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Christoph Prégardien@ウィグモア・ホール


Christoph Prégardien: tenor

Ulrich Eisenlohr: piano

Wolfgang Rihm Composer Focus Day

In the 1970s the young Wolfgang Rihm was at the vanguard of a movement to restore expressivity to contemporary German music and open a modern dialogue with the past.

While his strikingly original works often connect with the aesthetics of Romanticism, they do so without trace of nostalgia or sentimental yearning for styles overturned by the cataclysmic upheavals of the last century. Wigmore Hall’s Composer Focus Day, featuring performances by artists closely associated with Wolfgang Rihm, touches on the myriad ways in which his art draws pulsating life from the abiding energy of music and poetic images of an earlier age.

Franz Schubert (1797-1828)
Auf der Bruck D853

Wolfgang Rihm (b.1952)
Ende der Handschrift
Glückloser Engel 2

Franz Schubert
Im Frühling D882

Wolfgang Rihm
Ende der Handschrift
Nature Morte

Franz Schubert
An mein Herz D860

Wolfgang Rihm
Ende der Handschrift
Leere Zeit

Franz Schubert
Im Jänner 1817 D876 'Tiefes Leid'

Wolfgang Rihm
Ende der Handschrift

Franz Schubert
Im Walde D834

Wolfgang Rihm
Ende der Handschrift
Mit der Wiederkehr der Farbe

Franz Schubert
Über Wildemann D884
Wolfgang Rihm

Ende der Handschrift
Geh Ariel bring den Sturm

Wolfgang Rihm
Das Rot: Hochrot, Ist alles stumm und leer, Des Knaben Morgengruss, Des Knaben Abendgruss, An Creuzer, Liebst du das Dunkel

Franz Schubert
Schwanengesang D957
No. 10 Das Fischermädchen
No. 12 Am Meer
No. 11 Die Stadt
No. 13 Der Doppelgänger
No. 9 Ihr Bild
No. 8 Der Atlas


 前半の構成は、リームのEnde der Handschriftからの歌と、シューベルトエルンスト・シュルツェの詩に曲をつけたリートを織り交ぜてという形式だった。


 リームによる曲は、前半は楽しめなかった。しかし、後半のDas Rotはプレガルディャンの熱唱もあり、聴き応えのある物だった。中でも、4曲目のDes Knaben Abendgrussは、「プレガルディャン、こんな歌い方もできるんだ!」と驚嘆の大熱唱。




 「I hope so, the concerts in Tokyo were scheduled much later(ブッキングはウィグモアの方が先だったようだ)」


 「The Toppan Hall asked us to do those, they are really keen on the programmes. Will you come?」

 「I wish」




Wolfgang Rihm Day review – stars come out for a master of dark delights

Rihm’s expressive centre of gravity now seems fixed quite firmly in that post-romantic, expressionist language of the turn of the 20th century. The starting point for many of the songs in Prégardien’s remarkable recital with pianist Ulrich Eisenlohr – from the 1999 cycle Ende der Handschrift, settings of poems by Heiner Müller, which he interwove with Schubert’s late songs on poems by Ernst Schulze, and the cycle Das Rot (1990) which was followed with the Heine settings from Schwanengesang – was that of early Schoenberg and Berg. The juxtaposition with the greatest of all Lieder composers worked perfectly, while Prégardien’s acute, concentrated response to every detail of every song was a wonder in itself.

Wolfgang Rihm Focus Day, Wigmore Hall, review: 'contrasting emotional worlds'

Singer Christoph Prégardien rose magnificently to the challenge of projecting these two emotional worlds. Rihm’s little wisps of songs could sound precious, but Prégardien has such a magnificently powerful sound they seemed monumental. In the Schubert songs such as Der Atlas, he and pianist Ulrich Eisenlohr summoned a power I’ve never heard equalled.




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