Poetisches Tagebuch by Christoph Prégardien / Julius Drake

Christoph Prégardien / Julius Drake

Poetisches Tagebuch

Price: € 19.95
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917267020
Catnr: CC 72670
Release date: 17 November 2015
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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

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

Julius Drake

Christoph Prégardien tenor
”His lyric tenor voice had a youthful glow, yet he sang with plaintive beauty and piercing insight.” The New York Times

Precise vocal control, clear diction, intelligent musicality and an ability to get to the heart of everything he sings insures Christoph Prégardien’s place among the world’s foremost lyric tenors. Especially revered as a Lieder singer, he can be heard this season at Wigmore Hall London, Berlin Philharmonie, Opéra du Rhin Strasbourg, Opéra Bastille Paris, Cité de la Musique Paris as well as Toppan and Kioi Hall Tokyo. As regular guest he will return to festivals such as Schubertiade Schwarzenberg, Schwetzingen SWR Festival, Oxford Piano and Lieder Festivals and Aldeburgh Festival. Following the success of his conducting debut with J. S. Bach’s St. John’s Passion on a European tour with the ensemble Le Concert Lorrain and the Nederlands Kamerkoor in 2012 and 2013, Christoph Prégardien is already preparing to conduct St. Matthew’s Passion in 2015.

Christoph Prégardien appears regularly with renowned orchestras the world over, including the Berlin and Vienna Philharmonics, Bavarian Radio Symphony, Amsterdam Concertgebouw Orchestra, Staatskapelle Dresden, Gewandhausorchester Leipzig, National Orchestra of Spain, London’s Philharmonia Orchestra, the Philharmonie de Radio France, as well as the Boston, St. Louis, Montreal and San Francisco Symphonys. His wide orchestral repertoire includes the great baroque, classical and romantic oratorios and passions, as well as works from the 17th (Monteverdi, Purcell, Schütz) and 20th centuries (Britten, Killmayer, Rihm, Strawinsky). He has collaborated with conductors such as Barenboim, Chailly, Gardiner, Harnoncourt, Herreweghe, Luisi, Metzmacher, Nagano, Sawallisch and Thielemann. In opera, his roles have included Tamino (Mozart’s Die Zauberflöte), Almaviva (Rossini’s Il Barbiere di Siviglia), Fenton (Verdi’s Falstaff), Don Ottavio (Mozart’s Don Giovanni) and the title roles in Mozart’s La Clemenza di Tito and Monteverdi’s Il Ritorno d’Ulisse in Patria.

Much of Mr. Prégardien’s repertoire has been recorded on the BMG, EMI, DG, Philips, Sony, Erato and Teldec labels. His discography numbers over 130 titles, many of which have been awarded international prizes and his celebrated recordings of German romantic song have won the Orphée d’Or of the Académie du Disque Lyrique, as well as the Prix Georg Solti, German Record Critics’ Prize, Edison Award, Cannes Classical Award and the Diapason d’Or, to name but a few.

Christoph Prégardien recently forged a long-term collaboration with the Dutch label Challenge Classics; their first recordings of Schubert’s Die schöne Müllerin (accompanied by Michael Gees) and Schubert’s Schwanengesang (accompanied by Andreas Staier) were released in 2008. Müllerin was highly praised as “Best of the Year” in Gramophone and was honoured at MIDEM 2009 as both Record and Vocal Recital of the Year. Subsequently the label issued recordings of songs by Schubert, Mahler, Wolf, Loewe, and others entitled Between Life and Death (again with M. Gees), of Hugo Wolf’s Italienisches Liederbuch (Julia Kleiter, Hilko Dumno) and the album Wanderer presenting chamber ensemble versions of song cycles by Schumann, Killmayer and Mahler (Ensemble Kontraste). In 2013, a new album presenting Schubert’s Winterreise including a documentary was released on CD and DVD together with Michael Gees.

Teaching remains a very important part of Christoph Prégardien’s musical life. From 2000 to 2004 he taught at the Hochschule für Musik und Theater in Zurich. Since 2004, he has been a professor at the Academy of Music in Cologne. As part of Schott’s “Master Class” series, he published an innovative multi-media DVD/book addressing vocal technique and musical interpretation.

Composer(s)

Franz Schubert

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

"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