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Schöne Welt, wo bist Du?
Various composers

Julia Kleiter / Michael Gees

Schöne Welt, wo bist Du?

Price: € 14.95
Format: SACD
Label: Challenge Classics
UPC: 0608917259322
Catnr: CC 72593
Release date: 24 May 2013
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Label
Challenge Classics
UPC
0608917259322
Catalogue number
CC 72593
Release date
24 May 2013

"Michael Gees can conjure rustling twigs and rolling waves out of his keys "

Luister, 11-11-2013
Album
Artist(s)
Composer(s)
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About the album

Alban Berg's "Seven Earyl Songs" were the basis of the CD and are used as a leitmotif. The songs are divided up and combined with songs by Gustav Mahler, Richard Strauss, Franz Schubert, Yrjö Kilpinen, Hugo Wolf and Arnold Schönberg. One of a kind is the improvisation of Julia Kleiter and Michael Gees based on Hermann Hesse's "Sternklare Nacht".
Romantische liederen schetsen utopische toekomstbeelden
Hoe moet de wereld eerlijker worden zolang er niets verandert? En wie anders dan wijzelf zou voor die verandering moeten zorgen?
Dit thema stond centraal bij het maken van dit album en keuze voor deze liederen. De Sieben frühe Lieder van Alban Berg dienen hier als een leitmotif aangevuld met liederen van Gustav Mahler, Richard Strauss, Franz Schubert, Yrjö Kilpinen, Hugo Wolf and Arnold Schönberg.
In het Lied Nacht, bijvoorbeeld, wordt er gezongen over een grenzeloos wonderland dat in de verre mist gezien kan worden. We bevinden ons niet in die wereld, niet in die zogenaamde realiteit, maar we zien dat de wereld kan bestaan. Deze combinatie van Romantische liederen over utopische toekomstbeelden en de realisatie van het hier en nu levert een bijzondere compilatie op van prachtige liederen. Een unicum op dit album is de improvisatie van Julia Kleiter en Michael Gees over Herman Hesse’s Sternklare Nacht, waarbij wordt gekeken naar een toekomstbeeld waarin de creativiteit van de musicus net zo omarmd wordt als de bladmuziek van de componist.

Het album was Julia Kleiter’s solo debuut. Ze wordt op dit album begeleidt door pianist Michael Gees, die bekend is als begeleider van tenor Christoph Prégardien (zie bijvoorbeeld de hun opname van Schubert’s Winterreise) en solo albums met muziek van Satie:ImproviSatie en Schumann: Beyond Schumann.
Intensive Liedinterpretationen mit Julia Kleiter und Michael Gees: ein Programm mit absolutem Tiefgang.

Schöne Welt, wo bist Du? - Sehnsucht und ihre Auswirkung auf die Zukunft: diesem Phänomen versuchen die Sopranistin Julia Kleiter und der Pianist Michael Gees auf den Grund zu gehen.

Die "Sieben frühen Lieder" von Alban Berg werden in ihrer Reihenfolge aufgebrochen und mit Liedern von Mahler, Schubert, Strauss, Wolf und Yrjö Kilpinen verbunden. Den Emotionen gehen die beiden Künstler auch in einer eigenen Improvisation nach. Hermann Hesses "Sternklare Nacht" wird frei gestaltet und gibt Julia Kleiter und Michael Gees den Raum für ihre ganz persönlichen Sehnsüchte.

Artist(s)

Michael Gees

'Throughout the evening Gees played as if he had composed the pieces himself and was therefore extremely vigilant to make sure the performance was carried out according to his inner ear. His eyes were not those of an artist intent on reproduction, but  shone rather a lambent look of passion, just as one might imagine the composer as the creator.“ N. Campogrande Michael Gees’ biography certainly justifies the term: exceptional. Few others can claim to have a career already behind them at the tender age of fifteen: Born in 1953 into a world of sound and music, both parents are singers, the piano is his favourite toy at age three. Formal piano lessons follow at age five, and the young musician subsequently goes...
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"Throughout the evening Gees played as if he had composed the pieces himself and was therefore extremely vigilant to make sure the performance was carried out according to his inner ear. His eyes were not those of an artist intent on reproduction, but shone rather a lambent look of passion, just as one might imagine the composer as the creator.“ N. Campogrande Michael Gees’ biography certainly justifies the term: exceptional. Few others can claim to have a career already behind them at the tender age of fifteen: Born in 1953 into a world of sound and music, both parents are singers, the piano is his favourite toy at age three. Formal piano lessons follow at age five, and the young musician subsequently goes on to win the Steinway Competition at age eight and receives a scholarship at the Mozarteum in Salzburg.
The child prodigy is hailed as “Westphalian Mozart“, takes up studies at the conservatories in Detmold and Vienna and it seems as if he is fast on his way to become an internationally acclaimed pianist. Were it not for the gifted child’s longing to explore the world of sound on his own terms, to playfully experience his self like the great masters’ music, to invent their music all over again, note for note instead of limiting himself to a technical practice regimen. Michael Gees flees the pressure of a predetermined competitional career at the age of fifteen, leaves school, conservatory and home behind, supports himself through odd jobs, works as archeological assistant and, in the process, for the duration of two full years, becomes a sailor.
Chance leads him back to the Hochschule für Musik und Theater in Hannover, where he resumes his compositional studies and eventually graduates. He now develops first rate pianistic chops on his own, composes a number of works, gains international renown as lied accompanist of extraordinary proportions with Christoph Prégardien and also appears in concerts globally; in Paris, London, New York and Tokio. All the while, he nurses and feeds his preference for combining the performance of music of past masters with living inspiration, thereby creating remarkable performances with his instrument.
In 1989, Gees founds “forum kunstvereint“ in his adopted hometown of Gelsenkirchen; the Consol Theater, also installed by him, opens its doors in 2001 on the confines of the former mining area Consolidation. There, music, dance and theatre projects take shape, where children, youths and adults alike are incited and encouraged to discover and realize their own artistic impulses. A steady number of CDs have been released from 1996 onward on forum kunstvereint, CPO and EMI, showcasing Michael Gees’ range.
Since 2008 Michael Gees is associated to the Netherlands label Challenge Classics. The 2009 release of the Schöne Müllerin with Christoph Prégardien won the MIDEM Classical Award and became Recording of the Year. Michael Gees works on solo-recitals which enjoy breaking with tradition, on modernized lied-renditions, melodramas and stage music.

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Julia Kleiter

Born in Limburg, Julia Kleiter studied with William Workmann in Hamburg and with Klesie Kelly-Moog in Cologne and debuted 2004 as Pamina at Opéra-Bastille in Paris under Jiri Kout. In the meantime she has sung this role in several productions in Madrid, Zürich, at the Edinburgh Festival, in New York, Munich and at Salzburg Festival with conductors such as Nikolaus Harnoncourt, Marc Minkowski, Claudio Abbado or Adam Fischer. 2005 she was heard as Giunia in Lucio Silla by Johann Christian Bach under Theodor Guschlbauer with Zurich Opera in Winterthur, in Zurich she performed 2006 Serpetta in under Nikolaus Harnoncourt, 2007 Sophie in Der Rosenkavalier and Zdenka in Arabella La Finta Giardiniera unter Franz Welser-Möst and 2010 Ilia under Harnoncourt. Other highlights of...
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Born in Limburg, Julia Kleiter studied with William Workmann in Hamburg and with Klesie Kelly-Moog in Cologne and debuted 2004 as Pamina at Opéra-Bastille in Paris under Jiri Kout. In the meantime she has sung this role in several productions in Madrid, Zürich, at the Edinburgh Festival, in New York, Munich and at Salzburg Festival with conductors such as Nikolaus Harnoncourt, Marc Minkowski, Claudio Abbado or Adam Fischer.
2005 she was heard as Giunia in Lucio Silla by Johann Christian Bach under Theodor Guschlbauer with Zurich Opera in Winterthur, in Zurich she performed 2006 Serpetta in under Nikolaus Harnoncourt, 2007 Sophie in Der Rosenkavalier and Zdenka in Arabella La Finta Giardiniera unter Franz Welser-Möst and 2010 Ilia under Harnoncourt.
Other highlights of her operatic career were Papagena under Claudio Abbado in Ferrara, Baden-Baden and Modena, Susanna in in Verona, Reggio Emilia, Dresden and Paris, Celia in Mozart’s in Lucio Silla Le Nozze di Figaro unter Tamas Netopil in Venise and at the Salzburg Festival, Amor in Orfeo ed Euridice under Ricardo Muti in Florence and Euridice under Thomas Hengelbrock in Paris, Marzelline in Fidelio in Ferrara, Baden-Baden and Madrid under Claudio Abbado and in Paris under Sylvain Cambreling, Händel’s Acis und Galathea in concert in Göttingen, Ilia under Harnoncourt in Graz, Ännchen in Der Freischütz (Hengelbrock/Wilson) in Baden-Baden and Dortmund, Zendka under Ulf Schirmer and Sophie under Donald Runnicles at Deutsche Oper Berlin. 2012 she debuted highly successfull as Almirena at Lyric Opera of Chicago in Händel’s Rinaldo and returned to Paris as Zdenka under Philippe Jordan.
As a concert singer and recitalist she is guesting in all major concert halls and is working with conductors such as Helmut Rilling, Claudio Abbado, Riccardo Muti, Jeffrey Tate, Nikolaus Harnoncourt, Marc Minkowski, Ivor Bolten, René Jacobs, Christoph Poppen, Daniel Harding or Marek Janowski.
Several dvd and cd recordings are proving her artistic variety.

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Composer(s)

Franz Schubert

Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the...
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Franz Peter Schubert was an Austrian composer. Schubert already died before his 32nd birthday, but was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early nineteenth century.
It was in the genre of the Lied that Schubert made his most indelible mark. Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism. Schubert expanded the potentialities of the genre like no other composer before.

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Alban Berg

Alban Berg was an Austrian composer. Berg studied from 1904 to 1910 under Arnold Schoenberg and together with his teacher and fellow student Anton Webern he is part of the Second Viennese School. Berg married with Helene Nahowski (1885-1976), a singer who was a daughter from Anna Nahowski and, allegedly, Emperor Franz Joseph I of Austria. At first, Berg applied a free atonality, but later he started developing strict twelve tone techniques and combined these to a style which, despite its expressionistic character, reminds of the Late Romantic music of Gustav Mahler. 
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Alban Berg was an Austrian composer. Berg studied from 1904 to 1910 under Arnold Schoenberg and together with his teacher and fellow student Anton Webern he is part of the Second Viennese School. Berg married with Helene Nahowski (1885-1976), a singer who was a daughter from Anna Nahowski and, allegedly, Emperor Franz Joseph I of Austria.

At first, Berg applied a free atonality, but later he started developing strict twelve tone techniques and combined these to a style which, despite its expressionistic character, reminds of the Late Romantic music of Gustav Mahler.


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Gustav Mahler

During his own time, Gustav Mahler was considered as one of the major conductors of Europe, but nowadays he is considered to a major composer who bridged the Late Romantic period to the modern age.  Few composers are so connected with the symphonic repertory as Gustav Mahler. Composing symphonies was his 'core business': in every aspect he developed the symphony towards, and sometimes even over, its absolute limits. Almost all of Mahler's symphonies are lenghty, demand a large orchestra and are particularly great in their expressive qualities. With rustic and mythical atmospheres (the start of the First Symphony), daunting chaos (the end of his Sixth), grand visions (end of his Second), cheerful melodies (opening Fourth), romantic melancholy (the famous adagio of...
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During his own time, Gustav Mahler was considered as one of the major conductors of Europe, but nowadays he is considered to a major composer who bridged the Late Romantic period to the modern age.

Few composers are so connected with the symphonic repertory as Gustav Mahler. Composing symphonies was his "core business": in every aspect he developed the symphony towards, and sometimes even over, its absolute limits. Almost all of Mahler's symphonies are lenghty, demand a large orchestra and are particularly great in their expressive qualities. With rustic and mythical atmospheres (the start of the First Symphony), daunting chaos (the end of his Sixth), grand visions (end of his Second), cheerful melodies (opening Fourth), romantic melancholy (the famous adagio of his Fifth), evocations of nature (his Third), megalomanic eruptions in the orchestra (his Eighth), and the clamant atonality of his unfinished Tenth, Mahler's musical palette seemed inexhaustible.

His symphonies are captivating, but some could find it a bit 'over the top' at times. For those, his orchestral songs could undoubtedly show there is an incredibly subtle and refined side to his compositional style as well.

In the Netherlands, Mahler is particularly popular due to its close bond with the Royal Concertgebouw Orchestra, which was already established during his lifetime!


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Richard Strauss

Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his  Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
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Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

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Hugo Wolf

Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas. Even though he did start writing...
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Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas.
Even though he did start writing on several full-fledged operas, it never became a true succes. Only his opera Der Corregidor (1896) was completed. Things went downhill from there. In 1897, Wolf had a nervous breakdown as a consequence of a syphilis infection he had since his teens. After a failed suicide attempt, he was admitted to a clinic in Vienna. The somber Michelangelo-Lieder (1898) would become his last completed composition. Wolf died in 1903, three weeks before his 43st birthday.


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Yrjö Kilpinen

Yrjö Kilpinen was a Finnish composer whose works total over 800 solo songs to Finnish, Swedish, and German poems. In addition, he composed choral songs, chamber music, and works for solo piano. Kilpinen’s style is marked by clarity and austerity – sometimes very directly rugged – but at the same time extremely expressive.   In Germany and England, Kilpinen achieved great success in the 1920s and 1930s. In 1948 he was named to the Academy of Finland representing musical composition. The title of Professor was awarded to him in 1942. During the Second World War, his success began to fade, although some of his songs, such as Laululle (to Song), Kesäyö (Summer Night), Tunturilaulu (Song of Fells), and Illalle (In the Evening),...
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Yrjö Kilpinen was a Finnish composer whose works total over 800 solo songs to Finnish, Swedish, and German poems. In addition, he composed choral songs, chamber music, and works for solo piano. Kilpinen’s style is marked by clarity and austerity – sometimes very directly rugged – but at the same time extremely expressive.
In Germany and England, Kilpinen achieved great success in the 1920s and 1930s. In 1948 he was named to the Academy of Finland representing musical composition. The title of Professor was awarded to him in 1942. During the Second World War, his success began to fade, although some of his songs, such as Laululle (to Song), Kesäyö (Summer Night), Tunturilaulu (Song of Fells), and Illalle (In the Evening), has achieved folk-song status.
(Source: The Yrjö Kilpinen Society)
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Arnold Schönberg

Arnold Schoenberg was one of the most influential composers of the 20th century, but perhaps also one of the least listened to. Strikingly, Schoenberg was self-educated, even though his music is imbedded in complex music theory. It was Schoenberg who definitely departed from tonality and he developed the twelve tone technique. In this composition style, one has to use every twelve tones of the scale, before one can be repeated. The struggle to adhere to this dogma is clearly audible: his music is tense, hectic and particularly acute - and therefore at times not that accesible to occasional listeners.  Nevertheless, his music and his liberation of tonality had an enormous impact on all composers that came after him. Together with the...
more

Arnold Schoenberg was one of the most influential composers of the 20th century, but perhaps also one of the least listened to. Strikingly, Schoenberg was self-educated, even though his music is imbedded in complex music theory. It was Schoenberg who definitely departed from tonality and he developed the twelve tone technique. In this composition style, one has to use every twelve tones of the scale, before one can be repeated. The struggle to adhere to this dogma is clearly audible: his music is tense, hectic and particularly acute - and therefore at times not that accesible to occasional listeners.

Nevertheless, his music and his liberation of tonality had an enormous impact on all composers that came after him. Together with the music of his students Alban Berg and Anton Webern, his style is often referred to as the Second Viennese School, parallel to the First Viennese School of Mozart, Haydn and Beethoven, who, in a similar vein, changed the history of music for good.

His most performed works are his string sextet Verklärte Nacht, his five Orchestra pieces op. 16, and his opera Moses und Aron. The development of Schoenberg's music can be heard in his Five String Quartets in particular.


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Press

Michael Gees can conjure rustling twigs and rolling waves out of his keys 
Luister , 11-11-2013

Their artistic tour gives us the opportunity to ride along for a while 
Staal kaart, 01-11-2013

"Kleiter and Gees have chosen thematically related songs and arranged that there was a context in which each song was more expressive"
Writteninmusic, 09-10-2013

No quote 
Gramophone, 09-10-2013

Julia Kleiter's precious lyrical soprano sounds absolutely pure, occasionally almost chaste.
concerti, 01-9-2013

"Add to that the fact that the level of performance is of superior content, such that one should not speak of a singing voice with instrumental accompaniment but two completely equal partners, and it is clear that this is an issue of the absolute top class level of musicians. Kleiter is able with her ​​voice to go through all sorts of dynamic nuances to make almost tangible the emotions which are sealed in the texts in a simultaneously subtle and immediately way. Gees does this by the power of a pianism which contains a sensuality that is the hallmark of the greatest instrumentalists in this area. One can listen for instance to the end of Bergs "Nacht", which I have never heard with such an exciting rubato. And time and time again one is struck by the velvety pianissimi[…] In summary: a CD that both artistically and educationally scores very high and can be seen as a standard as such."
Opus-Klassiek, 30-8-2013

 "A cd that both artistically and educationally have a very high score and as such a measure states"
www.opusklassiek.nl, 22-8-2013

Particularly special is 'Sternklare Nacht' from Hermann Hesse in free improvisation by Kleiter and Gees.
Platomania, 20-6-2013

Gees and Kleiter are well-rehearsed and they succeed a tight and fascinating interpretation of the songs which seem to reflect and explain each other. Gees is a magician at the piano and Kleiter strikes the notional and emotional point of every song.
Klassik heute

Play album Play album
01.
Acht Lieder, Op. 49: No. 1, Waldeinsamkeit
02:56
(Richard Strauss) Julia Kleiter, Michael Gees
02.
Sieben frühe Lieder: Die Nachtigall
01:56
(Alban Berg) Julia Kleiter, Michael Gees
03.
Ich ging mit Lust durch einen grünen Wald
04:35
(Gustav Mahler) Julia Kleiter, Michael Gees
04.
Dreizehn Lieder nach Gedichten von Christian Morgenstern: Wild und Geige
02:23
(Yrjö Kilpinen) Julia Kleiter, Michael Gees
05.
Sieben frühe Lieder: Nacht
04:17
(Alban Berg) Julia Kleiter, Michael Gees
06.
Frühlingsmorgen
01:56
(Gustav Mahler) Julia Kleiter, Michael Gees
07.
Sieben frühe Lieder: Traumgekrönt
02:41
(Alban Berg) Julia Kleiter, Michael Gees
08.
Morgen! Op. 27, No. 4
04:10
(Richard Strauss) Julia Kleiter, Michael Gees
09.
Dreizehn Lieder nach Gedichten von Christian Morgenstern: Sturmnacht
02:11
(Yrjö Kilpinen) Julia Kleiter, Michael Gees
10.
Sieben frühe Lieder: Sommertage
01:42
(Alban Berg) Julia Kleiter, Michael Gees
11.
Frühlingsglaube Op. 20, No. 2, D. 686
03:30
(Franz Schubert) Julia Kleiter, Michael Gees
12.
Sieben frühe Lieder: Im Zimmer
01:18
(Alban Berg) Julia Kleiter, Michael Gees
13.
Acht Lieder, Op. 6: Verlassen
03:25
(Arnold Schönberg) Julia Kleiter, Michael Gees
14.
Verborgenheit
02:47
(Hugo Wolf) Julia Kleiter, Michael Gees
15.
Sieben frühe Lieder: Schilflied
02:06
(Alban Berg) Julia Kleiter, Michael Gees
16.
Die Götter Griechenlands, D. 667
04:19
(Franz Schubert) Julia Kleiter, Michael Gees
17.
Sternklare Nacht (Free improvisation)
07:55
(Hermann Hesse) Julia Kleiter, Michael Gees
18.
Dreizehn Lieder nach Gedichten von Christian Morgenstern: Über tausend Berge
01:05
(Yrjö Kilpinen) Julia Kleiter, Michael Gees
19.
Lieder der Liebe II, Op. 61: No. 1, Heimat
02:12
(Yrjö Kilpinen) Julia Kleiter, Michael Gees
20.
Sieben frühe Lieder: Liebesode
02:07
(Alban Berg) Julia Kleiter, Michael Gees
21.
Vier letzte Lieder, AV 150: September
04:55
(Richard Strauss) Julia Kleiter, Michael Gees
show all tracks

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Jaap van Zweden
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Secret Key Masters
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Franz Schubert
Winterreise (BluRay)
Christoph Prégardien / Michael Gees
Robert Schumann
Beyond Schumann
Michael Gees
Robert Zuidam
McGonagall-Lieder
Katrien Baerts / Pianoduo Post & Mulder / Asko|Schönberg / Oliver Knussen

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