Julian Prégardien: Schubertiade

Julian Prégardien, tenor son of tenor father Christoph, is understandably driven by the need to discover ever new ways of presenting Lieder. His latest project is an imaginative recreation of a musical soirée such as may have been enjoyed in early 19th-century Vienna: a Schubertiad in which a Spanish guitarist, a Belgian cellist and a Parisian flautist meet with a German singer to forage through a pile of songs, waltzes, instrumental pieces, and poems and prose for the reciting.

Our rating

4

Published: October 13, 2016 at 2:06 pm

COMPOSERS: Franz Schubert
LABELS: Myrios
ALBUM TITLE: Schubertiade
WORKS: Lieder, instrumental pieces and poems by and inspired by Franz Schubert
PERFORMER: Julian Prégardien (tenor, recitation), Philippe Pierlot (baritone), Marc Hantaï (transverse flute), Xavier Diaz-Latorre (guitar)
CATALOGUE NO: Myrios MYR 018 (hybrid CD/SACD)

Julian Prégardien, tenor son of tenor father Christoph, is understandably driven by the need to discover ever new ways of presenting Lieder. His latest project is an imaginative recreation of a musical soirée such as may have been enjoyed in early 19th-century Vienna: a Schubertiad in which a Spanish guitarist, a Belgian cellist and a Parisian flautist meet with a German singer to forage through a pile of songs, waltzes, instrumental pieces, and poems and prose for the reciting.

This makes for a captivating and most artfully programmed recital in which Prégardien’s tenor is lightly suspended over a guitar’s gentle strumming in an arrangement by Anton Diabelli of Schubert’s Der Wanderer – and, in its shadows, Prégardien himself is heard reciting Schubert’s own moving words on the redress of Art in an era of societal pain and corruption.

The guitar provides a deliciously apt plucked accompaniment for Heidenröslein, delicately inflected

as a fragile Biedermaier miniature.

The baryton (cello-like member of the gamba family) transforms Auf dem Strom into a wistful, other-worldly sepia tableau. And the flute brings bittersweet ambiguity to Lachen und weinen.

It has to be said that both vocal and instrumental performances limit themselves to a single palette of whiter shades of pastel pale: the unremitting melancholy and nuanced half-tones which this creates will enchant some listeners, and possible bore and alienate others.

Hilary Finch

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