Artist: Julian Prégardien
Album: Zender: Schuberts Winterreis
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 01:24:00
Total Tracks: 24
Total Size: 755 MB

Tracklist:

1-01. Julian Prégardien – Gute Nacht (09:11)
1-02. Julian Prégardien – Die Wetterfahne (02:01)
1-03. Julian Prégardien – Gefrorne Tranen (02:05)
1-04. Julian Prégardien – Erstarrung (03:31)
1-05. Julian Prégardien – Der Lindenbaum (04:12)
1-06. Julian Prégardien – Wasserflut (03:41)
1-07. Julian Prégardien – Auf dem Flusse (03:54)
1-08. Julian Prégardien – Ruckblick (01:59)
1-09. Julian Prégardien – Irrlicht (03:14)
1-10. Julian Prégardien – Rast (03:15)
1-11. Julian Prégardien – Fruhlingstraum (03:37)
1-12. Julian Prégardien – Einsamkeit (04:11)
1-13. Julian Prégardien – Die Post (04:28)
1-14. Julian Prégardien – Der Greise Kopf (02:31)
1-15. Julian Prégardien – Die Krahe (01:45)
1-16. Julian Prégardien – Letzte Hoffnung (02:01)
1-17. Julian Prégardien – Im Dorfe (03:12)
1-18. Julian Prégardien – Der Sturmische Morgen (01:21)
1-19. Julian Prégardien – Tauschung (03:05)
1-20. Julian Prégardien – Der Wegweiser (03:40)
1-21. Julian Prégardien – Das Wirtshaus (03:55)
1-22. Julian Prégardien – Mut (03:08)
1-23. Julian Prégardien – Die Nebensonnen (03:38)
1-24. Julian Prégardien – Der Leiermann (06:14)

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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.’