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Auf Flügeln des Gesanges - Romantic songs and transcriptions
Various composers

Cyprien Katsaris | Christoph Prégardien

Auf Flügeln des Gesanges - Romantic songs and transcriptions

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917278729
Catnr: CC 72787
Release date: 19 October 2018
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Label
Challenge Classics
UPC
0608917278729
Catalogue number
CC 72787
Release date
19 October 2018

"This duo -already performing together for decades- is so relaxed on stage." "They provoke each other in Loewe’s hyper virtuose 'Der Nöck." "Christoph Pregardiens voice sounds so natural, that you get the impression that there was never any teacher necessary.  "

, 15-2-2019
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About the album

Cyprien Katsaris:
„Following our first encounter on 7. June 2015 in Hamburg on the occasion of our concert with the Winterreise of Schubert, which proved to be a wonderful experience, and considering our perfect mutual understanding, I wondered whether Christoph Prégardien would be interested in a CD project. But what repertoire? Usually the Lieder aficionados are not interested in piano and pianophiles do not seem to be Lieder fans... Then I thought, how about bringing together those two categories of the human species? Suddenly... EURÊKA! (Thank you, Archimedes!) The concept would be a combination of German Lieder, each of them followed by a piano transcription. Christoph Prégardien immediately agreed.”
Dit album Auf Flügeln des Gesanges - Romantic songs and transcriptions van de beroemde tenor Christoph Prégardien en de evenzo begaafde pianist Cyprien Katsaris is een wonderschone organische combinatie van lied en piano. De twee musici gingen hiervoor een bijzondere samenwerking aan. Dat gebeurt niet vaak want, zoals Katsaris zegt: "aanhangers van de liedkunst zijn over het algemeen niet zo geïnteresseerd in pianomuziek, en omgekeerd schijnen liefhebbers van de piano geen fans te zijn van liederen." Toch hebben de twee, na een succesvol gezamenlijk optreden met Schuberts Winterreise, de handen ineengeslagen.

Welk repertoire kiezen we?

Wat restte was de vraag: "Met welk repertoire gaan we aan de slag?" Waarop Cyprien Katsaris een Eureka-moment kreeg en zich afvroeg, hoe het zou zijn om de twee categorieën, de aanhangers van het lied en de liefhebbers van de piano, samen te voegen. Het moest een mix worden van het Duitse Lied vermengd met een pianotranscriptie. Christoph Prégardien stemde er direct mee in, en zo kwam dit prachtige album tot stand met liederen van maar liefst 14 componisten, zoals Schubert, Liszt, Mendelssohn, Robert en Clara Schumann, Wagner, Gieseking, Brahms en nog vele anderen. Met recht een album voor beide categorieën, mensen die van het Lied houden en mensen die pianoklanken op prijs stellen.

Gestart als koorknaap

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. Inmiddels treedt hij ook op als bariton. De tenor treedt wereldwijd op met vooraanstaande orkesten en is een graag geziene gast in ons land. Inmiddels wordt hij ook regelmatig als bariton gevraagd.
Cyprien Katsaris
„Nach unserem ersten Zusammentreffen bei unserem Konzert mit Schuberts Winterreise am 7. Juni 2015 in Hamburg, das sich als wundervolles Erlebnis erwies, und in Anbetracht der Tatsache, dass wir uns so gut verstanden, fragte ich mich, ob Christoph Prégardien an einem CD-Projekt interessiert wäre. Aber mit welchem Repertoire?
Liederenthusiasten sind normalerweise nicht an Klaviermusik interessiert, und Klavierliebhaber scheinen keine Liederfans zu sein... Dann dachte ich, wie wäre es, wenn man diese beiden Kategorien Mensch zusammenbrächte? Plötzlich, der HEUREKA-Moment (danke, Archimedes!): Das Konzept würde eine Mischung von deutschen Liedern sein, jeweils gefolgt von einer Klaviertranskription. Christoph Prégardien sagte sofort zu.“

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...
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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).

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Cyprien Katsaris (piano)

Cyprien Katsaris, the French-Cypriot pianist and composer, was born in Marseilles in 1951. He first began to play the piano in Cameroon where he spent his childhood, at the age of four, with Marie-Gabrielle Louwerse. A graduate of the Paris Conservatoire where he studied piano with Aline van Barentzen, Monique de la Bruchollerie, and chamber music with René Leroy and Jean Hubeau, he won the International Young Interpreters Rostrum-UNESCO (Bratislava 1977), the First Prize in the International Cziffra Competition (Versailles 1974) and he was the only western-European prize-winner at the 1972 Queen Elisabeth of Belgium International Competition. His major international career includes performances with the world’s greatest orchestras: Berlin Philharmonic, Staatskapelle Dresden, Leipzig Gewandhaus Orchestra, Cleveland Orchestra, Royal Concertgebouw Orchestra Amsterdam, Philharmonia...
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Cyprien Katsaris, the French-Cypriot pianist and composer, was born in Marseilles in 1951. He first began to play the piano in Cameroon where he spent his childhood, at the age of four, with Marie-Gabrielle Louwerse.

A graduate of the Paris Conservatoire where he studied piano with Aline van Barentzen, Monique de la Bruchollerie, and chamber music with René Leroy and Jean Hubeau, he won the International Young Interpreters Rostrum-UNESCO (Bratislava 1977), the First Prize in the International Cziffra Competition (Versailles 1974) and he was the only western-European prize-winner at the 1972 Queen Elisabeth of Belgium International Competition.

His major international career includes performances with the world’s greatest orchestras: Berlin Philharmonic, Staatskapelle Dresden, Leipzig Gewandhaus Orchestra, Cleveland Orchestra, Royal Concertgebouw Orchestra Amsterdam, Philharmonia (London), NHK Symphony Orchestra (Tokyo), Moscow Philharmonic Orchestra, Beijing Symphony Orchestra ... He has collaborated with conductors such as Leonard Bernstein, Kurt Masur, Myung Whun Chung, Sir Neville Marriner, Sir Simon Rattle, Antal Doráti, Mstislav Rostropovich, Charles Dutoit, Nikolaus Harnoncourt, Christoph von Dohnányi … and Karl Münchinger, who on the festive occasion of his farewell concert in 1986, with the Stuttgart Chamber Orchestra, personally invited Mr. Katsaris to perform the Haydn D major Concerto.

Mr. Katsaris has recorded extensively for Teldec (Grand Prix du Disque Frédéric Chopin, Warsaw 1985; Grand Prix du Disque Franz Liszt, Budapest 1984 and 1989; British Music Retailers Association’s Award 1986; Record of the Year 1984, Germany, for the 9th Symphony of Beethoven/Liszt), Sony Classical, EMI, Deutsche Grammophon, BMG/RCA, Decca, Pavane, and now on his own label, PIANO 21.

In addition to the standard repertory, such as the complete Concertos by Mozart, recorded live and performed in Salzburg and Vienna with Yoon K. Lee and the Salzburger Kammerphilharmonie, he has revived long lost works such as the Liszt/Tchaikovsky’s Concerto in the Hungarian style which he has recorded with Eugene Ormandy and the Philadelphia Orchestra.

In 1992, the Japanese NHK TV produced with Cyprien Katsaris a thirteen-program series on Frédéric Chopin which included masterclasses and his own performance. On 17 October 1999, the New York concertgoers offered Mr. Katsaris a standing ovation in Carnegie Hall for his recital dedicated to Frédéric Chopin, performed on the day of his 150th death Anniversary. On 27 January 2006, the day of the 250th Anniversary of Mozart’s birth, he was the soloist at the inaugural concert of the Mozart Orchestra Mannheim founded and conducted by Thomas Fey. In March 2006 Cyprien Katsaris was the first pianist ever to give masterclasses in Franz Liszt’s house in Weimar since Liszt, who taught there for the very last time in 1886, the year of his death. In August 2008, he was invited to give two concerts on the occasion of the Beijing Olympic Games at the National Center for the Performing Arts. In addition to the world premier of a concerto for ten pianos and orchestra – China Jubilee – by the composer Cui Shiguang, he improvised on an ancient Greek melody, and on, inter alia, Chinese melodies, in tribute to the universality of the Olympic Games. On 10 July 2014 Cyprien Katsaris performed in the first concert at the Fondation Louis Vuitton in Paris.

He has been a member of the jury of the following International Competitions: Chopin (Warsaw 1990), Liszt (Utrecht 1996), Vendôme Prize (Paris 2000), Marguerite Long-Jacques Thibaud – Ville de Paris (2001), Beethoven (Bonn 2005), Giorgos Thymis (Thessaloniki 2011) and Scriabin (Moscow 2012). In addition he was appointed Artistic Director of the Echternach International Festival (Luxembourg) from 1977 to 2007.

Cyprien Katsaris is “Artist of UNESCO for Peace” (1997), “Commandeur de l’Ordre de Mérite du Grand-Duché de Luxembourg” (2009) and “Knight of the Order of Arts and Letters” (France 2000). He also received the “Médaille Vermeil de la Ville de Paris” (2001) and the “Nemitsas Prize” (Cyprus, 2011). He is a member of ADAP, the Association of Artists for Peace, and Honorary President of “Lisztomanias International”.


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Composer(s)

Franz Liszt

If you would open any biography of Franz Liszt, you would probably mostly read about his disquiet life as a piano virtuoso, his passionate love life, and the return to his catholic roots at the end of his life. Although all of this might be true, it only scratches the surface of his comprehensive musical personality. Liszt was a pianist, conductor, teacher and organiser, but above all he was a composer of a voluminous, capricious body of work. Even though his piano works formed his core business, he gave rise to the symphonic poem, got rid of the organ's stuffy appearance, and reinvigorated the oratorio. Moreover, with his piano transciptions of Bach's organ works and Berlioz's Symphonie Fantastique, he was an...
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If you would open any biography of Franz Liszt, you would probably mostly read about his disquiet life as a piano virtuoso, his passionate love life, and the return to his catholic roots at the end of his life. Although all of this might be true, it only scratches the surface of his comprehensive musical personality. Liszt was a pianist, conductor, teacher and organiser, but above all he was a composer of a voluminous, capricious body of work. Even though his piano works formed his core business, he gave rise to the symphonic poem, got rid of the organ's stuffy appearance, and reinvigorated the oratorio. Moreover, with his piano transciptions of Bach's organ works and Berlioz's Symphonie Fantastique, he was an advocate of both old and new music.
Together with his son-in-law Richard Wagner, he was in the forefront of the Romantic movement and anticipated the musical revolutions of the early 20th century with his new composition techniques.


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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...
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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.

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Richard Wagner

Richard Wagner was an important innovator of music in his time. He is best known for his operas, which he himself preferred to refer to as musical dramas. He wrote the texts (the libretti) himself and sought to make a Gesamtkunstwerk, the ideal union of text, music and theatre. Over time, this lead to grandiose musical dramas which were performed in a specially built theater for these works in the small town of Bayreuth. Wagner's greatest critic, the philosopher Nietzsche, named his former friend the 'greatest miniaturist of music who in the smallest of space squeezed an endless amount of sense and sweetness'. Nietzsche regarded this as a sympton of decadence, yet it does portray the large variety of treasures which can...
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Richard Wagner was an important innovator of music in his time. He is best known for his operas, which he himself preferred to refer to as musical dramas. He wrote the texts (the libretti) himself and sought to make a Gesamtkunstwerk, the ideal union of text, music and theatre. Over time, this lead to grandiose musical dramas which were performed in a specially built theater for these works in the small town of Bayreuth.

Wagner's greatest critic, the philosopher Nietzsche, named his former friend the "greatest miniaturist of music who in the smallest of space squeezed an endless amount of sense and sweetness". Nietzsche regarded this as a sympton of decadence, yet it does portray the large variety of treasures which can be found in Wagner's music: the mysterious fantasy stories of the love potion of Tristan & Isolde, Wotan's spear, the sea of flames of Brünhilde, the sword of Siegfried... Still the real main character is the orchestra, which shines its light on all the true intentions and feelings of these heroes with great depth.

Both as a composer and as an individual, Wagner remains a subject of controversy and emotional discussions. By many he is hailed as a hero, and by equally many others completely dismissed. But his influence as a composer and musical innovator is undeniable!


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Robert Schumann

Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in...
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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favour of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.
Schumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness.

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Johannes Brahms

Johannes Brahms was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer is such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the 'Three Bs' of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.   Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become...
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Johannes Brahms was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer is such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.
Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed some of his works and left others unpublished.
Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Within his meticulous structures is embedded, however, a highly romantic nature.

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Richard Strauss

Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his  Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
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Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

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Hugo Wolf

Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas. Even though he did start writing...
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Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas.
Even though he did start writing on several full-fledged operas, it never became a true succes. Only his opera Der Corregidor (1896) was completed. Things went downhill from there. In 1897, Wolf had a nervous breakdown as a consequence of a syphilis infection he had since his teens. After a failed suicide attempt, he was admitted to a clinic in Vienna. The somber Michelangelo-Lieder (1898) would become his last completed composition. Wolf died in 1903, three weeks before his 43st birthday.


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Walter Gieseking

The celebrated French-German pianist, Walter (Wilhelm) Gieseking, was largely self-taught as a pianist. He was born in France, and travelled with his family (his father was a distinguished doctor and entomologist) in France and Italy until he enrolled at the Hannover Conservatory, where he came under the tutelage of Karl Leimer, graduating in 1916.
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The celebrated French-German pianist, Walter (Wilhelm) Gieseking, was largely self-taught as a pianist. He was born in France, and travelled with his family (his father was a distinguished doctor and entomologist) in France and Italy until he enrolled at the Hannover Conservatory, where he came under the tutelage of Karl Leimer, graduating in 1916.

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Gerald Moore

Gerald Moore CBE (30 July 1899 – 13 March 1987) was an English classical pianist best known for his career as an accompanist for many famous musicians. Among those with whom he was closely associated were Dietrich Fischer-Dieskau, Elisabeth Schumann, Hans Hotter, Elisabeth Schwarzkopf, Victoria de los Ángeles and Pablo Casals. Moore gave lectures on stage, radio and television about musical topics. He also wrote about music, publishing volumes of memoirs and practical guides to interpretation of lieder.
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Gerald Moore CBE (30 July 1899 – 13 March 1987) was an English classical pianist best known for his career as an accompanist for many famous musicians. Among those with whom he was closely associated were Dietrich Fischer-Dieskau, Elisabeth Schumann, Hans Hotter, Elisabeth Schwarzkopf, Victoria de los Ángeles and Pablo Casals.
Moore gave lectures on stage, radio and television about musical topics. He also wrote about music, publishing volumes of memoirs and practical guides to interpretation of lieder.

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Theodor Kirchner

The saxon Theodor Kirchner (1823 – 1903), who composed mainly pianistic miniatures, was called to Winterthur in the year 1843 to start as an organist at the church by recommendation of Felix Mendelssohn Bartholdy. After moving to Zürich in 1862 he led the «Abonnement» concerts and a mixed choir next to his job as a pianist and as per 1871 as an organist at St. Peter’s church. He occasionally gave concerts with Clara Schumann-Wieck as a pianist, and he was friends with Johannes Brahms, Wilhelm Baumgartner and the medical doctor Theodor Billroth. Kirchner supported Schumann and Brahms, his examples, in Switzerland and put in circulation a lot of one and twohanded piano arrangements. 1872 he, who was tended by the...
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The saxon Theodor Kirchner (1823 – 1903), who composed mainly pianistic miniatures, was called to Winterthur in the year 1843 to start as an organist at the church by recommendation of Felix Mendelssohn Bartholdy. After moving to Zürich in 1862 he led the «Abonnement» concerts and a mixed choir next to his job as a pianist and as per 1871 as an organist at St. Peter’s church. He occasionally gave concerts with Clara Schumann-Wieck as a pianist, and he was friends with Johannes Brahms, Wilhelm Baumgartner and the medical doctor Theodor Billroth. Kirchner supported Schumann and Brahms, his examples, in Switzerland and put in circulation a lot of one and twohanded piano arrangements. 1872 he, who was tended by the publishers Jacob Rieter-Biedermann in Winterthur and the Hug brothers in Zürich, left the country to work for princess Maria von Sachsen-Meiningen as private pianist and later as music teacher in Würzburg, Leipzig, Dresden and finally Hamburg where he died in poverty.

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August Stradal

The Czech pianist and composer, August Stradal, studied at the Conservatoire in Vienna with Anton Door, Theodor Lescheticky and Anton Bruckner. In 1884 the young artist left for Weimar to become a disciple of Franz Liszt whom Stradal also accompanied to Budapest and Bayreuth in 1885 and 1886.  August Stradal was an advocate of F. Liszt's music and an artistic re-designer of the compositions of Anton Bruckner. August Stradal is also the author of several literary works, e.g. Memoirs of Franz Liszt, Small Union etc. published by Paul Haupt in Bern in 1929. In 1928 he won the Czechoslovak State Award.
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The Czech pianist and composer, August Stradal, studied at the Conservatoire in Vienna with Anton Door, Theodor Lescheticky and Anton Bruckner. In 1884 the young artist left for Weimar to become a disciple of Franz Liszt whom Stradal also accompanied to Budapest and Bayreuth in 1885 and 1886. August Stradal was an advocate of F. Liszt's music and an artistic re-designer of the compositions of Anton Bruckner. August Stradal is also the author of several literary works, e.g. Memoirs of Franz Liszt, Small Union etc. published by Paul Haupt in Bern in 1929. In 1928 he won the Czechoslovak State Award.

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Eduard Schütt

Eduard Schütt (1856-1933) was born and brought up in St Petersburg but spent most of his working life in Vienna. He composed a great many poetic and melodious miniatures for piano, from which some of the most expressive and colourful have been selected for this album
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Eduard Schütt (1856-1933) was born and brought up in St Petersburg but spent most of his working life in Vienna. He composed a great many poetic and melodious miniatures for piano, from which some of the most expressive and colourful have been selected for this album
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Press

This duo -already performing together for decades- is so relaxed on stage." "They provoke each other in Loewe’s hyper virtuose 'Der Nöck." "Christoph Pregardiens voice sounds so natural, that you get the impression that there was never any teacher necessary.  
, 15-2-2019

A great singer together with a magical pianist, that produces an original CD to enjoy in twofold: song and piano transcription.
Klassiek Centraal, 23-12-2018

Many well-known titles, but also almost forgotten gems, all carefully and thoughtfully recited by the ever-impeccably singing Prégardien.
Luister, 07-12-2018

Both can work fine with these works that can give a nice effect in concert form.
Mania, 09-11-2018

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01.
Die Forelle, Op. 32, D. 530
02:16
(Franz Schubert) Christoph Prégardien, Cyprien Katsaris
02.
6 Melodien von Franz Schubert, S. 563: No. 6: Die Forelle (1st version)
03:02
(Franz Liszt) Christoph Prégardien, Cyprien Katsaris
03.
Schwanengesang, D. 957: No. 1: Liebesbotschaft
02:47
(Franz Schubert) Cyprien Katsaris, Christoph Prégardien
04.
Transcription of Liebesbotschaft
03:32
(Leopold Godowsky) Cyprien Katsaris, Christoph Prégardien
05.
6 Gesänge, Op. 34: No. 2: Auf Flugeln des Gesanges
02:54
(Felix Mendelssohn-Bartholdy) Cyprien Katsaris, Christoph Prégardien
06.
Mendelssohns Lieder, S. 547: No. 1: Auf Flugeln des Gesanges
03:29
(Franz Liszt) Cyprien Katsaris, Christoph Prégardien
07.
Liederkreis, Op. 39: No. 12: Fruhlingsnacht
01:17
(Robert Schumann) Christoph Prégardien, Cyprien Katsaris
08.
30 Lieder und Gesänge von Robert Schumann: No. 28: Fruhlingsnacht
01:18
(Clara Schumann) Cyprien Katsaris, Christoph Prégardien
09.
6 Lieder, Op. 23: No. 3: Geheimes Flustern hier und dort
03:31
(Clara Schumann) Christoph Prégardien
10.
Lieder von Robert und Clara Schumann, S. 569: No. 10: Geheimes Flustern hier und dort
02:27
(Franz Liszt) Cyprien Katsaris, Christoph Prégardien
11.
Im Rhein, im schönen Strome (2nd version), S. 272
02:50
(Franz Liszt) Cyprien Katsaris, Christoph Prégardien
12.
Buch der Lieder I, S. 531: No. 2: Im Rhein, im schönen Strome
02:18
(Franz Liszt) Christoph Prégardien, Cyprien Katsaris
13.
5 Gedichte fur eine Frauenstimme (Wesendonck-Lieder), WWV 91: No. 5: Träume
04:28
(Richard Wagner) Christoph Prégardien, Cyprien Katsaris
14.
Transcription of Träume
04:30
(August Stradal) Christoph Prégardien, Cyprien Katsaris
15.
Anakreons Grab
02:53
(Hugo Wolf) Christoph Prégardien, Cyprien Katsaris
16.
10 Piano Pieces after Hugo Wolf Lieder: No. 6: Idylle after Anakreons Grab
02:54
(Bruno Hinze-Reinhold) Cyprien Katsaris, Christoph Prégardien
17.
5 Lieder, Op. 48: No. 1: Freundliche Vision
03:00
(Richard Strauss) Cyprien Katsaris, Christoph Prégardien
18.
Free arrangement of Freundliche Vision
03:08
(Walter Gieseking) Cyprien Katsaris, Christoph Prégardien
19.
10 Lieder, Op. 1: No. 4: Fruhlingslied
01:54
(Theodor Kirchner) Christoph Prégardien, Cyprien Katsaris
20.
10 Klavierstu?cke nach eigenen Liedern, Op. 19: No. 10: Fruhlingslied (In dem Walde sprießt und gru?nt es)
02:00
(Theodor Kirchner) Cyprien Katsaris, Christoph Prégardien
21.
8 Lieder und Gesänge, Op. 59: No. 5: Agnes
02:45
(Johannes Brahms) Cyprien Katsaris, Christoph Prégardien
22.
Transcription of Agnes
02:43
(Theodor Kirchner) Cyprien Katsaris, Christoph Prégardien
23.
5 Romanzen und Lieder, Op. 84: No. 4: Vergebliches Ständchen
01:41
(Johannes Brahms) Cyprien Katsaris, Christoph Prégardien
24.
Paraphrase of Vergebliches Ständchen
04:29
(Eduard Schütt) Cyprien Katsaris, Christoph Prégardien
25.
5 Lieder, Op. 49: No. 4: Wiegenlied
01:54
(Johannes Brahms) Christoph Prégardien, Cyprien Katsaris
26.
Transcription of Wiegenlied
02:26
(Gerald Moore) Christoph Prégardien, Cyprien Katsaris
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Often bought together with..

Various composers
Father & Son (reissue)
Christoph & Julian Prégardien
Various composers
Totdat de wachter heeft gezongen - Songs from the Gruuthuse Manuscript (ca. 1400) and instrumental connections
Aventure

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