![Raphaël Pichon, Pygmalion, Julian Prégardien, Stéphane Degout, Sabine Devieilhe, Lucile Richardot, Christian Immler, Reinoud van Mechelen, Maitrise De Radio France - J. S. Bach: Matthäus-Passion, BWV 244 (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/04/13/l0cpm6qibiixa_600.jpg?resize=500%2C500&ssl=1)
Raphaël Pichon, Pygmalion, Julian Prégardien, Stéphane Degout, Sabine Devieilhe, Lucile Richardot, Christian Immler, Reinoud van Mechelen, Maitrise De Radio France – J. S. Bach: Matthäus-Passion, BWV 244 (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 02:41:27 minutes | 3,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © harmonia mundi
Dès le chœur d’entrée, Raphaël Pichon et son ensemble Pygmalion seront sensibles à la nuance, emplissant leur geste de couleurs et d’attentions finalement peu courantes dans ce moment le plus souvent marqué par l’ampleur et la densité du son. Les inflexions pianissimos, le soudain allégement des textures, le ton général chambriste placent cette Passion, devenue a posteriori le temple et sommet de l’expression dramatique religieuse du XVIIIe siècle, ailleurs. Bach y est ici le cousin direct d’un Georg Philipp Telemann dont les propres Passions présentent des effectifs plus restreints et parfois plus variés en terme d’instrumentarium. Elle s’inscrit aussi dans les perspectives doloristes des Membra Jesu nostri de Dietrich Buxtehude.
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Julian Prégardien – Zender: Schuberts Winterreis (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:24:00 minutes | 755 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The tenor Julian Prégardien joins Alpha Classics for several recording projects that will showcase every facet of his talent, notably lieder and oratorio. His first album on the label is devoted to one of the greatest masterpieces in the history of music, Winterreise in a version with orchestra composed by Hans Zender in 1993.
He scored the work for orchestral forces very different from the ensembles used in the nineteenth century (including, for example, a soprano saxophone, an accordion, a harmonica, a wind machine, a guitar and a very large percussion section). Hans Zender describes his work as a ‘creative transformation’: ‘My own reading of Winterreisedoes not seek a new expressive interpretation, but systematically takes advantage of the freedoms that performers normally allow themselves in an intuitive way: slowing down or accelerating the tempo, transposition into different keys, emphasising and nuancing colours.’
Julian Prégardien – Schumann: Dichterliebe (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 01:06:13 minutes | 587 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Julian Prégardien decided to record the Dichterliebe cycle after he came across the new Bärenreiter edition; he went on to explore the work in concerts with his constant accompanist, Eric Le Sage, inserting other works by Robert and also by Clara Schumann, whose bicentenary is celebrated in 2019. When Clara played the Dichterliebe in the 1860s, she used to slip extracts from Kreisleriana between the songs. Prégardien asked Eric Le Sage to record the same extracts on a Blüthner piano of 1856, the year of Robert’s death, and also to include Romances composed by both Robert and Clara at a time when their future marriage was still uncertain.
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Christoph & Julian Pregardien, Michael Gees – Father and Son (2014)
Digital eXtreme Definition FLAC Stereo (tracks) 24-bit/352,8 kHz | Time – 01:13:52 minutes | 3,47 GB | Genre: Classical
Studio Master, Official Digital Download – Source: spiritofturtle.com | Booklet, Front Cover | © Challenge Records
Ever since the late eighteenth and throughout the nineteenth century, the collection and research of folksong texts were associated with the initiation of a tradition. A “folksong idea” began to spring up based on concrete historical sources and facts, which became a guiding light both for enlightened education and also for the classical and early romantic generation of writers — as a medium for the universal shaping of the human character, as symbol of a lost Golden Age and as a yearned-for “German nation” seen as a cultural archive. However, this ideal did not recognise a solidifi ed artefact in the creatively adapted and re-set ‘Volkslied’, but the traces of a practical experience — Johann Gottfried Herder , the inventor of the term ‘Volkslied’, felt himself transported back “away from paper (…) into the living emotion of the people”. Against the background of contemporary speculations about cultural theory, the association of word and music in song thus became a social act endowing a sense of identity, behind which the assumed substantial and elemental relationship between language and music mysteriously shimmers like a water mark. (more…)
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