account
basket
Challenge Records Int. logo
Poetisches Tagebuch
Franz Schubert

Christoph Prégardien / Julius Drake

Poetisches Tagebuch

Price: € 19.95 13.97
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917267020
Catnr: CC 72670
Release date: 17 November 2015
old €19.95 new € 13.97
Buy
1 SACD hybrid
✓ in stock
19.95 13.97
old €19.95 new € 13.97
Buy
 
Label
Challenge Classics
UPC
0608917267020
Catalogue number
CC 72670
Release date
17 November 2015

"Winner of the Jahrespreis of Preis der deutschen Schallplattenkritik 2016 for the album 'Poetisches Tagebuch'! This yearly prize is the most prestigious critic prize for all music genres in Germany!"

Preis der deutschen Schallplattenkritik 2016, 30-11-2016
Album
Artist(s)
Composer(s)
Press
EN
NL
DE
IT

About the album

‘I lived in a fantasy world and was on the way to becoming an incurable daydreamer’ (German = ‘Ich lebte ganz meinen Phantasien und war auf dem Wege, ein ganz unheilbarer Schwärmer zu werden’), wrote the Saxon poet Ernst Schulze (1789-1817) of his schooldays. Despite this moment of clarity, Schulze did indeed live in a world in which the boundaries between the real and the imagined were increasingly hazy. As a student in Göttingen he shared Don Giovanni’s ‘mille tre’ attitude to women, notching up a string of casual conquests while pursuing the daughter of an archaeology professor, Cäcilie Tychsen. Schulze’s campaign to seduce Cäcilie failed; and when she died of tuberculosis, aged just eighteen, in 1812, she became idealised as his lost bride- to-be, saviour and Muse.
Conveniently for the fantasising poet, Cäcilie had a sister, Adelheid, to whom he quickly transferred his affections. That Schulze had earlier described Adelheid as having ‘a monkey’s face’ (‘Affengesicht’) did not seem to matter one iota. Nor did the fact that Adelheid was in love with someone else. From 1813 until his own early death, likewise of tuberculosis, Schulze embroidered his fragmentary, largely one-sided relationship with the reluctant Adelheid in the 100 poems that make up his Poetisches Tagebuch (‘Verse Journal’). Schubert first seems to have alighted on Schulze’s work in 1824, when he flirted with the idea of making an opera from his long narrative poem Die bezauberte Rose (‘The enchanted Rose). Then in March 1825 he set ‘Im Walde’ from the Poetisches Tagebuch, initiating a sequence of Schulze songs composed over the following year. While only two, ‘Auf der Bruck’ and ‘Im Frühling’, have become recital favourites, these songs of loss, alienation and obsessive longing (Winterreise is already glimpsed) are among Schubert’s most powerful and poignant.
Emotioneel en lyrisch, maar zonder opsmuk, deze vertolking van liederen van Schubert
In dit Poetisches Tagebuch hoort u beeldschone liederen van Franz Schubert, uitgevoerd door de crème de la crème uit het liedvak. De beroemde tenor Christoph Prégardien en de al even illustere pianist Julius Drake. Deze liederen van verlies, vervreemding en obsessief verlangen behoren tot Schubert's meest krachtige en ontroerende liederen. Waaronder ook de populaire liederen Im Frühling en Auf der Bruck.
'De tenor is een verteller die maniertjes mijdt: geen galm, weinig vibrato, geen preoccupatie met mooi geluid. Wel is hij voortdurend verstaanbaar en schuwt hij het risico niet. In de hoogste regionen zit bovendien een verbazingwekkende veerkracht, zoals de bijna geneuriede toegift Mondnacht bewees. De Britse begeleider Julius Drake toonde een gevoelig oor voor detail. Het perlentränentröpfchen, de doodskist waaraan werd getimmerd: ze kwamen terug in de Steinway.' De Volkskrant, november 2015.

Op het album staan vooral liederen op teksten van Ernst Schulze. 'Ik leefde in een fantasiewereld en was op weg een ongeneeslijke dagdromer te worden', schreef deze Saksische dichter (1789-1817) over zijn schooltijd. Ondanks dit moment van helderheid, leefde Schulze inderdaad in een wereld waarin de grenzen tussen de echte en de fantasie wereld steeds waziger werden. Alsof hij Don Giovanni zelf was, probeerde hij de dochter te verleiden van een professor in de archeologie: Cäcilie Tychsen. Schulze's missie om Cäcilie te verleiden mislukte; en toen ze stierf aan tuberculose, werd ze zijn verloren toekomstige bruid, verlosser en muze. Gelukkig voor de fantasievolle dichter had Cäcilie een zus, Adelheid. Dat de dichter haar eerder beschreef als iemand met 'een apengezicht', maakte niet meer uit, noch het feit dat Adelheid verliefd was op iemand anders. Tot aan zijn dood heeft Schulze honderden gedichten gewijd aan de onwillige Adelheid, en hun eenzijdige, fragmentarische relatie. Deze gedichten vormden zijn Poetisches Tagebuch.

De Duitse Christoph Prégardien (1956) begon zijn zangcarrière als koorknaap in de dom van Limburg an der Lahn, zijn geboortestad. Prégardien behoort tot de beste lyrische tenoren van deze tijd. Hij heeft een heldere en precieze stemvoering. Zijn intelligente interpretatie en dictie, gecombineerd met zijn kracht om door te dringen tot de kern van zijn rol, maken van hem een alom gewaardeerd zanger. De tenor treedt wereldwijd op met vooraanstaande orkesten en is ook een graag geziene gast in ons land.
‘Ich lebte ganz meinen Phantasien und war auf dem Wege, ein ganz unheilbarer Schwärmer zu werden’ Ernst Schulze

Ernst Schulzes Poetisches Tagebuch besteht aus 100 Gedichten, die der träumerische Dichter ab 1813 bis zu seinem frühen Tod 1817 an Adelheid Tychsen schrieb. Eine einseitige Liebe. Im März 1825 begann Schubert mit 'Im Walde' mit der musikalischen Bearbeitung seiner Gedichte. Jedoch fügte Schubert diese Lieder nicht zu einem Zyklus, so dass einige der Kompositionen ein etwas stiefmütterliches Dasein fristen. Nicht jedoch für Christoph Prégardien und Julius Drake. Sie haben für ihr Poetisches Tagebuch ihre liebsten Vertonungen von Schulze zusammengestellt und erweitern dies mit Schubert-Liedern zu Texten von Rückert, Schlegel, Collin, Schlechta, Craigher und Leitner.

Un altro grande album schubertiano del tenore Christoph Prégardien, questa volta accompagnato dal celebre pianista Julius Drake.
Schubert sembra essersi imbattuto per la prima volta nella produzione di Ernst Schulze nel 1824, quando accarezzò l’idea di comporre un’opera dal suo lungo poema narrativo La rosa incantata (Die bezauberte Rose). Quindi, nel marzo 1825, mise in musica ‘Im Walde’ dal Diario poetico (Poetisches Tagebuch), inaugurando una serie di Lieder su testi di Schulze composti negli anni successivi. Anche se soltanto due, ‘Auf der Bruck’ e ‘Im Frühling’, sono entrati in repertorio, questi Lieder sulla perdita, alienazione e ansia ossessiva (già si intravede Winterreise) sono tra i più intensi e struggenti di Schubert.

Artist(s)

Christoph Prégardien (vocals)

Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class. Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky. Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his...
more
Born 1956 in Limburg, Germany, Christoph Prégardien began his musical education as a choirboy. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt, Carla Castellani in Milan, Alois Treml in Stuttgart and attended Hartmut Höll’s lieder-class.
Widely regarded as among the foremost lyric tenors, Christoph Prégardien frequently collaborates with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. His repertory spans a wide range from the great Baroque, Classical and Romantic Oratorios to 20th century works by Britten, Killmayer, Rihm, Stravinsky.
Recognized as an eminent recitalist, Christoph Prégardien is regularly welcomed at the major recital venues of Paris, London, Brussels, Berlin, Cologne, Amsterdam, Salzburg, Zurich, Vienna, Barcelona and Geneva, as well as during his concert tours throughout Italy, Japan and North America.
A longstanding collaboration unites him with his favourite piano partners Michael Gees and Andreas Staier. Soloist of choice for renowned orchestras, he performed with the Berlin and Vienna Philharmonic, Bavarian Radio Symphony, Royal Concertgebouw Orchestra Amsterdam, Gewand-hausorchester Leipzig, London Philharmonia, Staatskapelle Dresden, Philharmonie de Radio France, the Montreal, Boston, St. Louis and San Francisco Symphony Orchestras.
An important part of his repertory has been recorded by labels such as BMG, EMI, Deutsche Grammophon, Philips, Sony, Erato, Challenge Classics and Teldec. He is represented on more than a hundred and twenty titles, including nearly all of his active repertoire. His recordings of German Romantic Lied repertory have been highly acclaimed by the public and press and have received international awards including the prestigious Orphée d’Or of the Académie du Disque Lyrique-Prix Georg Solti, Preis der Deutschen Schallplattenkritik, Edison Award, Cannes Classical Award and Diapason d’Or.
As an opera singer, Christoph Prégardien has made stage appearences in major European houses, performing leading roles as Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Almaviva (Il Barbiere di Seviglia), Fenton (Falstaff) and Monteverdi’s Ulisse. In Spring 2005, Christoph Prégardien sang the leading part in Mozart’s “La Clemenza di Tito” at the Paris National Opera conducted by Sylvain Cambreling.
An important aspect in the musical life of Christoph Prégardien is his intensive and varied educational work. From 2000 to 2005 Christoph Prégardien was in charge of a vocal class at the Hochschule für Musik und Theater in Zurich. Since the autumn of 2004, he is a professor at the Musikhochschule Köln. In a new combination of DVD and book, released in the serie “Schott Master Class”, he presents for the first time questions of singing technique and interpretation in word and picture. Film examples accompagny him during his lessons with masterclass students.
Christoph Prégardien now has a long-term cooperation with Challenge Classics. The first production on our label, released in February 2008, was Schubert’s “Die schöne Müllerin” with pianist Michael Gees. In the fall of 2008 “Schwanengesang” with pianist Andreas Staier followed and “Die schöne Müllerin” was awarded the Midem ‘Record of the Year’ 2009 at MIDEM, the world’s largest music industry trade fair. The duo Christoph Prégardien/Michael Gees also received the MIDEM ‘Vocal Recitals’ Award 2009. Throughout 2008 the recording received critical acclaim from many national and international magazines (Gramophone, Editor’s Choice & „Best of 2008“ among others).

less

Julius Drake (piano)

The pianist Julius Drake lives in London and enjoys an international reputation as one of the finest instrumentalists in his field, collaborating with many of the world’s leading artists, both in recital and on disc. He appears regularly at all the major music centres: the Aldeburgh, Edinburgh, Munich, Schubertiade, and Salzburg Music Festivals; Carnegie Hall and Lincoln Centre New York; the Concertgebouw Amsterdam and Philarmonie Berlin; the Châtalet and Musée de Louvre Paris; La Scala Milan and Teatro de la Zarzuela Madrid; Musikverein and Konzerthaus Vienna; and Wigmore Hall and BBC Proms London. Director of the Perth International Chamber Music Festival in Australia from 2000 - 2003, Julius Drake was also musical director of Deborah Warner’s staging of Janáček’s Diary of One...
more
The pianist Julius Drake lives in London and enjoys an international reputation as one of the finest instrumentalists in his field, collaborating with many of the world’s leading artists, both in recital and on disc.
He appears regularly at all the major music centres: the Aldeburgh, Edinburgh, Munich, Schubertiade, and Salzburg Music Festivals; Carnegie Hall and Lincoln Centre New York; the Concertgebouw Amsterdam and Philarmonie Berlin; the Châtalet and Musée de Louvre Paris; La Scala Milan and Teatro de la Zarzuela Madrid; Musikverein and Konzerthaus Vienna; and Wigmore Hall and BBC Proms London.
Director of the Perth International Chamber Music Festival in Australia from 2000 - 2003, Julius Drake was also musical director of Deborah Warner’s staging of Janáček’s Diary of One Who Vanished, touring to Munich, London, Dublin, Amsterdam and New York. Since 2009 he has been Artistic Director of the Machynlleth Festival in Wales.
Julius Drake is also a committed teacher and is invited to give master classes worldwide, recently in Aldeburgh, Brussels, Cincinatti, Toronto, Utrecht, and regularly at the Schubert Institute in Baden bei Wien.
He holds a Professorship at Graz University for Music and the Performing Arts in Austria, where he has a class for song pianists.
Julius Drake’s passionate interest in song has led to invitations to devise song series for the Wigmore Hall, London, the BBC and the Concertgebouw, Amsterdam. A series of song recitals – Julius Drake and Friends – in the historic Middle Temple Hall in London, has featured recitals with many outstanding vocal artists including Sir Thomas Allen, Olaf Bär, Iestyn Davies, Sergei Leiferkus, Dame Felicity Lott, Simon Keenlyside, Christoph Prégardien, and Sir Willard White.
Julius Drake is frequently invited to perform at international chamber music festivals – most recently, Lockenhaus in Austria; West Cork in Ireland; Oxford in England; Boswil in Switzerland and Delft in the Netherlands.

less

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...
more
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.

less

Press

Winner of the Jahrespreis of Preis der deutschen Schallplattenkritik 2016 for the album 'Poetisches Tagebuch'! This yearly prize is the most prestigious critic prize for all music genres in Germany!
Preis der deutschen Schallplattenkritik 2016 , 30-11-2016

The SACD sound is realistic, doing full justice to the piano as well as the voice, and the texts and translations are very clearly laid out.
Musicweb, 22-8-2016

"To make every word clearly understandable is still a matter of course for this singer. The very well balanced proportion between grand piano and voice also contributes to this on this record. Not a millisecond of reverb too much spoils the concentration of the listener."
Stereo, 01-4-2016

"To make every word clearly understandable is still a matter of course for this singer. The very well balanced proportion between grand piano and voice also contributes to this on this record. Not a millisecond of reverb too much spoils the concentration of the listener."
Fono Forum, 01-3-2016

"Despite the sometimes audible age differences cross Prégardien as songs singer still high above quite a few younger colleagues and is his collaboration with Drake is always exceptional."
Luister Magazine, 01-3-2016

"In a true partnership give tenor and pianist piercing, emotionally direct and utterly natural performances, alternately profound lyrical playful and boisterous."
Klassieke Zaken, 01-2-2016

"Even if Prégardiens voice sounds a little autumnal by now and some tone comes out quite brittle, his interpretative skills remain impressive. Like only few other Lied singers he grasps the music as a medium for the words."
Opernwelt, 01-2-2016

["].. As a representation of the ultimate Schubertian theme leads the moon 's visit to reminisce about the past, about what is not there! The song gives a sense of satisfaction in sadness. Prégardien convinces us with its quiet spell that he played this song. "
Klassiek Centraal, 19-1-2016

Article - no quote possible
Fono Forum, 17-1-2016

["]..The effortless might be off by Prégardien, there was lived- in return."
De Volkskrant, 01-12-2015

"The tenor is a storyteller who avoids mannerisms: no reverb, little vibrato, no preoccupation with nice sound. However, he is constantly audible, and he does not avoid the risk. In the highest registers he also has an astonishing resilience, as demonstrated in almost hummed encore Mondnacht. British accompanist Julius Drake showed a sensitive ear for detail. In the perlentränentröpfchen, the death coffin is nailed: they were all audible in the Steinway."
De Volkskrant, 20-11-2015

Play album Play album

Often bought together with..

Various composers
Pro Contra!
Simon Van Holen
Anton Bruckner
Symphony no. 1 in C Minor
Netherlands Radio Philharmonic Orchestra
Karl Amadeus Hartmann
Symphonies Nos. 1-8
Netherlands Radio Philharmonic Orchestra & Netherlands Radio Chamber Philharmonic
Franz Schubert
Winterreise (BluRay)
Christoph Prégardien / Michael Gees

You might also like..

Franz Schubert
Song Cycles - Die schöne Müllerin / Schwanengesang / Winterreise
Christoph Prégardien / Andreas Staier / Michael Gees
Various composers
Father & Son (re-issue)
Christoph & Julian Prégardien
Robert Schumann, Richard Wagner
Dichterliebe Op. 48 / Lenau-Lieder und Requiem Op. 90 / Wesendonck Lieder
Christoph Prégardien / Michael Gees
Various composers
The Romantic Horn
Richard Watkins | Julius Drake
Various composers
Auf Flügeln des Gesanges - Romantic songs and transcriptions
Cyprien Katsaris | Christoph Prégardien
Various composers
A Matter of Heart
Olivier Darbellay / Christoph Prégardien / Michael Gees
Various composers
The Spirit Of Turtle [Longbox]
Various artists
Franz Schubert
Winterreise (BluRay)
Christoph Prégardien / Michael Gees
Franz Schubert
Winterreise (DVD)
Christoph Prégardien / Michael Gees
Johann Sebastian Bach
Markus Passion (1731)
Ton Koopman & The Amsterdam Baroque Orchestra
Robert Schumann, Wilhelm Kielwasser, Gustav Mahler
Wanderer
Christoph Prégardien / Ensemble Kontraste
Hugo Wolf
Italienisches Liederbuch (Italian songbook)
Christoph Prégardien / Julia Kleiter / Hilko Dumno