Between life and death - songs and arias (2009)

Bach, Mahler, Schubert, Schumann, Mozart, Brahms, Loewe, Weber, Wolf, Mendelssohn-Bartholdy, Tschaikowsky

Christoph Prégardien, Michael Gees

The protagonist of the new album by Christoph Prégardien and Michael Gees has not yet arrived on the scene at the start and is awaited with the greatest yearning. “Come sweet death! Come blessed rest! Come, lead me in peace, for I am weary of the world, ah come!” Thus the opening of the aria from Bach’s Schemelli Liederbuch, which starts the programme “Between Life and Death”. Death not as the end but as the beginning of a better life – perhaps this message, filled with baroque certainty of salvation and unshakeable quietude, sounds as remote for us today as the afterlife itself. Christoph Prégardien frankly admits to admiring the people of Bach’s time somewhat for their trusting relationship to death: “Today death has been pushed out of our life almost completely, outlawed to the hospital ward and old people’s home. And this is the very reason we have compiled our programme: so that people become a little more aware that death is always in our midst. That we can’t ignore it, but have to accept it.” Death is in actual fact a close confidante, at least for Prégardien and Gees. It was so to speak their companion on their first Schubert album together “Abschied und Reise” (Songs of farewell and journey), also the Heine programme “Geliebte Schmerzen” (Beloved Pain). So it is scarcely any wonder that “Between Life and Death” also revolves around the Romantics: Schubert and Schumann, where in the end death is the sole remaining friend of the lonely human being, Brahms, where it quietly slips into the song idylls of late summer, and finally Mahler, where the no man’s land “between life and death” really does open up for all those souls who have become lost to the world.

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Christoph Prégardien

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. 

Michael Gees

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. Chance leads him back to the Hochschule für Musik und Theater in Hannover, where he resumes his compositional studies and eventually graduates. He now develops first rate pianistic chops on his own, composes a number of works, gains international renown as lied accompanist of extraordinary proportions with Christoph Prégardien and also appears in concerts globally; in Paris, London, New York and Tokio. All the while, he nurses and feeds his preference for combining the performance of music of past masters with living inspiration, thereby creating remarkable performances with his instrument.

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Between life and death - songs and arias (2009)

Bach, Mahler, Schubert, Schumann, Mozart, Brahms, Loewe, Weber, Wolf, Mendelssohn-Bartholdy, Tschaikowsky

Christoph Prégardien, Michael Gees

Digital Converters: DCS
Mastering Engineer: Bert van der Wolf
Microphones: Sonodore
Producer: Bert van der Wolf
Recording Engineer: Bert van der Wolf
Recording location: Galaxy Studios Belgium
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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CC72324: Between life and death - songs and arias
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Tracks.
1.
Bach- Komm, süßer Tod BWV 478
Bach
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2.
Mahler- Symphony no. 2, no.4- Urlicht
Mahler
00:04:42   Select quality & channels above
3.
Schubert- Schwanengesang op. 23, no. 3
Schubert
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4.
Schumann- Stirb, Liebe und Freud! op. 35, no. 2
Schumann
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5.
Schubert- Auflösung D 807
Schubert
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6.
W.A. Mozart- Abendempfindung KV 523
Mozart
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7.
Brahms- Feldeinsamkeit op. 86 no. 2
Brahms
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8.
Brahms- Wie rafft ich mich auf op. 32, no. 1
Brahms
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9.
Loewe- Edward Op.1, no. 1
Loewe
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10.
von Weber- Freischütz- Nein, länger trag
Weber
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11.
Wolf- Mörike-Lieder, no. 39- Denkt es, o Seele!
Wolf
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12.
Schubert- Der Jüngling und der Tod D 545
Schubert
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13.
Schubert- Der Tod und das Mädchen D 531
Schubert
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14.
Wolf- Goethe-Lieder, no. 29- Anakreons Grab
Wolf
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15.
Wolf- Eichendorff-lieder, no. 4- Das Ständchen
Wolf
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16.
Mendelssohn-Bartholdy- Neue Liebe op.19, 4
Mendelssohn-Bartholdy
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17.
Loewe- Erlkönig op. 1 no. 3
Loewe
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18.
Wolf- Spanisches Liederbuch - Weltliche Lieder, no. 22
Wolf
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19.
Tschaikowsky- Eugen Onegin op. 24- Arie of Lenski
Tschaikowsky
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20.
Schubert- Kriegers Ahnung D 957 no. 2
Schubert
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21.
Mahler- Revelge
Mahler
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22.
Mahler- Funf Ruckertlieder, no. 4- Ich bin der Welt abhanden gekommen
Mahler
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