Franz SCHUBERT (1797-1828)
Schubertiade
Julian Prégardien (tenor & recitation)
Marc Hantaï (transverse flute)
Philippe Pierlot (baryton)
Xavier Diaz-Latorre (guitar)
rec. 2015, Ev. Kirche Honrath & Rain Productions, Cologne, Germany
Reviewed in surround sound
MYRIOS MYR018 SACD [74:51]
A Schubertiade with a difference. Instead of Schubert songs with piano, we have other accompanying instruments, the guitar, flute and a viola da gamba (specifically, a baryton). Schubert’s publisher Diabelli published some arrangements of Schubert songs for voice and guitar, an instrument the composer played also. Plus it is likely that the informal nature of those Viennese musical soirées permitted other instrumentalists to get involved too. The booklet notes cite an example of such an occasion which gives further plausibility to this particular group of instruments. Several of the arrangements have been created for this by one of the performers, the Belgian gambist and conductor Philippe Pierlot. There are also a handful of instrumental arrangements and improvisations. Another noteworthy feature is the inclusion of some readings, in German of course, but translations and context are also given in the booklet. These are few, and very brief, but add charm and variety. The first one is joined after a while by the guitar, and segues neatly into the first song. (A detailed contents list is given below).
So this is a cleverly programmed recital, partly in the way of an experiment – this is what it could have been like, suggests Julian Prégardien in a short booklet note of his own. In terms of his selection of songs, this is an attractive and coherent collection, dominated by Goethe settings. These include the three Harfenspieler songs from Wilhelm Meister, Schäfers Klagelied, Heidenröslein, Nachtviolen, and the first Wanderers Nachtlied. Auf dem Strom is well-known in a version with horn obbligato, but there is also a copy in Berlin with cello obbligato, so the baryton here has some plausibility. It is as well that the programme has many familiar items, since no song texts or translations are given in the booklet. Most lieder lovers will have versions of these songs on other recordings no doubt, or can find them on the internet. But that is not quite the same as having a complete self-sufficient product.
But the music and its presentation is delightful nonetheless. The songs avoid the more dramatic examples – Erlkönig or Der Atlas would not be easy to fit in here – and the selection thus ensures that this is a reflective, gentle recital. That is helped by the absence of a mighty modern piano, and its replacement with three such soft-voiced instruments, which makes the whole effect rather candlelit, as befits an early 19th century musical soirée. Some of these arrangements add a different perspective – the familiar watery piano introduction might seem essential to the effect of Auf dem Wasser zu singen, but the baryton is touchingly effective too. Above all, Julian Prégardien’s singing is ideal for the prevailing mood. His light, plangent tenor is deployed very sensitively, suggesting he is singing just for us in an elegant Biedermeier drawing-room. He varies the strophic repetitions of Heidenröslein with some tasteful variations, as he does elsewhere, and as we know was probably the practice in Schubert’s day. The closing Ständchen is quite beautifully sung, less ardent than many tenors since Fritz Wunderlich’s famous recording, but coolly in scale with all that precedes it, and thus the ideal envoi.
Julian Prégardien is also the reciter of the spoken texts, and his readings are persuasive and intimate in the same way as his singing. The SACD sound is atmospheric, a perfect match for the aesthetic of the programme. The lack of texts and translations is regrettable, and the main way in which the CD feels aimed mainly at the German-speaking market. But the spoken items are translated in the booklet, which has good, if slender, English notes. Many Schubert song lovers will find this an attractively evocative, and rather different, addition to their collections.
Roy Westbrook
Contents (readings in italics):
“Die Szene ist ein Bild” (Peter Hãrtling) [1:16]
Der Wanderer, D.489 (Arr. A. Diabelli for Voice & Guitar) [4:21]
Klage an das Volk (Franz Schubert) [0:42]
Morgenlied, D. 685 (Arr. P. Pierlot for Voice, Flute & Guitar) [4:46]
36 Waltzes, D 365 No.1 & 6 (Arr. A. Diabelli for Flute & Guitar) [1:16]
Schäfers Klagelied, Op. 3 No. 1, D. 121b (Arr. P. Pierlot for Voice, Flute, Guitar & Viola da gamba) [3:02]
Heidenröslein, Op. 3 No. 3, D. 257 (Arr. P. Pierlot for Voice & Guitar) [1:49]
20. August 1815 (Michael Stegermann) [1:27]
Wanderers Nachtlied D224 [1:15]
Wenzel, Thomas Matiegka (1773-1830): Notturno in G Op.21 III. Lento e patetico [5:27] IV.Zingara[3:08]
Sehnsucht, Op. 8 No. 2, D. 516 (Arr. P. Pierlot for Voice, Flute & Guitar) [3:35]
Mertz, Joseph Kaspar (1806-56): Nachtviolen, Op.2/I. Andante espressivo [2:04]
Schwanengesang, D. 744 (Arr. P. Pierlot for Voice & Guitar) [2:49]
Auf dem Wasser zu singen, D774 [3:25]
Lachen und Weinen, D. 777 (Arr. P. Pierlot for Voice, Flute, Guitar & Viola da gamba) [1:43]
Geheimnis "An Franz Schubert" (Johann Baptist Mayrhofer) [0:59]
Nachtviolen D752 (Mayrhofer) [2:47]
Ich kann die Scharade nicht erraten (Peter Hãrtling) [0:51]
Harfenspieler No.I 'Wer sich der Einsamkeit ergibt', D478 (Arr. P. Pierlot for Voice, Guitar & Viola da gamba) [3:14]
Marc Hantaï (flute): Improvisation on "Wer sich der Einsamkeit ergibt, ach!, Op. 12 No. 1, D. 478" [0:44]
Harfenspieler No.3, Wer nie sein Brot mit Tränen aß, D. 480 (Arr. P. Pierlot for Voice, Guitar & Viola da gamba) [4:09]
Improvisation on "Wer nie sein Brot mit Tränen aß,” D. 480 [0:53]
Harfenspieler No.2, An die Türen will ich schleichen, D.479 (Arr. P. Pierlot for Voice, Guitar & Viola da gamba) [2:05]
Excerpt from Piano Sonata No. 18 in G major, D894; III. Menuetto & Trio (Arr. P. Pierlot for Guitar & Viola da gamba) [3:39]
An Franz (Johann Baptist Mayrhofer) [0:39]
Ständchen from Schwanengesang, D957 (Arr. P. Pierlot for Voice, Flute, Guitar & Viola da gamba) [3:42]
