More than a Myth – Chamber Music & Songs by Engelbert Humperdinck

Contents

Humperdinck Engelbert (1854-1921):

Menuett in E-Flat Major, EHWV 18

Elenora Pertz (piano), Thomas Probst (violin), Ursula Fingerle-Pfeffer (violin), Daniel Schwartz (viola), Clara Berger (cello)

Das zerbrochene Ringlein, EHWV 43 /Nikolay Borchev (baritone), Elenora Pertz (piano)

Salonstück in A Minor, EHWV 65 /Clara Berger (cello), Elenora Pertz (piano)

Die Wasserrose, EHWV 58

Nicolay Borchev (baritone), Thomas Probst (violine), Susanne Unger (violin), Daniel Schwartz (viola), Clara Berger (cello), Elenora Pertz (piano)

Vorspiel zu “Tristan und Isolde“, EHWV 192 (After Wagner’s WWV 90)

Jörg Ulrich Krah (cello), Karsten Lauke (contrabass), Elenora Pertz (piano), Thomas Probst (violin), Ursula Fingerle-Pfeffer (violin), Daniel Schwartz (viola), Clara Berger (cello)

Ballade in A Major, EHWV 36 (Arr. T. Probst for Chamber Ensemble)

Nikolay Borchev (baritone), Thomas Probst (violine), Susanne Unger (violine), Daniel Schwartz (viola), Clara Berger (cello), Elenora Pertz (piano)

Quartettsatz in E Minor, EHWV 22

Thomas Probst (violin), Ursula Fingerle-Pfeffer (violin), Daniel Schwartz (viola), Clara Berger (cello)

Violin Sonata in A Major, EHWV 29 /Elenora Pertz (piano), Thomas Probst (violin)

I. Andante con moto

II. Allegro

Das Lied vom Glück, EHWV 51 /Nikolay Borchev (baritone), Elenora Pertz (piano)

Wiegenlied, EHWV 115

Nikolay Borchev (baritone), Thomas Probst (violine), Susanne Unger (violine), Daniel Schwartz (viola), Clara Berger (cello), Elenora Pertz (piano), Karsten Lauke (contrabass)

Albumblatt in F Major, EHWV 147 /Elenora Pertz (piano), Thomas Probst (violin)

Die wunderschöne Zeit, EHWV 27 (Arr. T. Probst for Chamber Ensemble)

Thomas Probst, Nikolay Borchev (baritone), Susanne Unger (violine), Daniel Schwartz (viola), Clara Berger (cello), Elenora Pertz (piano)

Albumblatt in C Major, EHWV 99 (Arr. F. Hermann for Violin & Piano)

Elenora Pertz (piano), Thomas Probst (violin)

Notturno in G Major, EHWV 63

Thomas Probst (violine), Susanne Unger (violine), Daniel Schwartz (viola), Clara Berger (cello), Ursula Fingerle-Pfeffer (violin)

An die NachtigallI, EHWV 163 /Nikolay Borchev (baritone), Elenora Pertz (piano)

Altdeutsches Minnelied, EHWV 161

Nikolay Borchev (baritone), Thomas Probst (violine), Susanne Unger (violine), Daniel Schwartz (viola), Clara Berger (cello), Karsten Lauke (contrabass)

Engelbert Humperdinck (1854–1921) was a student at the Conservatory in Cologne from the spring of 1872; it was at this time that he got to know the Siegburg district judge and arbitrator Johannes Degen (1826–1902), an excellent singer and violinist, who gave regular chamber concerts in Siegburg at which he played in his own string quartet. Humperdinck, whose talent he had astutely spotted, was the pianist and composer he had been looking for. For his part, the young music student saw his admission to Degen’s chamber-music circle as an opportunity for regular performance; in return, he wrote whatever Degen requested. Humperdinck’s tally of 13 chamber compositions represents a relatively small part of his oeuvre (beside his six operas and about 80 Lieder, along with stage music and choral works). Brief album-leaves for violin or cello and piano contrast with works for the major Classical genres of string quartet, piano quintet, piano trio, sonata and sonatina – most of which were never finished and sometimes survive only in the form of short sketches. His finished pieces include two major works, an early piano quintet (1875) and a late string quartet (1920); the other completed movements include some tailored to Degen’s domestic music-making.