DANIEL JOHANNSEN – tenor
CHRISTOPH HAMMER – fortepiano
To give the most authentic performance of Schubert’s lieder: That is the aim of the Austrian lieder specialist Daniel Johannsen and his duo partner Christoph Hammer. The piano used is an original 1827 Conrad Graf fortepiano similar to what Schubert himself once possessed. The result is a deeply moving artistic experience from two outstanding specialists, guaranteed to send chills down the spine.
Realease date: 01. March 2019
01 Das Lied im Grünen 04:08
op. post. 115,1 . D 917
02 An den Mond in einer Herbstnacht 07:06
03 Fischerweise 03:08
op. 96,4 . D 881
04 Im Frühling 03:55
op. post. 101,1 . D 882
05 Der Wanderer an den Mond 02:13
op. 80,1 . D 870
06 Das Zügenglöcklein 06:18
op. 80,2 . D 871
07 Im Freien 05:23
op. 80,3 . D 880
08 Glaube, Hoffnung und Liebe 04:31
op. 97 . D 955
09 Die Sterne 03:24
op. 96,1 . D 939
10 Berthas Lied in der Nacht 04:15
11 An die Laute 01:46
op. 81,2 . D 905
12 Nachthymne 06:06
13 Der Winterabend 07:20
14 Am Fenster 04:31
op. 105,3 . D 878
15 Des Fischers Liebesglück 06:43
16 Herbst 02:53
17 Alinde 04:26
op. 81,1 . D 904
Total time / Gesamtspielzeit: 78:14
Booklettext by Gerrit Waidelich in German and English (36 Seiten)
Photos: Michael Johannsen
P+C 2019 Spektral, LC 15543
The Austrian tenor Daniel Johannsen studied with such lieder specialists as Robert Holl, Dietrich Fischer-Dieskau, and Christa Ludwig, and, thus, approaches art song performance with great affection. A prize-winner in the Schumann, Mozart, and Wigmore Hall competitions, Johannsen’s repertoire extends from early Baroque monody to song settings written in the present day, encompassing along the way a huge variety of vocal-instrumental chamber music.
Along with the great Schubert and Schumann cycles, his art song repertoire includes more than 300 settings in German, French, and English, which he has performed with piano partners such as Graham Johnson, Charles Spencer, Helmut Deutsch, and Burkhard Kehring in venues that range from small concert series’ to major festivals. His intensive collaboration with Christoph Hammer has been especially illuminating on a personal level, giving him the unshakable conviction that the art song genre (in common with Early Music) is best served by using the instruments that were current at the time of composition. Whenever possible, Johannsen therefore makes every effort to use keyboards, such as fortepianos for early 19th Century music, that are appropriate to the period in which the music was written.
Johannsen’s name is often connected with the role of the evangelist in Bach’s Passions, in addition to the more general oratorio repertoire from the Baroque, Classical, and Romantic eras. His performances of this literature have taken place in collaboration with ensembles such as the Freiburg Baroque Orchestra and the Vienna Radio Symphony Orchestra, and conductors include Hans-Christoph Rademann and Enoch zu Guttenberg. Johannsen has appeared in Vienna’s Musikverein, the Berlin Philharmonie, New York’s Carnegie hall, as well as other major venues in Europe, North America, Japan, and the Near East.
Daniel Johannsen has also established himself in opera, and has been heard in works by Handel, Mozart, and Britten at the Vienna Volksoper, Munich’s Gärtnerplatztheater, the Leipzig Opera and Tirol’s Landestheater.
Born in 1966, Christoph Hammer has established himself among the most important and versatile specialists in historical performance. Following his first prize in the organ division of Germany’s “Jugend musiziert” in 1983, he became a music student at Munich’s University of Music and also participated in masterclasses with noted period keyboard instrument specialists. In addition, Hammer also pursued German Studies and Musicology at the University of Munich and attended the University of California with the financial assistance of Munich’s Maximilianeum Stiftung as well as the “Studienstiftung des Deutschen Volkes”.
Since 1996, Christoph Hammer has made many recordings (including works recorded for the first time) as the director of Munich’s Neue Hofkapelle Baroque Orchestra. He is also in demand internationally as an opera conductor. In 2002 he was given the Kulturförderpreis of the Free State of Bavaria for his extensive work in Early Music, and in 2004 was honoured with the Anerkennungspreis of the Bavarian Volksstiftung. In 2003, he became the founder and artistic director of the Munich Residenzwoche Festival. A recording of the opera Catone in Utica by Giovanni Ferrandini under Hammer’s baton was released by Oehms Classics. More than 30 CDs with first recordings of Baroque and Classical works have appeared on various labels.
Christoph Hammer enjoys an international reputation as a soloist, song accompanist, and chamber musician on the fortepiano and harpsichord. He has given concerts with many well-known Baroque orchestras as well as orchestras, ensembles, and soloists that use modern instruments. Along with performing the standard concert repertoire, Hammer cultivates a special interest in reviving lesser-known and forgotten composers, and also undertakes research that results in editions of their works. He has given masterclasses at Juilliard, Yale, the Tchaikovsky Conservatory in Moscow and many other universities, in addition to being a guest at the most important international Early Music festivals. He has made numerous recordings for European radio broadcasters in addition to his many CD releases. From 2009 to 2013, Christoph Hammer was a professor of historical keyboard instruments at the University of Texas. Since 2013 he has been professor of historical keyboard instruments and chamber music at the University of Augsburg’s Leopold Mozart Centre.