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Schubert: Lieder & Songs from Die Winterreise

Schubert: Lieder & Songs from Die Winterreise

Rec-date: 2003 & 2006 (live)


Schubert:

Wohin? (No. 2 from Die schöne Müllerin, D795)

Am feierabend (No. 5 from Die schöne Müllerin, D795)

Heidenröslein, D257

Der Tod und das Mädchen, D531

Der König in Thule, D367

Gute Nacht (No. 1 from Winterreise, D911)

Die Wetterfahne (No. 2 from Winterreise, D911)

Gefror'ne Tranen (No. 3 from Winterreise, D911)

Der Lindenbaum (No. 5 from Winterreise, D911)

Wasserflut (No. 6 from Winterreise, D911)

Einsamkeit (No. 12 from Winterreise, D911)

Frühlingstraum (No. 11 from Winterreise, D911)

Die Krahe (No. 15 from Winterreise, D911)

Das Wirtshaus (No. 21 from Winterreise, D911)

Mut (No. 22 from Winterreise, D911)

Die Nebensonnen (No. 23 from Winterreise, D911)

Der Leiermann (No. 24 from Winterreise, D911)


The present collection of Schubert Lieder contains the only recording of a live concert by Christoph Prégardien. The CD contains Lieder recorded in two concerts during 2003 and 2006 when Prégardien was at the peak of his vocal career.

After Songs of love & death this CD is the second recording with Christoph Prégardien accompanied by guitar. The accompaniment of the Romantic Lied by guitar was well accepted by Schubert’s contemporaries and the guitar itself was pretty en vogue in these times. In Prégardien’s opinion Schubert’s Lieder are closely connected with the intimate sound of the guitar.

Tilman Hoppstock has selected 12 Lieder of Winterreise and five others and arranged them for his instrument.

“With its different weight, measure and dynamic voicing, the guitar simply cannot recreate Schubert's subtle patterning of keyboard-conceived inflection and accenting...The guitar comes into its own, though, in the bleak, hurdy-gurdy accompaniment of 'Der Leiermann'. Prégardien's singing is just as intelligent and sentient as ever.” BBC Music Magazine, December 2011 ***

Christophorus - CHR77352

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Serenade: Songs of night and love

Serenade: Songs of night and love

Romantic partsongs for male choir


Alfvén:

Stemning (Text: J.P. Jacobsen)

Serenad (Lindagull) (Text: Bertel Gripenberg)

Martin Nyvall (tenor)

Bruckner:

Mitternacht, WAB 80

Alison Browner (mezzo-soprano), Andreas Frese (piano)

Der Abendhimmel, WAB 56

Abendzauber

Christoph Prégardien (tenor)

Schubert:

Nachtgesang im Walde, D913

Die Nacht, D983c

Nächtliches Ständchen D635

Widerspruch D865 (Seidl)

Andreas Frese (piano)

Die Einsiedelei (G minor), D337 (Text: J. G. von Salis-Seewis)

Grab und Mond, D893

Das Grab D569 (Salis-Seewis)

Andreas Frese (piano)

Der Geistertanz D494 (Matthisson)

Sjöberg:

Tonerna (text: Erik Gustaf Geijer)

Vaughan Williams:

The Vagabond (from Songs of Travel)

Loch Lomond

Christoph Prégardien (tenor)

The Winter is gone


Camerata Musica Limburg, Jan Schumacher

The highly successful Camerata Musica Limburg features Romantic vocal repertoire on their latest release, including works by Schubert, Vaughan Williams and Sjöberg. The warm timbre of the male chorus and the four fantastic French horns glow like stars in the night and the excellent soloists are well supported.

Genuin - GEN12224

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Johann Ernst Bach: Passionsoratorium

Johann Ernst Bach: Passionsoratorium


Bach, J E:

Passions Oratorium

Ode auf den 77.Psalm 'Das Vertrauen der Christen auf Gott'

Motette 'Meine Seele erhebt den Herrn'


Barbara Schlick, Martina Lins (soprano), Silke Weisheit (contralto), David Cordier (counter-tenor), Christoph Prégardien, Martin Schmitz (tenor), Stephen Varcoe, Hans-Georg Wimmer (bass)

Rheinische Kantorei & Das Kleine Konzert, Hermann Max

Today it is the Passions of J.S Bach which are most commonly known. The Passion Oratorio by J.S Bach’s nephew, godson and pupil Johann Ernst Bach is lesser known. On this Capriccio re-release his Passion Oratorio is performed alongside an Ode on the 77th Psalm for tenor, chorus and orchestra and a Motet for solo voices, four-part chorus, strings and continuo.

Capriccio - C5122

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Rihm: 3 Liederzyklen

Rihm: 3 Liederzyklen


Rihm:

Ende de Handschrift

Nebendraußen - Lieder (8) on Poems by Hermann Lenz

4 Poems by Rilke for Tenor and Piano


Christoph Pregardien (tenor), Siegfried Mauser (piano)

Wolfgang Rihm sets poems from Heiner Müller, Hermann Lenz and Rainer Maria Rilke to music. Listen to a living document about one of the most important lied composers of our time.

Col Legno - WWE1CD50501

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CPE Bach: The Resurrection and Ascension of Jesus

CPE Bach: The Resurrection and Ascension of Jesus


Bach, C P E:

Kantate Wq. 244 'Gott hat den Herrn auferwecket'

Martina Lins (soprano), Paul Elliot (tenor) & Gotthold Schwarz (bass)

Nun danket alle Gott, H 805 (for Easter)

Martina Lins (soprano), Paul Elliot (tenor) & Gotthold Schwarz (bass)

Oratorio for 3 solo voices, four-part chorus and orchestra

Barbara Schlick (soprano), Christoph Pregardien (tenor) & Steohen Varcoe (bass)


Phoenix Edition CPE Bach Edition - PE456

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Schumann: Requiem, Der Königssohn & Nachtlied

Schumann: Requiem, Der Königssohn & Nachtlied


Schumann:

Requiem in D flat major, Op. 148

Nachtlied for chorus & orchestra, Op. 108

Der Königssohn, Op. 116


Ingeborg Danz, Christoph Pregardien, Sibylla Rubens, Yorck Felix Speer & Adolph Seidel

KammerChor Saarbrucken & Deutsche Radio Philharmonie, Georg Grun

These are stunning recordings of three rarely performed Schumann masterworks. The Requiem is beautifully scored and inhabits a world between Fauré’s otherworldly peace and Berlioz’s thunderous Last Judgement.

“this version of Nachtlied will leave no-one in doubt that this choral-orchestral miniature is a significant find. Der Königssohn is similarly enjoyable” BBC Music Magazine, August 2011 ****

“The soloists lend distinction, especially Christoph Prégardien as the young king-to-be, and Georg Grün's flexible direction doesn't undermine the pulse that each movement needs if it's to sustain any impression of coherence.” Gramophone Magazine, September 2011

“Whatever the aesthetic ambiguities of the work, Georg Grün and his musicians give the Requiem a creditable, straightforward performance. Balances tend to favour orchestral detail over a more precise choral presence...The soloists acquit themselves well.” International Record Review, September 2011

“Der Königssohn is one of four ballads that Schumann composed in 1851, which are precursors of a whole genre of narrative concert pieces in the second half of the 19th century. It may not be top-drawer Schumann, but it offers a sense of the composer creating something new.” The Guardian, 26th May 2011 **

Hänssler - HAEN93270

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Lieder von Liebe und Tod

Lieder von Liebe und Tod

Songs of Love & Death


Brahms:

Erlaube mir, fein's Mädchen (No. 2 from Deutsche Volkslieder WoO 33)

Da unten im Tale (No. 6 from Deutsche Volkslieder, WoO 33)

Schwesterlein, WoO posth. 37 No. 1

All mein Gedanken, die ich hab (No. 30 from Deutsche Volkslieder, WoO 33)

Wie komm ich denn zur Tur herein (No. 34 from Deutsche Volkslieder, WoO 33)

Es steht ein Lind (No. 41 from Deutsche Volkslieder, WoO 33)

Soll sich der Mond nicht heller scheinen (No. 35 from Deutsche Volkslieder, WoO 33)

Schubert:

Das Wandern (No. 1 from Die schöne Müllerin, D795)

Nachtstück, D672 (Mayrhofer)

Der Tod und das Mädchen, D531

Am feierabend (No. 5 from Die schöne Müllerin, D795)

Sei mir gegrüsst! D741 (Rückert)

Der König in Thule, D367

Nacht und Träume, D827

Der Leiermann (No. 24 from Winterreise, D911)

Meeres Stille, D216, Op. 3 No. 2 (Goethe)

Der Unglückliche, D713

Spohr:

Lied beim Rundetanz Op. 37:6

Schlaflied

Lied aus 'Aslauga's Ritter'

Getrennte Liebe Op. 37:5

Beruhigung

Die Stimme der Nacht

Schifferlied der Wasserfee


'By replacing the piano with the guitar, Christoph Prégardien and Tilman Hoppstock have changed the mood of the songs. The tension between voice and instrument changes, forms a different colour-mixture. (Peter Härtling)

'Never has the guitar sounded so absolutely right for these songs.' (Classical Guitar)

“...it's a revelation. The tension between voice and accompanist is...never less than creative. That's largely thanks to Prégardien 's matchless enunciation, always subtly nuanced inflection, and [Hoppstock's] ability to sustain a legato line through his nicely variegated and perfectly balanced plucking.” BBC Music Magazine, June 2010 ****

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Bach: Passions-Oratorium

Bach: Passions-Oratorium


Christoph Pregardien (tenor), David Cordier (counter-tenor), Barbara Schlick (soprano), Stephen Varcoe (bass), Hans-Georg Wimmer (bass), Martina Lins (soprano), Silke Weisheit (contralto), Martin Schmitz (tenor)

Rheinische Kantorei, Kleine Konzert, Das, Hermann Max

Capriccio - C10310-11

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Telemann: Choral Music

Telemann: Choral Music


Telemann:

Missa, TWV 9:14

Deus judicium tuum, TWV 7:7

Alles redet itzt und singet, TWV 20:10


David Cordier (alto), Silke Weisheit (contralto), Hans-Georg Wimmer (bass), Martina Lins (soprano), Christoph Pregardien (tenor), Barbara Schlick (soprano), Stephen Varcoe (bass)

Das Kleine Konzert, Rheinische Kantorei, Hermann Max

Capriccio - C10315

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Mendelssohn: Symphony No. 2 in B flat major, Op. 52 'Lobgesang'

Mendelssohn: Symphony No. 2 in B flat major, Op. 52 'Lobgesang'

Recorded at public concerts in the Grieg Hall, Bergen, April 2008


Judith Howarth (soprano), Jennifer Larmore (mezzo-soprano) & Christoph Prégardien (tenor)

Bergen Philharmonic Choir, KorVest (Bergen Vocal Ensemble), The Danish National Vocal Ensemble DR & Bergen Philharmonic Orchestra, Andrew Litton

Completed in 1840, Mendelssohn's ‘Lobgesang’ Symphony is actually his fourth in order of composition, preceded by both the Italian (No.4) and the Reformation Symphony (No.5). It was composed to mark the 400th anniversary of Gutenberg’s invention of the printing press. Instead of dealing with the subject of printing or Gutenberg’s life, however, Mendelssohn chose to focus on the consequences of Gutenberg’s achievement, presenting it as the victory of light over darkness.

“Litton's live recording is outstanding: observant of Mendelssohn's tempi, with beautifully detailed orchestral textures and lithe but robust choral work from the Danish National Vocal Ensemble and soloists Judith Howarth, Jennifer Larmore and Christoph Prégardien.” The Observer, 5th July 2009

“The tenor Christoph Pregardien is powerfully eloquent in the work’s best section (the anguished Stricke des Todes), and the Bergen Philharmonic lilt charmingly during the opening Sinfonia.” The Times, 11th July 2009 **

BBC Music Magazine Awards 2010

Award for Technical Excellence

Super Audio CD

Format:

Hybrid Multi-channel

BIS - BISSACD1704

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