Peregrina

"I will sing a cycle of gruesome songs for you. I am eager to see what you will say to that. They have affected me more than was the case with others. These songs please me more than any others, and you will like them, too." This is how Schubert himself announced the Winterreise to his friends in 1827.
Four musicians get together for a contemporary "Schubertiade" 175 years later. They are joined by two singers, male and female, with whom they wish to interpret several songs from Schubert's Winterreise in a new way. Using Schubert's original score for voice and piano as their point of departure, several songs are newly orchestrated and expanded by means of improvisation. A wholly new impression thus arises, although they strictly orientate themselves on Schubert's original version. The inner life of Schubert's piano part comes clearly to the fore; the novel sound image transforms his musical language into our own time. Wilhelm Müller's romantic texts are also intensified in their expressiveness; their images gain in contemporary relevance.
The songs are here brought down from the artificially elevated concert podium and playfully interpreted, full of the joy of music-making. The improvised commentaries, preludes and interludes do not correspond to customary listening habits; they thus open up the listener's attention for previously "unheard things" between the lines. The musicians bring their abilities into play that they have experienced in their confrontations with varying styles, such as new music, jazz and free improvisation. Thus, they approach the Winterreise in their own way. Schubert's music is part of their cultural identity which they now interpret in their modern manner of expression.

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