Julian Pregardien, Les Epopees, Marie Perbost, Cyril Auvity And Gwendoline Blondeel Monteverdi: L'orfeo (2024)

In their 'Schubertiade', Julian Pregardien and his instrumental friends recreate the special artistic mood one could have felt in Schubert’s day in a Viennese salon. To evoke that atmosphere, they have created a new collage of musical and literary fragments associated with the composer, featuring the unusual combination of flute, baryton and guitar.

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. Eric Le Sage records 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. The sublime ballade Löwenbraut also forms part of the programme – a reminder of the young Robert’s anguish on Clara’s departure.

The tenor Julian Prégardien joins Alpha 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, but 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).

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.

The great composer Jean-Baptiste Lully deployed all his musical science in his grand motets to express intense emotion; Madame de Sévigné said: "all eyes were filled with tears". With their large chorals, small ensembles, trios, duets, solos and orchestral symphonies, these large religious compositions are representative of the pomp deployed at Louis XIV's court, at the service of the monarch's absolute power. If O Lachrymae fideles, composed in winter 1664, goes from contained emotion to jubilant dance, the two other motets are deeply solemn. The Dies Irae and De Profundis were played at the funeral of the King's wife, queen Maria-Teresa of Austria, in 1683, in the Basilique Saint-Denis. Les Epopées will give a sparkling, theatrical and expressive version of this music, with rich and abundant ornamentation, echoing the sun's play on Versailles's windows, mirrors and gilt.

"Percé jusques au fond du coeur" ("Pierced to my heart's depths") is a tragic proclamation of Le Cid's voice, at last put to music by "Mr Charpentier, famed for a thousand works that charmed all of France". This collection of courtly arias, serious songs and drinking songs, played both at the Court of Louis XV and in the inner circles of the French bourgeoisie, is a marvellous maze on the Map of Tendre developed by Charpentier, a poet-musician whose sophistication vies with an irresistible sense of theatricality! Under the direction of Stéphane Fuget, the cream of French vocalists restores the original aura of these gems, with glittering ornamentation.