Christoph & Julian Pregardien: Father and Son
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Label: Challenge Classics
Cat No: CC72858
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 27th November 2020
Contents
Works
Deutsche Volkslieder (14), WoO34Auf dem Wasser zu singen, op.72 D774
Der Zwerg, D771 op.22 no.1
Des Fischers Liebesgluck, D933
Erlkonig, op.1 D328
Gesange (4), D983
Licht und Liebe (Nachtgesang), D352
Meeres Stille, op.3 no.2 D216
Nacht und Traume, D827
Wandrers Nachtlied II 'Uber allen Gipfeln ist Ruh', D768
Widerspruch, D865
Lieder und Gesange IV (5), op.96
Frisch gesungen
Loreley
O wie herbe ist das Scheiden
Weisst du, wieviel Sternlein stehen?
Duets (5) for 2 voices and 2 harmonicas, op.109
Artists
Christoph Pregardien (tenor)Julian Pregardien (tenor)
Michael Gees (piano)
Fabienne Waga (harmonica)
Patricia Messner (harmonica)
Works
Deutsche Volkslieder (14), WoO34Auf dem Wasser zu singen, op.72 D774
Der Zwerg, D771 op.22 no.1
Des Fischers Liebesgluck, D933
Erlkonig, op.1 D328
Gesange (4), D983
Licht und Liebe (Nachtgesang), D352
Meeres Stille, op.3 no.2 D216
Nacht und Traume, D827
Wandrers Nachtlied II 'Uber allen Gipfeln ist Ruh', D768
Widerspruch, D865
Lieder und Gesange IV (5), op.96
Frisch gesungen
Loreley
O wie herbe ist das Scheiden
Weisst du, wieviel Sternlein stehen?
Duets (5) for 2 voices and 2 harmonicas, op.109
Artists
Christoph Pregardien (tenor)Julian Pregardien (tenor)
Michael Gees (piano)
Fabienne Waga (harmonica)
Patricia Messner (harmonica)
About
The conditions under which Schubert’s art of the song developed into a kaleidoscopically incandescent spectrum that crossed over genres and the institutionally set, historical boundaries disappear today as a rule under the pedestal that the late nineteenth century began to erect for the composer.
The traces of improvisational practice were increasingly lost within a music culture that stylised the printed manuscript into a quasi-sacred object. A particularly successful way of leading back to a fundamental impetus in Schubert’s art of the song is through an approach towards the songs that takes the moment of spontaneous performance seriously as a communicative act, without denying the work character of Schubert’s music.
The idea of ‘one’ universal human voice seems to materialise with particular intensity in the commingling of two voices of similar timbre, which can permanently interchange and double their identity. Based on our knowledge for instance of the Schubertiade reminiscences of 1868, remembered and noted down by Moritz von Schwind, can we not imagine that the ‘Schubert singers’ Johann Michael Vogl and Karl von Schönstein might indeed have sung alternately (or even in unison)?
‘In our arrangements we first and foremost wanted an encounter with the prodigious complexity of Schubert’s oeuvre in lied and to show that boundaries overlap! Schubert composed the song “Widerspruch” (Contradiction) in two versions in any case - namely the solo version and as an ensemble lied - and we are now in a way adding a third. With “Licht und Liebe” (Light and Love) we have also included an original composition for two voices, as well as dramatic ballads, convivial vocal ensembles and elegiacally meditative solo songs which we have “heard” anew and arranged in various ways.’ - Julian Pregardien
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