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An die Geliebte
Various composers

Julian Prégardien, Christoph Schnackertz

An die Geliebte

Price: € 20.95
Format: SACD
Label: Myrios Classics
UPC: 4260183510123
Catnr: MYR 012
Release date: 27 October 2023
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Label
Myrios Classics
UPC
4260183510123
Catalogue number
MYR 012
Release date
27 October 2023
Album
Artist(s)
Composer(s)
EN

About the album

Unrequited love was the wellspring of countless songs and poems in the Romantic era: young tenor Julian Prégardien presents his first solo lied album with a diverse programme of 19th century art songs. Certain moments are full of heartbreak, others more tongue-in cheek: Julian Prégardien invites us to join him on his exploration of the Romantic era in a quest for the (distant) beloved, from the very first song cycles by Beethoven and Weber to the height of the genre in the lieder of Wolf and Strauss.

Artist(s)

Julian Prégardien

In opera, concert and Lied repertoire, Julian Prégardien enjoys widespread success in equal measure on an international scale. He has gained particular acclaim in the tenor part of the Evangelist in the passions and oratorios of J. S. Bach. Prégardien recently sang the Evangelist in the Christmas Oratorio under the baton of Peter Schreier in the Munich Philharmonie, as well as the Evangelist in the St Matthew Passion at the Lincoln Center in New York conducted by Philippe Herreweghe, at the Amsterdam Concertgebouw with the Netherlands Bach Society and at the Munich Herkulessaal with Peter Dijkstra and the Bavarian Radio Choir in a CD/DVD production that has been broadcast several times by different German television stations. Prégardien also recently sang in...
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In opera, concert and Lied repertoire, Julian Prégardien enjoys widespread success in equal measure on an international scale.
He has gained particular acclaim in the tenor part of the Evangelist in the passions and oratorios of J. S. Bach. Prégardien recently sang the Evangelist in the Christmas Oratorio under the baton of Peter Schreier in the Munich Philharmonie, as well as the Evangelist in the St Matthew Passion at the Lincoln Center in New York conducted by Philippe Herreweghe, at the Amsterdam Concertgebouw with the Netherlands Bach Society and at the Munich Herkulessaal with Peter Dijkstra and the Bavarian Radio Choir in a CD/DVD production that has been broadcast several times by different German television stations. Prégardien also recently sang in a television production of the St John Passion in Riga (Latvia) with Concerto Copenhagen conducted by Lars Ulrik Mortensen. He had previously recorded the St John Passion in 2010 on the French ZIG ZAG label in a production that received excellent international reviews. In early 2015 he will once more record the Evangelist in the St John Passion for Bavarian Radio. 
During the 2014/15 season, Prégardien will also perform Bach cantatas on tour with René Jacobs, and in Barcelona and Paris he will sing the Christmas Oratorio conducted by Christophe Rousset. Under the baton of Andrea Marcon he will likewise perform the Mass in B Minor with Berlin Radio Symphony Orchestra, as well as a series of Bach cantatas with Bavarian Radio Symphony Orchestra; he will also go on tour singing the St Matthew Passion with Le Concert Lorrain conducted by Christoph Prégardien. 
Further collaborations in the 2014/15 season include Bach cantatas with the Stuttgart International Bach Academy under Hans-Christoph Rademann, Mozart’s Requiem with the Deutsche Kammerphilharmonie Bremen and the Bavarian Radio Chorus under Peter Dijkstra, and Haydn’s Creation with Christoph Poppen conducting the Cologne Chamber Orchestra.

On the opera stage, Prégardien has recently sung the part of Jaquino in Fidelio with the Deutsche Kammerphilharmonie Bremen under Paavo Järvi. He also covered the role of Eurimedes in Telemann’s Orpheus at Frankfurt Opera, where he was previously an ensemble member and covered the roles of Tamino in The Magic Flute, Jason in Charpentier’s Medée and The Novice in Billy Budd. At Aix-en-Provence Festival he sang the roles of Nencio in Haydn’s L’infedeltà delusa and Belfiore in Mozart’s La finta giardiniera. In June of 2015 he will make a guest appearance as Renaud in Lully’s Armide at the Opéra National de Lorraine (Nancy), with Christophe Rousset conducting and David Hermann as stage director. In the 2013/14 season he sang Pedrillo in Die Entführung aus dem Serail with the Akademie für Alte Musik Berlin under René Jacobs (at Bremen Musikfest, Amsterdam Concertgebouw and La Monnaie in Brussels), as well as the title role in Rameau’s Zaïs with Christophe Rousset and Les Talens Lyriques (Amsterdam, Versailles, Theater an der Wien). Both productions were recorded for CD release.

Julian Prégardien can be heard on the Virgin Classics release of Ezio (Gluck) under Alan Curtis, a production that received an ECHO Classical Award in 2012. He was also among the singers on the roster of Cecilia Bartoli’s second CD release devoted to the works of Agostino Steffani, entitled Stabat Mater (Decca Classics). 
With the title An die Geliebte, Julien Prégardien’s first solo recording was released in early 2014 on the Myrios Classics label, featuring Lied repertoire accompanied by Christoph Schnackertz at the piano – a release that reaped high praise from the critics. In late 2014, Challenge Records International will publish a joint vocal collaboration between father and son, featuring Christoph and Julien Prégardien singing Lied repertoire accompanied by pianist Michael Gees.

Julien Prégardien has given Lieder recitals at Davos Festival, at the Menuhin Festival in Gstaad, at Stuttgart Musikfest, at the Rheingau Music Festival, at the Mecklenburg-Vorpommern Festival, at the Styriarte Festival in Graz, at Maggio Musicale Fiorentino, Cologne Philharmonie, Stadtcasino Basel, Innsbruck Festival and the Edinburgh and Schwetzingen festivals. In 2013 he performed for the first time at the Schubertiade in Schwarzenberg, where he is re-invited to perform in 2015. The 2014/15 season will also see a series of joint Lieder recitals with his father scheduled at the Haydn Festival in Brühl, at Stuttgart Musikfest, at Wigmore Hall and at Salzburg Whitsun Festival.

The singer also enjoys presenting distinctive chamber music programmes. At Mecklenburg-Vorpommern Festival, to commemorate the 200th anniversary of Schumann’s birth in 2010, he premièred his own arrangement of Schumann’s Liederkreis cycle for string quartet and improvised piano intermezzos with Michael Gees and the Gémaux Quartet. In 2014, in collaboration with the Ricercar Consort, he devised a “Schubertiad” featuring Lied arrangements, instrumental works and texts by Schubert and his contemporaries, arranged for flute, guitar and barytone viol. That project will be released by Myrios Classics as Prégardien’s second solo CD in 2015. 

Born in Frankfurt, Julien Prégardien was trained in the Limburg Cathedral Choir and went on to study voice at Freiburg Musikhochschule. Since the summer semester of 2013 he has been teaching the oratorio class at the Hochschule für Musik und Theater in Munich.

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Composer(s)

Ludwig van Beethoven

Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include nine symphonies, five piano concertos, one violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Together with Mozart and Haydn, he was part of the First Viennese School.    Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob...
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Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include nine symphonies, five piano concertos, one violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Together with Mozart and Haydn, he was part of the First Viennese School. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

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Richard Strauss

Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his  Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
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Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

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Hugo Wolf

Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas. Even though he did start writing...
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Together with Gustav Mahler, Hugo Wolf can be considered as one of the greatest composers of Late Romantic lieder. Both of them followed the tradition of Schubert and Schumann, but intensified the gerne with Wagner's techniques of text declamation and harmonic development. What makes Wolf's song cycles special, is the fact that often they are devoted to a single poet, like in his Mörike-Lieder (1889), Eichendorff-Lieder (1889) en Goethe-Lieder (1890). For each cycle, he spent a considerable time studying the text to create the best matching music. His accomodation of musical structure, harmonic subteties and pianistic texture are all inseperable from the lyrics. Partly due to his psychological sophistication his songs can be heard as miniature operas.
Even though he did start writing on several full-fledged operas, it never became a true succes. Only his opera Der Corregidor (1896) was completed. Things went downhill from there. In 1897, Wolf had a nervous breakdown as a consequence of a syphilis infection he had since his teens. After a failed suicide attempt, he was admitted to a clinic in Vienna. The somber Michelangelo-Lieder (1898) would become his last completed composition. Wolf died in 1903, three weeks before his 43st birthday.


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Carl Maria von Weber

Carl Maria von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school. Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German 'nationalist' opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an...
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Carl Maria von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularised by Mozart and others.

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