Schubert: Winterreise op. 89, D. 911 (2012)

Schubert

Christoph Prégardien, Michael Gees

A song cycle as self-portrait 

In the autumn of 1823, when the illness that five years later would take his life revealed its full intensity, Schubert composed Die schöne Müllerin, on texts by the German poet Wilhelm Müller (1794-1827). Central in this cycle of 20 lieder is a wandering miller’s helper who very briefly holds the illusion that he has found happiness. His beloved, however, a beautiful miller’s daughter, turns her attention to a handsome hunter, and the disappointed miller’s helper drowns himself in a stream. 
Also in 1823, Müller published the first 12 poems of a new cycle, Winterreise, in which he again presents a young man who has left his hearth and home. This time, the protagonist is not searching for happiness, but fleeing after misfortune in love. The second series of 12 poems would appear a short time later, and in 1827, the year before his death, Schubert set this cycle to music, incidentally following the order in which it appeared – in February, he wrote the first 12 lieder and it was only in October that he got to the second half. 

 

Thematically, Die schöne Müllerin and Winterreise are in full keeping with the Romantic movement that was bursting forth everywhere, a growing uneasiness with social and economic developments leading to among other things the glorification of wandering and a return to nature, both as a counterbalance to disillusionment with reality. While the first cycle initially exudes hope and joie de vivre, Winterreise is from the beginning dominated by fatalism and a longing for death. One of the most popular lieder in the cycle, Der Lindenbaum, seems nothing less than the call of suicide, through which the cycle links with the end of Die schöne Müllerin, where the miller’s helper is drawn to the water in the stream. 
In part due to arrangements for the theatre and film, a tendency arose to see the Winterreise cycle as a monodrama about a rejected lover who wanders out of sorrow. The foundation of this is the first lied, Gute Nacht, in which we hear that in the month of May, love still smiled upon the poet, but then all his dreams were smashed and he decided to roam the world. We are not told what exactly had happened; nowhere in the cycle do we hear a reproof or an indication of “guilt”, not even from the protagonist. He tells us only that he withdraws from the vicinity of his former beloved because he expects he would otherwise be hunted by dogs. 

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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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Schubert: Winterreise op. 89, D. 911 (2012)

Schubert

Christoph Prégardien, Michael Gees

    BBC Music Magazine - classical-music.com

Winterreise proves worth the wait. This Winterreise has a visionary quality that only the best achieve.

    BBC Music Magazine

The Voice is in superb form, sensing out the underlying pulse and the minutest inflections of longing, delight, determination and soul-weariness within each lithe, live line of melody. Accompanying, Michael Gees has freshly reconsidered so much detail, too - possibly, it seems to me, with an ear to Schubert's late piano music.

    Luister

Gees en Pregardien begrijpen elkaar precies in kleine vrijheden in tempo en accenten en voelen elkaar dynamisch voortreffelijk aan.

    Gramophone

Pregardien remains at once one of the most scrupulous and moving interpreters of Winterreise.

    Luister

De expressie is meer verinnerlijkt, waarbij Gees en Pregardian elkaar precies begrijpen en elkaar dynamisch voortreffelijk aanvoelen.

    Luister

Met elk lied wel een verrassing in accent of detail.

    Www.sonograma.org

ens convida a participar de l’experiència musical de dos excel·lents companys de viatge

    Www.opusklassiek.nl

Zó zingt Prégardien en zó begeleidt Gees. In iedere maat valt te horen hoezeer beiden door de jaren heen artistiek met elkaar vergroeid zijn geraakt. Diep ontroerend, diep tragisch en tegelijkertijd van een overweldigende authenticiteit

    NDR

Noch immer setzt der Tenor auf einen schlichten Klang und eine ganz natürliche Sprachgestaltung. Eine Mischung, die zu Tränen rühren kann

    RBB

Drei Komponenten ergänzen sich bei der vorliegenden Produktion auf geradezu idealtypische Weise: das Kunstwerk, seine kongeniale interpretatorische Darstellung und die modernste Audio- und Videotechnologie, die so professionell wie geschmackvoll in den Dienst der Musik und der Interpreten gestellt wird.

    BR

diese Aufnahme zeugt von tiefem Verständnis und intensiver Auseinandersetzung mit Schuberts Werk

    Kulturradio am Mittag

Drei Komponenten ergänzen sich bei der vorliegende Produktion auf geradezu idealtypische Weise: das Kunstwerk, seine kongeniale interpretatorische Darstellung und die modernste Audio- und Videotechnologie, die so professionell wie geschmackvoll in den Dienst der Musik und der Interpreten gestellt wird.

    Fono Forum

Christoph Prégardien und Michael Gees überzeugen auf ganzer Linie

    Sunday Times

This is a powerfully original performance by Schubert's journey into the distracted mind.

    Early Music Review

This is beautiful singing by a master of his craft [...]. Michael Gees is a perfect accompanist, and allows Prégardien and the music plenty of room to breathe. [...] I was immediately captivated by the sheer beauty of the singing, the quality of the vioce and especially by the feeling that this man just 'lives' Winterreise.

    The Scotsman

Prégardien's ability to shade and mutate the delicate emotional inflections with almost imperceptible subtlety personalise this account, coupled with Gee's string but reflective playing.

    Das Opernglas

Prégardien geht hier bewusst an die Grenzen seiner Stimme

    Klassieke Zaken

Christoph Prégardien en Michael Gees bieden zonder meer voldoende stof tot inleving en ruime mogelijkheid om de gestalte van de protagonist via SACD in de fantasie tot leven te brengen.

    De Volkskrant

Gees laat akkoorden in elkaar overvloeien, gumt nootjes uit, alles om de tekst en de deolate sfeer van de compositie voelbaar te maken en Prégardien laat zich maar al te graag met hem meevoeren. Het resultaat is een Winterreise die klinkt als een autobiografie.

    Knack Focus

In Michael Gees vindt Prégardien (een van de meest inspirerende liedzangers van zijn tijd) een volwassen kamermusicus als partner: iemand met een visie, die er niet alleen is om de zanger te pamperen, maar om hem van weerwoord te dienen. Grote kunst.

    Mania Klassiek

Vanaf de allereerste regels neemt Prégardien de luisteraar mee in reis die op de juiste momenten beheerst en zeer dramatisch is.

    De Telegraaf

Hier zijn twee meestervertellers aan het werk. Ze doen zo precies het goede dat interpretatie en muziek volledig lijken te versmelten.

Schubert: Winterreise op. 89, D. 911 (2012)

Schubert

Christoph Prégardien, Michael Gees

Cables: Siltech Mono Crystal
Digital Converters: dCS
Mastering Engineer: Bert van der Wolf
Microphones: Sonodore
Producer: Bert van der Wolf
Recording location: Galaxy Studios Belgium
Recording Type & Bit Rate: DSD64

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CC72596: Schubert: Winterreise op. 89, D. 911
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Tracks.
1.
Winterreise op. 89, D. 911 - Gute Nacht
Schubert
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2.
Winterreise op. 89, D. 911 - Die Wetterfahne
Schubert
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3.
Winterreise op. 89, D. 911 - Gefrorne Tr_nen
Schubert
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4.
Winterreise op. 89, D. 911 - Erstarrung
Schubert
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5.
Winterreise op. 89, D. 911 - Der Lindenbaum
Schubert
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6.
Winterreise op. 89, D. 911 - Wasserflut
Schubert
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7.
Winterreise op. 89, D. 911 - Auf dem Flusse
Schubert
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8.
Winterreise op. 89, D. 911 - Rückblick
Schubert
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9.
Winterreise op. 89, D. 911 - Irrlicht
Schubert
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10.
Winterreise op. 89, D. 911 - Rast
Schubert
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11.
Winterreise op. 89, D. 911 - Fruhlingstraum
Schubert
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12.
Winterreise op. 89, D. 911 - Einsamkeit
Schubert
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13.
Winterreise op. 89, D. 911 - Die Post
Schubert
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14.
Winterreise op. 89, D. 911 - Der greise Kopf
Schubert
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15.
Winterreise op. 89, D. 911 - Die Krahe
Schubert
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16.
Winterreise op. 89, D. 911 - Letzte Hoffnung
Schubert
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17.
Winterreise op. 89, D. 911 - Im Dorfe
Schubert
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18.
Winterreise op. 89, D. 911 - Der sturmische Morgen
Schubert
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19.
Winterreise op. 89, D. 911 - Tuschung
Schubert
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20.
Winterreise op. 89, D. 911 - Der Wegweiser
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21.
Winterreise op. 89, D. 911 - Das Wirtshaus
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22.
Winterreise op. 89, D. 911 - Mut
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23.
Winterreise op. 89, D. 911 - Die Nebensonnen
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24.
Winterreise op. 89, D. 911 - Der Leiermann
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