Prégardien - Wanderer: Songs by Schumann, Killmayer & Mahler (2011) {Hybrid-SACD // ISO & HiRes FLAC}

CD Info:

Christoph Prégardien / Ensemble Kontraste - Wanderer: Songs by Schumann, Killmayer & Mahler

Label: Challenge Classics
Catalog#: CC72518
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Europe
Released: 01/10/2011
Genre: Classical

Tracklist:

Robert Schumann (1810-1856)

Arrangements for small ensemble by Marcus Maria Reißenberger
01. Fruehlingsfahrt op 45.2 [0:02:46.28]
02. Eintritt op 82.1 [0:02:11.28]
03. In der Fremde op 39.8 [0:01:15.38]
04. Waldesgespraech op 39.3 [0:02:04.64]
05. Mondnacht op 39.5 [0:03:57.08]
06. Einsame Blumen op 82 [0:02:04.59]
07. Trost im Gesang op 142.1 [0:01:56.41]
08. Sehnsucht nach Waldgegend op 35.5 [0:02:10.45]
09. Wanderung op 35.7 [0:01:18.17]
10. Herberge op 82 [0:02:33.15]
11. Es leuchtet meine Liebe op 127.3 [0:01:23.16]
12. Dein Angesicht op 127.2 [0:01:52.56]
13. Lehn' Deine Wang op 142.2 [0:00:44.04]
14. Mein Wagen rollet langsam op 142.4 [0:02:52.06]
15. Abschied op 82 [0:02:32.32]
16. Der Dichter spricht op 15.13 [0:01:50.17]

Wilhelm Killmayer (1927) - Four songs from "Hölderlin-Lieder II"

Arrangements for small ensemble by the composer
17. In lieblicher Blaue [0:10:04.25]
18. Der Mensch [0:02:11.52]
19. …wie Wolken [0:01:33.01]
20. Griechenland [0:03:32.63]

Gustav Mahler (1860-1911) - Lieder eines fahrenden Gesellen

Arrangements for small ensemble by Arnold Schönberg
21. Wenn mein Schatz Hochzeit macht [0:03:35.26]
22. Ging heut' morgen ueber's Feld [0:04:17.72]
23. Ich hab 'ein gluehend Messer [0:02:52.68]
24. Die zwei blauen Augen [0:05:09.52]

Recording Location: Galaxy Studios, Mol (Belgium)
Recording Dates: 14-18 September 2010
Recorded by: Northstar Recording Service

Notes:

This High Definition Surround Recording was Produced, Engineered and Edited by Bert van der Wolf of NortStar Recording Services, using the "High Quality Musical Surround Mastering" Principle.
The basis of this principle is an optimal realistic and holographic, 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice.
For most historic music this means a frontal representation of the musical performance, nevertheless such that width and depth of the ensemble amd acoustic characteristics of the hall do resemblance "real life" as much as possible.
Some compositions in history, and many contemporary works do specifically ask for placement of musical instruments and voices all over the 360 degrees sound scape however, and in such cases this is also recorded as realistic as possible within the possibilities of the 5.1 Surround Sound standard.
This all requires a very innovative use of all 6 loudspeakers and the use of fully equal and full frequency range loudspeakers for all 5 discrete channels, and a complementary sub-woofer for the ultra low frequencies under 40Hz, is highly recommended to optimally benefit from the sound quality of this recording.

This recording was produced with the use of Sonodore microphones, Avalon Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters.

I will listen to this splendidly performed release again and again.

There are twenty four works on this disc. The vast majority of these are established in the standard repertoire but are presented here in a different guise by tenor Christoph Prégardien and the Ensemble Kontraste. The impressive Prégardien has a distinct baritonal quality to his lower register. Across the scores the concept of the Wanderer from German Romantic literature is a constant theme that works superbly well.

Robert Schumann is represented by sixteen scores. Twelve of these are a selection of Lieder that have been arranged by Marcus Reißenberger for voice and small chamber ensemble. Reißenberger made these arrangements for Christian Prégardien specifically for this Wanderer project. Schumann’s Lieder encompass a wide variety of feelings and emotions. Three are taken from his Liederkreis. The remaining four piano pieces are from his set of Waldszenen (Forest Scenes) for piano and delightfully arranged by Reißenberger for small chamber ensemble. I enjoyed the whole Schumann recital in particular Prégardien’s interpretation of the Liederkreis songs; especially the serious and often forceful Waldesgespräch (Conversation in the forest) and the gentle, tender and yearning tones of Mondnacht (Night of the moon) with its attractive mainly piano accompaniment. With a near martial feel in Trost im Gesang (Comfort in song) Prégardien is sturdy displaying the splendid power of his voice. The jaunty optimistic feel to Wanderung (Wandering) with its highly modulating line shows the tenor’s vocal flexibility. Dark and menacing Prégardien provides a real sense of drama in Es leuchtet meine Liebe (My love gleams). With its sense of longing the attractive Mein Wagen rollet langsam (My wagon rolls slowly) shows the attractiveness of Prégardien’s voice and his ability to sing pianissimo. Probably my favourite of all the songs with its memorable melody Der Dichter spricht (The poet speaks) is movingly performed - so tender and dreamy.

Munich-born composer Wilhelm Killmayer is represented by his set of Four Lieder from his second cycle of Hölderlin Lieder from 1986/87 presented in the composer’s own arrangements for small chamber ensemble. With these settings Killmayer freely uses texts by German poet Friedrich Hölderlin. He demonstrates a real affinity with the Romantic poet. Prégardien clearly believes in these highly attractive scores with their spare and finely wrought chamber accompaniments. Throughout the lengthy opening song In lieblicher Bläue (In lovely blue) Killmayer’s orchestration feels superbly crafted. The work opens with a passage for solo flute which is joined by the harmonium. The closing instrumental section is quite superbly played by the Ensemble Kontraste. This is highly engaging writing and the assured vocalist takes the listener on a journey that is not too emotionally draining. I particularly enjoyed the rich-toned Prégardien in the dark and grave final song Griechenland (Greece).

Gustav Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) comprising four Lieder was originally scored for voice and piano then orchestrated by the composer. The cycle could be described as Mahler’s way of expressing his emotional pain and sorrow at being rejected by Johanna Richter a singer at the Kassel Opera and how he found solace in nature. The words are Mahler’s own being strongly influenced by a collection of German folk poetry known as Des Knaben Wunderhorn (The Youth’s Magic Horn). Here the songs are presented in Arnold Schoenberg’s arrangements from 1920 for small chamber orchestra. This is very fine singing from Prégardien who gives a memorable performance of this much loved sequence. With every word feeling meaningful in Wenn mein Schatz Hochzeit macht (When my love becomes a bride) Prégardien displays his rich and smooth timbre. Much as I admire Mahler’s scoring Schoenberg’s light and colourful orchestral accompaniment made a refreshing change. In the challenging Ging heut morgen übers Feld (I walked this morning over the field) Prégardien initially shows some signs of strain but recovers to deliver extremely moving singing over delightful string accompaniment. I checked my favourite version of the Mahler song cycle with Dietrich Fischer-Dieskau and the Bavarian RSO under Rafael Kubelik recorded in 1968 at Munich on Deutsche Grammophon 449 735-2. I noticed that even this great singer does not find the score effortless. The tempestuous Ich hab' ein glühend Messer (I have a gleaming knife) is given a performance of high drama. Amid the funereal tread of Die zwei blauen Augen von meinem Schatz (The two blue eyes of my love) I found Prégardien’s interpretation most affecting.

For some reason it took me a while to get used to the sound of the chamber orchestra. It’s closer recorded than Prégardien. The overall sound is cool and clear, and a slightly warmer bloom would have provided the ideal atmosphere. Some minor volume adjustment was occasionally needed in the louder passages and I felt the recording would have benefited from additional depth. The booklet notes are adequate. Nevertheless further information about the specific works would have been beneficial. Full texts are provided in German but disappointingly there are no English translations.

All those concerned with this Wanderer project are to be heartily congratulated. I will listen to this splendidly performed release again and again.

– Michael Cookson, MusicWeb International

review by Stephen Eddins

Tenor Christoph Prégardien has been a strong supporter of instrumental arrangements of lieder accompaniments; for Winterreise alone, he has made recordings with three different instrumental combinations, as well as a traditional version with fortepiano. On this 2011 Challenge Classics album, accompanied by the Nuremburg-based ensembleKONTRASTE, he brings that interest to songs by Schumann, Mahler, and Wilhelm Killmayer. The instrumentations, which include flute, clarinet, string quintet, piano, harmonium, and percussion, are based on the ensemble Schoenberg used in his arrangements of Mahler's Lieder eines fahrenden Gesellen, which conclude the album. Marcus Maria Reissenberger's arrangements of 12 Schumann songs and of four movements from Waldszenen open up the piano part with fresh, understated, and idiomatic sonorities. In some songs the change is extremely subtle; in "Mondschaft," for example, the piano part is unchanged, and quiet, sustained string chords provide occasional colorful harmonic support. The songs by Killmayer (born 1927) set to texts by Hölderlin are for the most part in a lyrical post-Romantic style; "Griechenland" is an especially lovely, elegiac piece. Prégardien's voice is warm and colorful, and he has a refreshingly unmannered delivery. He brings a thorough understanding to the songs that's reflected in the subtlety and naturalness of his phrasing. ensembleKONTRASTE performs with elegance and suppleness, making a strong case for the viability of innovative projects like this one. The sound of the SACD is exceptionally clean, realistic, and well-balanced. allmusicguide