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Äneas Humm combines rhetorical precision in song with strong stage instinct. He shapes texts into speaking gestures, molds tone colors between cantabile line and pointed declamation, and seeks a balance between spontaneity and form. His recitals unite core repertoire with discoveries and fresh perspectives. Chamber-musical alertness, a true partnership with the piano, and a keen sense of dramatic arc define his artistic profile.
Schubert’s Winterreise is a song cycle like an inner journey through ice and memory. Twenty-four stations lead from Gute Nacht to Der Leiermann, without external action, guided solely by inner shifts of the soul: hope flickers up only to freeze again. The piano becomes a second voice—footsteps, wind, circling crows, or rigid thought. Major keys appear as deceptive dreamlike islands, while minor keys represent the cold present reality. In the end, almost empty music remains, not explaining isolation but making it audible.