Christoph Prégardien / Michael Gees
Die schöne Müllerin
- Type CD
- Label Challenge Classics
- UPC 0608917229226
- Catalog number CC 72292
- Release date 01 March 2008
About the album
In many details, the first edition of the cycle, which appeared in 1824, is unreliable – and this was soon apparent. When Anton Diabelli in 1830, one and a half years after Schubert’s death, acquired the rights of the cycle, he strove to improve the edition. Diabelli asked the famous singer Johann Michael Vogl, who had been a friend of Schubert, to arrange the vocal part in such a way that it would create the most possible resonance with the public. And this he did: he added – albeit sparingly – some embellishments he had sung himself, when Schubert accompanied him. In many places he saw fit to simplify a few things that he would not have expected of domestic music makers. Vogl and Diabelli had great success with this edition, which quickly superseded the original one.
In the course of the incipient Schubert researches of the second half of the 19th century the original edition was compared with Diabelli’s, and the “Fälschungen” (falsifications) were soon condemned (Max Friedlaender). Unquestionably, it is fair to say that Vogl’s “simplifications” are in fact inadmissible changes. But what about the embellishments?
Vogl’s embellishments for Die schöne Müllerin had a decidedly chamber-music character. Had he performed the whole cycle as a dramatic song cycle in the concert hall, this would undoubtedly have changed. But this shows us something essential: embellishments belong to the realm of performance, not of composition; each singer should invent them anew in keeping with the occasion of a performance. They do not belong in a printed edition, as they bind the singer; when printed they in fact become “falsifications”. That said, a performance practice that aims to be “historic” should not renounce embellishments either. The embellishments that Christoph Prégardien sings here take as their point of departure the type of embellishments preserved in Diabelli’s print (and in a few manuscripts), but where the singer introduces them and how he shapes them in each case is up to his own invention.
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11Die schöne Müllerin D 795, Op. 25 Das Wandern
02:27 -
12Die schöne Müllerin D 795, Op. 25 Wohin?
04:32 -
13Die schöne Müllerin D 795, Op. 25 Halt!
02:27 -
14Die schöne Müllerin D 795, Op. 25 Dansagung an den Bach
03:54 -
15Die schöne Müllerin D 795, Op. 25 Am Feierabend
02:00 -
16Die schöne Müllerin D 795, Op. 25 Der Neugierige
01:11 -
17Die schöne Müllerin D 795, Op. 25 Ungeduld
01:46 -
18Die schöne Müllerin D 795, Op. 25 Morgengruß
04:19 -
19Die schöne Müllerin D 795, Op. 25 Des Müllers Blumen
02:09 -
110Die schöne Müllerin D 795, Op. 25 Tränenregen
03:24 -
111Die schöne Müllerin D 795, Op. 25 Mein!
03:38 -
112Die schöne Müllerin D 795, Op. 25 Pause
02:28 -
113Die schöne Müllerin D 795, Op. 25 Mit dem grünen Lautenbande
05:57 -
114Die schöne Müllerin D 795, Op. 25 Der Jäger
01:33 -
115Die schöne Müllerin D 795, Op. 25 Eifersucht und Stolz
02:14 -
116Die schöne Müllerin D 795, Op. 25 Die liebe Farbe
02:51 -
117Die schöne Müllerin D 795, Op. 25 Die böse Farbe
04:21 -
118Die schöne Müllerin D 795, Op. 25 Trockne Blumen
02:51 -
119Die schöne Müllerin D 795, Op. 25 Der Müller und der Bach
04:09 -
120Die schöne Müllerin D 795, Op. 25 Des Baches Wiegenlied
03:27
Christoph Prégardien nominated for an Edison Award
13-11-2020
We are very happy and proud that tenor Christoph Prégardien and Michael Gees are nominated in the category 'Vocal soloist' for an Edison Klassiek 2020 Award!
The jury report says: "Tenor Christoph Prégardien is over sixty years old, but his voice sounds fit, nimble and beautiful. The Wesendonck-Lieder by Wagner are a 'university' level program within art song. Prégardien and his regular duo partner Gees take away any doubts about that ...
S.H. Gerriets
Why are there no timings for this sacd? Was the space left blank by mistake?
S.H. Gerriets
aka Beagle of SA-CD.net