sagt mir, o schonste Schafrin mein. In he made his first professional concert appearance in a concert at Grunewald Castle, singing the baritone part of Paul Hoffer's Woodland Serenade. Es ging ein Maidlein zarte. Prey wrote a tribute to Wunderlich on the record sleeve, ending "We were going to take the world by storm. Nur ein Gesicht auf Erden lebt.
He and his wife, Barbel, had three children, one of whom, Florian Prey, is himself a singer, whose timbre has some of the same richness of his father's voice. While he left a number of recordings, unfortunately the Prey Lieder Edition is not currently available on CD. While his rendition of the Toreador Song sounds avuncular rather than swaggering, the other selections, drawn from both his regular repertoire Die Zauberflaute, Le Nozze di Figaro and works not associated with his career Faust, Pique Dame are excellent.