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Utvalgte titler fra Berlin Classics

Berlin Classics

Utvalgte titler fra Berlin Classics, blant annet titler med stjerner
som Midori Seiler, Nigel Kennedy, Isang Enders og Claire Huangci
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Image Violin Sonatas (The)
Midori Seiler, violin

Midori Seiler demonstrates her mastery as a leading violinist for historically informed performance recording Bach’s solo sonatas for violin (BWV 1001, 1003, 1005).
The album was recorded in Köthen, where the works were written. Seiler plays a historical Guarneri violin shows a very unique interpretation of the works.

kr 95 (kr 159)
Image My World
“…a lot of the time I play music from other worlds …. Welcome to My World” World premiere on the NEUE MEISTER label: International classical superstar NIGEL KENNEDY releases his first album of his own compositions, entitled “My World”. The first album by Nigel Kennedy in which he features his own compositions is at the same time the most intimate view yet of his world: a colourful kaleidoscope of sounds. He has written works inspired by his mentors Yehudi Menuhin, Isaac Stern and Stéphane Grappelli, and artists like Mark O’Connor and Jarek Smietana, while composing a whole new suite to Anton Chekhov’s play “Three Sisters”. On “My World”, Kennedy shows how well string orchestra, rock band and piano go together once you forget the stereotypes. Nigel Kennedy, who turns 60 on December 28, 2016, has been true to his vision throughout his career: making music that transcends all conventions. “My World” retraces how meeting his mentors shaped his musical understanding and changed his career path. Yehudi Menuhin probably had the most important influence on Kennedy: “I feel that Yehudi Menuhin gives me a direct route back to the music of Bach. Also Menuhin paid for my education at his school so without him I would probably not be playing classical music at all.” Next to Menuhin, meeting Stéphane Grappelli was a crucial moment: “I met Stéphane for the first time when he was playing to us kids in the Yehudi Menuhin School; I surprised him by jumping on the stage and joining him in his performance, which was the catalyst for a long musical relationship with him. He loved it that a 14-year-old kid was into his music and could also play it. From my point of view, it was invaluable to meet a musician who, when playing, proved that serious music doesn’t have to be depressing.” Listening to “My World” it becomes very clear how strong jazz music has influenced Kennedy. This is to be heard in the dedications to Polish jazz guitarist Jaroslaw Smietana or Nashville based country-jazz-blues violinist and composer Mark O’Connor and also represented in the band line-up. Orphy Robinson, who has already played with Don Cherry, Wynton Marsalis, David Murray and many famous jazz musicians, plays vibes and percussion alongside Adam Czerwinski on drums. Tomasz Kupiec on bass has to lay the groundwork for three guitarists: long-time touring guitarist Rolf Bussalb, young Julian Buschberger and Doug Boyle, who used to play with Robert Plant and is now assistant producer of Nigel’s album. Considering this line-up, “My World” sounds surprisingly calm and classical. The Oxford Philharmonic Orchestra has a permanent role throughout, while the band only plays some of the time. Overall Nigel demonstrates what a great soloist he is: virtuosic but never plays a note too many – just like his musical idols. He has written an album full of great melodies. “Three Sisters” is clear evidence of this. The inspiration for the suite comes from Nigel’s wife Agnieszka, who has produced the play by Anton Chekhov for the stage. Fascinated by the underlying psychological study of the play, Nigel started writing his own “Three Sisters” suite.“

kr 95 (kr 159)
Image Cello Suites
Immortal and yet human "Bach's immortal" Isang Enders writes in the foreword to his new CD with the six suites for solo cello. "They say that Bach is the beginning and the end, immortal, incomprehensible and even holy." Given this enormous claim are hardly a musician doubt alien when he deals with works such caliber. And yet: "Bach's music is so human and thus always contemporary and purely speak to the suites, sing and dance, and hunt together - and by and by subjective and characteristic of me, after I have now overcome my doubts The subjective at this.. recording has become the result of my belief. "This says a young cellist, an overachiever who was only twenty years cello concert master with the Staatskapelle Dresden, but gave up this post again in favor of his solo career. With these words, is actually already said what Isang Enders' Bach-game excels in addition to all the competing interpretations. With youthful vigor, superior technology and a deep penetration of the substance he brings exuberance, precision and spirit together.


kr 215 (kr 359)
Image Piano Sonatas
Claire Huangci, piano (Yamaha CFX)

Asked what music she wanted to play on her second solo album, she shot back: "Scarlatti!". And yet Claire Huangci is known as a consummate interpreter of highly virtuosic music. But even when reviewing her debut CD of tricky Russian ballet transcriptions, Ingo Harden in Fono Forum had this to say: "Over and above the seemingly effortless and euphonious realization of her programme, her playing has an amazingly wide spectrum of nuances in touch. Even a seasoned performer with decades of experience can hardly offer us a more imaginative and colourful 'orchestra on the piano'."

Such nuances are the heart and soul of Scarlatti's sonatas. Each individual piece needs its own pulse, and its own colours, to bring it to life. Then the music reveals a whole world of joyous experimentation, expressed in the composer's 555 sonatas. Written for none other than himself and his pupil Maria Barbara, the Portuguese Infanta, they contain all that the Baroque and Classical idiom of his age had to offer - including the emulation of special guitar techniques. The self-assurance with which all these elements are juggled often leaves the listener agape.

But how is the artist to master this sheer volume of music and give her selection a meaningful structure? The young pianist writes in her introduction: "Building on that general practice, I began wondering if I could create larger music forms from his works, using individual sonatas as movements. And expanding upon that, what if I was able to present the works in a way that would show people clearly how Scarlatti formed the perfect bridge between the Baroque and Classical periods? Using the sonatas, I decided to create Baroquian Suites and Classical Sonatas, congruent with forms from each respective era."

After reviewing all the sonatas, she finalized her concept of two quite distinct CDs: "Each suite on the first CD follows basic form with an opening movement (prelude or toccata), then allemande, courante, sarabande, gigue with additional intermezzo movements such as bourrees, passepieds, gavottes, minuets, etc. CD2 used different criteria. On top of tonal continuity, it was important to show the classical side of Scarlatti, in expression, in harmonic modulation, and particularly in compositional structure (exposition, development, recapitulation)." Not that the aim is to reconstruct works that have never existed in that form. The idea is that the listener will form an impression of how the pieces are related to one another, if they are not heard in isolation. This at once builds logical bridges between movements that were previously an arbitrary sequence of individual pieces. It also demonstrates Scarlatti's versatility as a titan of the miniature, confidently poised between two eras in the creation of his own music.


kr 173 (kr 289)
Image Unfolding Debussy
Unfolding Debussy. Marina Baranova. Since Marina Baranova first played Clair de Lune as an eager nine-year-old a question had stayed with her: Was there another side to Debussy’s music, one influenced by his turbulent private life and tempestuous relationships? “When you think of the great impressionist painters, you think of light, and hope, and love,” she says. “But Debussy adored the darkness of Baudelaire, and was heavily influenced by Wagner. The titles he gave his pieces also hint at hidden meanings, so I thought it would be interesting to explore this ‘shadow’ side and my feelings towards it.” Now Marina Baranova's album Unfolding Debussy will be released on the 9th of March 2018 via Neue Meister label to mark the occasion of Claude Debussy's 100th day of death on the 25th of March 2018. Despite being “absolutely in love” with Debussy, Baranova had also grown tired of playing his work in the common, classical way. “It didn’t feel good, and I didn’t want to play them in grand, romantic ways.” Coming back to his music, she resolved to discover new ways of playing while exploring this darkness, and set about deconstructing some of his best loved pieces. It was here she had a vision, and the concept of “unfolding” his work took shape. “It’s like origami,” she explains. “You have this creation that has perfect form, but I was always interested in exploring the folds and the cracks; in looking inside, to see how it works. So I decided to unfold the music to discover these deeper meanings.” To emulate the richness of Debussy’s original compositions, Baranova sought a broader palette and different textures. “Every instrument has its own colour,” she says, and so a number of different pianos and keyboards were employed to help to weave her magic. An Una Corda, a Fender Rhodes, midi keyboards and a C. Bechstein grand piano all feature, as do a number of delays and arpeggiators; anything to match the mood and the colours she could see in her head. Unusually for a classical pianist, she took it upon herself to both write and sing lyrics for various tracks, something she claims “wasn’t a decision, but an intuition. At the start, this wasn’t my intention, but the words just came.” Verlaine’s Moonlight opens the record on ‘Intro’, Baranova’s breathy spoken word conveying just the right amount of drama and intrigue, but it’s ‘The Snow Is Dancing’ that sees her take the biggest risk. Working with singer songwriter Shane August, she retells the story taken from Children’s Corner from the point of view of two adults in the process of splitting up, their love as cold as the snow delicately falling past the window. With Unfolding Debussy, Baranova has created so much more than a simple homage to one of the greatest composers of the 19th and 20th Centuries. She’s given his work new meaning, uncovering hidden aspects and deeper connections, revealing the very human fragility behind the legend. “It’s for people who are open minded and already in love with classical music, but also for people who don’t know anything about it,” she says. “I would appreciate it if they listened and asked themselves: ‘What do the originals sound like?’” Nearly a hundred years after his death, Unfolding Debussy hopes to inspire a new generation of music lovers and ensure that his sensory majesty is not lost to the drifting sands of time. Even after all this time, the cultural titan can still conjure a million colours in the mind.

kr 95 (kr 159)
Image 24 Preludes
The most intimate Debussy of all time: Friedrich Gulda’s benchmark recording of the 24 Préludes. The 24 Préludes represent what must be the best known cycle of pieces by the Impressionist composer Claude Debussy. The compositions are alive with magic, poetry and depiction in sound. No pianist can approach the demands of their composer more closely than Friedrich Gulda; Debussy’s instruction “to breathe with the pedal” is something that Gulda, alone among pianists, has mastered to perfection. The pianist’s instinctive sense of touch draws from the works of Debussy just what the composer wished: loud sections are thundered forth, while pianissimo passages sound so intimate and close at hand that one’s own heartbeat sounds like the summons of an imperious drum. To do justice to this perfection, the recording is also released in full-spectrum sound quality on audiophile vinyl. Gulda, rebel among pianists, was a great admirer of Debussy’s music. As early as the 1940s, he proved with his recordings of “L’isle joyeuse” and “Reflets dans l’eau” his infallible sense of the composer’s music. The pianist immersed himself in the depths of Debussy’s harmonies, taking his extended harmonic structure (chords to the 9th, 11th and 13th) as the basis of improvisation in jazz. And there is an audible affinity in the harmonies of Gulda’s own composition “The Air from other Planets”. This intensive engagement with jazz on the one hand and with the works of Claude Debussy on the other fertilized Gulda’s creative powers to an equal extent, enriching his interpretation of the Préludes with regard to rhythm in particular and giving benchmark status to this recording. The preferred microphone placement close to the strings at the MPS studio in Villingen in 1969 only goes to reinforce Debussy’s message. Under the guiding hands of Willi Fruth and Hans Georg Brunner-Schwer the sought-for intimacy is amplified; ideally, some of these pieces should only be played for a tête-à-tête. These intimate recordings have now been restored in pure analogue mode and carefully enhanced by Mastering Engineer Christoph Stickel, specialist in audiophile editing and restoration, so as to retain the unique sound of the recording in its close relationship with Gulda’s interpretation. The recording has been newly laid down on audiophile 180 gramm virgin vinyls and on CD. An absolute work of reference! Back Cover Text.The 24 Préludes form what is surely the best known cycle by Impressionist composer Claude Debussy. The works are full of magic, poetry and imagery. No pianist can realize their composer’s demands like Friedrich Gulda; Debussy’s instruction “to breathe with the pedal” is one that Gulda uniquely has mastered to perfection. The intimacy of the Préludes comes alive in the microphone placement close to the piano strings adopted by MPS founder and sound purist Hans Georg Brunner-Schwer and lends the recording absolute benchmark status.

kr 95 (kr 159)
Image Bachiana
Johann Sebastian Bach is revered by musicians and music- lovers around the world – the German weekly Die Zeit has described him as the “fount of all music”, and violinist Yehudi Menuhin had a very simple explanation for our continuing fascination with Bach’s works: “He represents something greater within us.” Classical saxophonist Asya Fateyeva has engaged with Bach’s oeuvre since her youth, albeit at a disadvantage to many of her colleagues – the Thomaskantor wrote no works for the saxophone. Not that this put off the young musician, voted Best Female Newcomer at ECHO Klassik 2016: her latest CD “Bachiana” featuring works by J.S. Bach and Heitor Villa-Lobos prove her to be not only a virtuosa of her instrument but also a gifted arranger. She is ably supported by the inspired Württemberg Chamber Orchestra of Heilbronn under its principal conductor Ruben Gazarian. “Even when I was a child, I was really inspired by the music of Johann Sebastian Bach. That was when I began to play the piano, later I switched to the saxophone – and his music was simply always there. I think every musician feels the same; Bach’s universal language knows no frontiers and when you come into contact with his music, you sense that you are in touch with eternity,” confesses Asya Fateyeva. The naturalness and authenticity of her Bach playing, coupled with the versatility of an instrument that lets her free the spirit of Bach’s compositions, results in wonderful interpretations on her new CD “Bachiana” of the G minor Concerto originally written for harpsichord and of the Violin Concerto in A minor and the Double Concerto for violin and oboe, where she is supported by violinist Erik Schumann. She also plays the aria “Ach bleibe doch, mein liebes Leben” (ah do but stay, my dear life) from the cantata Lobet Gott in seinen Reichen – a wonderful opportunity for Asya Fateyeva to show how melodious the saxophone can sound. For her second release after her debut CD, which was devoted to original works for saxophone, Asya Fateyeva has complemented her Bach arrangements with another composition written expressly for her instrument. Bach is backed by Heitor Villa-Lobos: his Fantasia for soprano saxophone and chamber orchestra, here represented by string orchestra and three horns, was written in 1948 and is one of the Brazilian composer’s best known works. Bach it was who inspired Villa-Lobos’s cycle Bachianas Brasileiras, from which No. 5, originally composed for soprano and eight cellos, has been selected for this CD. With its sure sense of style and abundant resources of expressiveness, the Württemberg Chamber Orchestra of Heilbronn under its principal conducto Ruben Gazarian is a constant companion to Asya Fateyeva – making “Bachiana” a recording that is as convincing and yet as surprising for Bach lovers as for saxophone fans.

kr 95 (kr 159)
Image Bach On Brass
German Brass

Virtuoso reference work of the renowned brass band in a high-quality remaster! Well-Known Bach songs re-arranged for brass – entertaining and artful. German Brass consists of German’s best brass soloists.

kr 95 (kr 159)
Image Trio Sonatas
Erik Bosgraaf is one of the foremost and most adventurous recorder players of today. His modest instrument the recorder is for him an inexhaustible source of inspiration and boundless possibilities. He improvises, plays jazz, uses electronics and likes to work with artists outside the box. For him there is no difference between early and contemporary music: “Early music is always new”. The sense of discovery permeates all his recordings of works by Telemann, of which he already released 4 albums for Brilliant Classics. Critics are enthusiastic: “One of the world’s most gifted recorder players..a real winner..a virtuoso with a sense of style.. “(Musicweb International), “magical..simply fabulous..Bosgraaf’s virtuosity is stunning, as is his artistry” (Gramophone). This new recording presents Telemann’s sonatas for recorder, violin and B.C. Played by violinist Dmitry Sinkovsky, cellist Balazs Mate and harpsichord Alexandra Koreneva and the inimitable Erik Bosgraaf on recorder. The present recording includes all five surviving trio sonatas for recorder, violin and basso continuo by Georg Philipp Telemann. As an encore, there is a charming duet for recorder and violin Telemann published in 1728-29 in his music periodical Der getreue Music-Meister. There is also a duet for these two instruments hidden in the Trio Sonata in A minor (TWV 42:a1) which has no basso continuo in the trio section of the final menuet. Telemann became seriously interested in composing trios during the period between 1708 and 1712, while he was working as the court kapellmeister in Bach’s native Eisenach. It was a genre that must have been close to his heart. “Specifically, people tried to persuade me that trios were my strongest point’’, he wrote in his autobiography as early as 1718 and he repeated remarks to that effect in 1740. Would he have recorded this laudatory characterization if he hadn’t secretly agreed? He had two of the trios published, both in A minor. The first sonata (TWV 42:a1) was in a volume of six trio sonatas for various instruments, published by the composer himself in 1718, by which time his talents had taken him as far as Frankfurt. The second sonata (TWV 42:a4) appeared in his collection Essercizii Musici. The other three trios have only survived in manuscript: two in the Darmstadt Universitats- und Landesbibliothek (TWV 42:f2, TWV 42:f8), the third in the library of the Royal Conservatory in Brussels. The authenticity of this last piece has recently been questioned. There are frequent parallel octaves in the violin and the bass, wholly against the rules of counterpoint. Telemann would never have done that. The assumption is that the bass was added later by somebody else. When the musicologist Klaus Hofmann wrote an article on the matter in the German music periodical Tibia (1/2009), he also questioned Telemann’s authorship of the upper parts – not convincingly, but that is by the way. In the next issue, Hofmann was able to announce the existence in the Landesbibliothek Mecklenburg-Vorpommern in Schwerin of a trio sonata for recorder and viola da gamba in G minor by one Pierre Prowo (1697– 1757), of which the opening measures of the fast second movement are amazingly similar to the opening measures of the Brussels trio sonata. Was Prowo, an organist from Altona near Hamburg, perhaps the composer of that piece as well? A year later, Hofmann discovered that the same library also contains a manuscript of Trio Sonata TWV 42:d10 …with Prowo’s name on the title page! That seemed to confirm the new attribution and solve the mystery. In my opinion the opposite is more probable. Other compositions show Prowo to be an incorrigible dilettante, unimpeded by much imagination. He had no problem with parallel fifths or octaves. The fact that his Trio Sonata for recorder and viola da gamba contains a section beginning almost exactly like the Brussels trio argues against his authorship rather than for it. It looks as though Prowo was hoping for some sparks of genius of his own by following the example of an inspired contemporary. Examining the rest of the Trio Sonata for recorder and viola da gamba, one sees him fail dismally. That Provo was capable of composing a sparkling, irresistible “Telemannesque” trio of the calibre of TWV 42:d10 is highly unlikely. The version of TWV 42:d10 in Schwerin has an extra movement: a poorly conceived, eight-measure adagio. The recorder offers only cliches, the violin accompanies and plays the initial measures unisono with the bass, in parallel octaves. This is where we discern Prowo’s mediocrity, I’m afraid. There is no comparison with the others movements. It would be taking things too far to go into detail here, but I suspect that this is what happened: two upper parts - recorder and violin- of a trio sonata in D minor by Telemann were in circulation during the first half of the eighteenth century without the corresponding basso continuo. Pierre Prowo added one (in his typical dilettante fashion) and also added a clumsy little adagio. He felt justified in setting his own name to it: the “Schwerin version”. Somebody in the vicinity was aware of the circumstances, took the original upper parts, kept Prowo’s continuo part, left out the extra movement and restored the name of the real composer, reinstating Telemann: the “Brussels version”. Prowo provided the first movement with an unimaginative (and for Telemann unidiomatic) bass, dominated by groups of repeated eighth notes. I have written an entirely new continuo part for this movement. In other places I have made corrections in the bass, there where the voice leading has parallel octaves. And the solo parts for recorder and violin? Let’s uphold Telemann – Telemann at his best. (Thiemo Wind)

kr 95 (kr 159)
Image Schumann Romances
A Declaration of Love (set to music) … to the Oboe. “I was very diligent all this entire time – it was my most productive year,” wrote Robert Schumann in 1849 in a letter to Ferdinand Hiller. This was the year that saw him compose the Three Romances for oboe and piano op. 94, which Robert presented to his wife Clara as a Christmas gift. And the choice of the oboe was no coincidence, since the composer loved the instrument, as is evident to anyone who listens to his symphonic works … On her new CD, “Schumann Romances”, which will be released on October 13, 2017 on the Berlin Classics label, the French oboist Céline Moinet presents a selection of works written by Schumann for the oboe or which were specially arranged for the instrument. “I took the liberty of transposing some works for my own instrument, although oboists of Schumann’s era had already discovered his oeuvre for themselves,” explains the artist. “The oboist Emilius Lund (1830–1893) performed his Three Romances op. 94 at the Gewandhaus in Leipzig in 1863 with Carl Reinecke at the piano. He also arranged and published versions of ‘Träumerei’ and ‘Am Kamin’ from Schumann’s Kinderszenen (1838) for the oboe.” Clara Schumann too composed Romances (op. 22), originally for violin and piano, but which lend themselves equally well to the oboe. And there is a wonderful arrangement by Theodor Kirchner of Robert Schumann’s Studies for the Pedal Piano op. 56, which brings together the oboe, cello and piano.
In fact, it was not Träumerei, which came so strongly in the twentieth century to embody the image of Schumann’s character and oeuvre, but Abendlied op. 85 (no. 12) that was by far the best known of Robert Schumann’s works in the nineteenth century. It is therefore hardly surprising that Céline Moinet chose both works for her album, thereby eliciting new nuances from Schumann’s two “hits” with her instrument. Ultimately, it is Schumann’s Lieder and lyric gems that are lent a completely unique new colouring thanks to the oboe’s timbre. And even though there are no lyrics to this version for oboe and piano – the poetry comes out fully in any case – this is clearly a declaration of love set to music: “My lovely star! I beg you, / Do not fall to the Earth, / Because you see me here below, / Instead, lift me up to heaven, / My lovely star, where you already are!” Céline Moinet was born in in Lille, northern France, in 1984 and finished her studies at the Paris Conservatoire National Supérieur de Musique in David Walter’s class with the best marks and highest commendation. At just 23 years of age, Céline Moinet was appointed to the prestigious post of solo oboist with the Dresden Staatskapelle. Since then she has worked with conductors such as Christian Thielemann, Zubin Mehta, Claudio Abbado and Andris Nelsons, and is a regular guest with orchestras such as the Vienna Philharmonic and the London Symphony Orchestra. The oboist is accompanied by pianist Florian Uhlig, a prestigious interpreter of Schumann’s music with considerable expertise and a worldwide reputation as a soloist and chamber musician. It was possible to engage the solo cellist of the Dresden Staatskapelle, Norbert Anger, for the Six Pieces in Canonic Form and together, the three musicians breathe new life into this wonderful declaration of love in musical form.

kr 95 (kr 159)
Image Landscapes
Joseph Haydn is a conscientious revolutionary. His “Sunrise” Quartet op. 76 No. 4 is littered with idiosyncrasies. Just as you are thinking you can get the hang of this music, it slips away from you again. The Schumann Quartet is hooked on Joseph Haydn! There’s a reason for this addiction, of course; without Haydn, the “string quartet” genre would be like a string instrument without a bow. True, the composer is still – somewhat disrespectfully – called “Papa Haydn”, whether to stress his place in the evolutionary chain linking Johann Sebastian Bach and Wolfgang Amadé Mozart or because his works allegedly lack the inquisitiveness of a Mozart or the philosophical profundities of a Ludwig van Beethoven. Joseph Haydn has yet to recover from such false assessments. And it is abundantly clear from the “Sunrise” Quartet op. 76 No. 4 just how false they are. It may not be obvious to the listener, because it is not at all easy listening. All our expectations of the four-movement form are fulfi lled, but the work is littered with idiosyncrasies. Some of them are right at the beginning of the composition, when the fi rst violin responds to the sustained notes of the remaining instruments by describing a discursively rising and then falling pattern. Is it sombre? Is it encouraging? Is it playful? Perhaps it all depends on the listener’s reaction to it. The fi nal movement, putting everything in a new light with its minor-key interpolations, shows how careful one must be not to stuff Haydn into a pigeonhole.The three brothers Mark, Erik and Ken Schumann, who grew up in the Rhineland, have been playing together for fi ve years. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany. Those who experience the quartet in performance often remark on the strong connection between its members. The four musicians enjoy the way they communicate without words: how a single look suffices to convey how the other wants to play a particular passage. Although the individual personalities clearly manifest themselves, a common space arises in every musical work in a process of spiritual metamorphosis. The quartet’s openness and curiosity may be partly the result of the formative influence exerted on it by teachers such as Eberhard Feltz, or partners such as Menahem Pressler. CD publications, study with the Alban Berg Quartet, a residency of many years at the RobertSchumannSaal in Düsseldorf, winning the prestigious Concours de Bordeaux along with other awards, various teachers and musical partners – it is always tempting to speculate on what factors have led to many people viewing the Schumann Quartet as one of the best in the world. But the four musicians themselves regard these stages more as encounters, as a confirmation of the path they have taken. They feel that their musical development over the past two years represents a quantum leap: “We really want to take things to extremes, to see how far the excitement and our spontaneity as a group take us,”

kr 95 (kr 159)
Image Variation5
“variation5” is the title of the wind quintet’s eponymous debut album – and variation5 is an ensemble of five very different characters, musicians who as winners of first prize in the ARD Music Competition are united by one thing: rather than cling to traditional performance practice and repertoire, they create new and exciting programmes and present them in their own cheeky, youthful, laid-back manner. This first joint album of theirs gives the five musicians the chance to present modern 20th-century classics for wind ensemble. They push atonal preconceptions to one side: the works are catchy and offer auditory variety as well as a relaxed balance of sound such as has rarely if ever been heard before. The five wind musicians – Magali Mosnier, Ramon Ortega-Quero, Sebastian Manz, David Fernandez Alonso and Marc Trenel (bassoon) are anything but your typical “classical-music nerds”. The assumption that a wind quintet represents an exceptionally difficult combination is one they can confidently rebut: they are so well attuned to one another that their instruments fall into harmony with one another and sound, when played together, almost like an organ. That gives the ensemble a unique authority of its own. For its debut album, the ensemble has assembled works that display the versatility and creative enthusiasm of their composers. The wind-quintet formation enjoyed a renaissance in the 20th century. Composers like Carl Nielsen, Jean Francaix and Paul Hindemith experimented with this scoring and showed great inventiveness in exploiting the various acoustic characteristics of the different wind instruments. So you can imagine it takes the highest technical and musical skills to achieve full expression of these works. These musicians are equal to the enormous challenge and their listeners can be sure of a sonic revelation. There are two reasons for this: in the first place the works were specially arranged for and by the ensemble so as to be perfectly matched to each individual musician, and secondly, the Hans Rosbaud Studio in Baden-Baden, where the recordings were made, is an ideal venue for wind players.

kr 95 (kr 159)
Image Shostakovich Festival: Michail Jurowski in Gohrisc
In July 1960 Dmitri Shostakovich composed his famous String Quartet No. 8 in Gohrisch southeast of Dresden – the only work by him written outside the Soviet Union. To commemorate the work’s genesis, in 2010 the International Shostakovich Days in Gohrisch was founded – since then the festival has attracted concert-goers from around the world to the spa resort near the Elbe River. In the first year the festival already received high praise from the Frankfurter Allgemeine Zeitung: “At an authentic setting, unique festival programming was created with a balance of works that would normally be expected at established festivals such as in Salzburg or Bayreuth: a judicious and deftly concentrated concept performed by renowned artists, and refined by the charm and spirit of the location.” One of the first guest artists in Gohrisch was conductor Michail Jurowski, who as a child used to play piano pieces for four hands with the composer. Concert highlights of his performances with the Staatskapelle Dresden, which played an important role in starting the festival, have now been issued as live recordings on this first CD.

kr 95 (kr 159)
Image Hypersuites
The original idea of combining different pieces into suites came from Marina Baranova's friendship with some great DJ's. She enjoys the way the pieces flow into one another as they do on a mix tape. She considers Hypersuites to be acoustic remixes of Baroque masterworks.

kr 173 (kr 289)
Image Facets of Infinity
SPARK is simply different. The five-strong grouping combines the finesse and precision of a classical chamber ensemble with the energy and bite of a rock band. The American Record Guide describes Spark as “a genuine classical music phenomenon not unlike Yo Yo Ma or the Kronos Quartet, but even more vital”. The ensemble won the 2011 ECHO Klassik Award for “Classics without Borders”. Notable invitations have taken the Classical Band to some of the world’s most prestigious concert platforms, from the Vienna Musikverein and Berlin’s Konzerthaus to the Concertgebouw in Amsterdam and the Shanghai Oriental Art Center, and to numerous music festivals. July 2017 sees the release of the Classical Band’s fourth album, Facets of Infinity, featuring SPARK in the eponymous work by Berlin rising star Johannes Motschmann as a solo group alongside the Frankfurt Opera and Museum Orchestra under the direction of Sebastian Weigle. Johannes Motschmann is one of Germany’s most instructive present-day composers. He and his electro trio play in clubs like Berlin’s Berghain, plus he performs works with Ensemble Modern and radio symphony orchestras. At first sight there seems to be no musical interface, but deep down there is total identity! Motschmann builds up his music from small motivic cells – like Mahler or Wagner – into higher-level structures. That applies as much to his pieces for trio as to his orchestral works. Facets of Infinity, with the Frankfurt Opera orchestra – Museumsorchester Frankfurt – at full strength and Spark as solo performer, makes that perfectly clear: not only does Motschmann quote from his Electric Fields album in this huge work, he combines these quotations with a seemingly endless melody – almost in the manner of Morton Feldman. Orchestral expanses with the inimitable Motschmann sound encounter the ensemble’s virtuosic versatility, in truly magisterial teamwork from two acts we’d like to hear much more from in future – and will.

kr 95 (kr 159)
Image BachSpace
What happens when three musicians take the music of Johann Sebastian Bach, and develop it in a bold and skilful way? The result is a number of new constellations. Vintage Moon, Electric Rain, Hiraeth and 999 are the four hybrid works on the debut CD of the BachSpace ensemble, situated at the interface of Baroque music and electronica. They have to date played their boundary-breaking music at various Bach festivals and at the 2017 Montreux Jazz Festival. Pianist Tamar Halperin, who won the Hesse Arts Prize in 2016 and has accompanied Michael Wollny and Andreas Scholl, celebrated her debut with the Neue Meister label in 2016 with her acclaimed SATIE album, while violinist Etienne Abelin was for many years a member of the Lucerne Festival Orchestra. For this CD, the pair recorded various works by Bach in the studio. Audio designer Tomek Kolczynski, who has made a name for himself through soundtracks for the theatre and cinema, then extracted characteristic fragments from the piano and violin tracks, and transformed them digitally. He then moulded the multilayered sound chains, loops and ostinato elements into new works with suspense curves. Together the three musicians have woven the Bach originals with the electronic compositions into new entities – a technique which was referred to as a “pasticcio” in the Renaissance and Baroque eras. These woven fabrics – these constellations – lend the density and emotionality of Bach’s music a new dimension. Here is Johann Sebastian Bach, mutated into his own contemporary sound world thanks to skilful dramatic effect and recomposition: BachSpace.

kr 95 (kr 159)
Image Horn Concertos
Felix Klieser, horn
Wurttemberg Chamber Orchestra of Heilbronn / Ruben Gazarian

The full spectrum of the horn's aural range.

ECHO prizewinner Felix Klieser now follows his debut featuring Romantic chamber music with a second album: an orchestra recording of works by Joseph and Michael Haydn and by Mozart. This album is a Classical one! While the first of Joseph Haydn's two horn concertos calls for the high-register horn, the second was composed for its lower-tone brother. Horn players generally specialize in one or other instrument. Felix Klieser plays both. "Addressing the requirements demanded of players of both the high and low horn on one single CD was a challenge for me, but it was a task I relished: it meant I could present the full spectrum of the instrument's aural range," enthuses the young hornist, born without arms, who declared his wish to play the horn at the age of four.

Unlike the concertos by his famous older brother, Michael Haydn's Concertino for Horn and Orchestra is seldom heard in concert. "That is such a shame, and unjust. Michael Haydn did not stick rigidly to the rules of the day governing such concertos, so his work sounds different. And yet it is really beautiful," according to Klieser.

And Mozart? The closing horn concerto is one reconstructed from two fragments, and seldom played; one might call it Mozart's "zero concerto".

"All of the works share a certain lightness and cheerful manner. That was the link that brought these three works together on one CD," explains the 27-year-old musician. In the renowned Würtemberg Chamber Orchestra of Heilbronn under the direction of Ruben Gazarian he has found the perfect partner for his endeavour"

"We worked on the music with a great degree of intensity and passion, as well as fun and enjoyment. May I invite you to share this enjoyment with me when you listen to the music."


kr 95 (kr 159)
Image Wild Territories
SPARK, the classical band, comes forward on its Berlin Classics debut album Wild Territories with a bold release on which the ECHO-winning group pursues the logical development of its wholly personal sound in the space between post-classical, minimal music and avant-garde. Virtuosic and unfettered, the five young musicians move between the poles of contrasting musical worlds and eras and forge tradition and innovation into a thrilling new sonic experience attuned to the zeitgeist. The album title tells a story. These are five young artists determined to chart virgin musical territory, confound convention and give free rein to their imagination. Together they conjure up a luxuriant rainforest that spreads its fronds from baroque times to the present day. They run the gamut from Telemann alla polacca to Beyonce on recorder. It's wilful and amazing, it's catchy on the ear and it goes right to the heart. Each of the chosen pieces is wild and uninhibited, be it in gesture, in timbre or in its rhythmic complexity. This is SPARK's way of proving that musical wildness is a timeless phenomenon that finds expression on all levels throughout human history. There is a definite emphasis on the modern. Kenji Bunch, Chiel Meijering, Kamran Ince and Johannes Motschmann have tailored exciting new sounds to the profile of this classical band. The American Kenji Bunch devotes himself in his three-part work Alphadog to daring harmonic, rhythmical and motivic layering.


kr 95 (kr 159)
Image Dresdner Kreuzchor: 800 Years
Dresdner Kreuzchor

The boys visiting friends – singing the National Anthem with the nation’s football team before millions of spectators. An Asian tour that saw them feted in China and Japan, a concert at the Vatican in Rome, not forgetting a political dimension to the choir and its voices. To keep the boys’ voices fresh, they travel the length and breadth of Germany and put Germans in the mood for Christmas, before celebrating the festive season in Dresden with the famous Christmas Oratorio – as every year. A body that has taken so long to grow needs strong roots: in sacred song, in divine service, in the church. But why not give a stadium concert for once, take the stage in style like the Rolling Stones before thousands, not just Dresdeners, in the legendary (new) Dynamo stadium? December 2015 is the date! After they have danced at the Semperoper ball, they celebrate with gusto. There is reason enough. 800 years have passed. Time, like an ever-rolling stream, bears all its sons away. But the Dresden Kreuzchor has outlived them all. Something old, something new. Open to the world, sweet-sounding, timeless. The boys of the Kreuzkirche choir thrill us all! Happy Birthday to the eternally young boys’ choir, for 800 years of vocal music at its finest.

Dresdner Kreuzchor – 800 years of vocal music at its finest. With its album “Songs from 8 centuries” the choir of the Kreuzkirche embarks on a musical voyage through the eight hundred years of its existence. Back to its roots, and onward to new shores. From Gregorian chant to the twenty-first century, the Dresden Kreuzchor sings songs that record history, each song with a story to tell. A distillation of the choir’s vast repertoire, its traditions, and the many musical landmarks and innovations that have shaped and been shaped by the Kreuzkirche choir. So the history of the Kreuzchor is also a mission statement: To be ambassadors for a Dresden that is open to the world.

Including compositions by Johann Walter, Johann Hermann Schein, Heinrich Schütz, Wolfgang Amadeus Mozart, Felix Mendelssohn Bartholdy, Mikis Theodorakis, etc.

kr 95 (kr 159)
Image Bach & Sons 2
He sensed the fascination when he was very young. As a child, Sebastian Knauer was present at seminal performances of the St Matthew Passion and the “Christmas Oratorio” in St Michael’s Church in Hamburg. And even at that early age, he enjoyed playing Bach himself on the piano. But his childhood enthusiasm was tempered with respect for the works of the great Thomaskantor. “I noticed at once: It is a huge challenge – not only in terms of keyboard technique, but mentally too,” he recalls. “In my student days and during the first few years of my career as a pianist I was constantly working on his music, but rarely played it in public concerts. Particularly when it came to the piano concertos, I never really felt myself to be ready, because I was searching all the time for my own picture of the music.” Sebastian Knauer deliberately gave himself time, engaging himself intensively with Bach’s musical cosmos until he was prepared to take his discoveries before an audience. “As a pianist I wanted to have a particular routine on stage, come to inner peace,” he explains. “In the case of Bach that is particularly important, because the control this music demands of you simply must be there. That is why I had to mature before I could convincingly display my stylistic picture of Bach.” Sebastian Knauer confirms that this has something to do with the choice of instrument, always a vexed question among Bach scholars and exponents: harpsichord or modern concert grand? “I have no intention of entering into competition with the harpsichord and fortepiano specialists,” he explains. “I exploit the potential of a modern grand piano, but aim to approximate my sound spectrum and playing technique to that of the harpsichord. That means not using the whole range of a pedal and not applying the sort of touch that I might adopt for a Romantic work.” His view was endorsed by Sir Roger Norrington, a noted early-music specialist, with whom he worked on the first “Bach & Sons” CD. The conductor’s artistic credo, that what matters for historical performance practice is not the sort of instrument you play, but the way and the style in which you play it, is one that Sebastian Knauer fully subscribes to. That is no less true of “Bach & Sons 2”, on which the pianist has once more explored the musical legacy of the Bach dynasty. “After all, I am constantly on the look-out for repertoire that is still little known. And so I wanted to take the much-recorded original Bach and add something that is not so common, and at the same time is worth listening to.” It is this mixture of exceptional curiosity with the aspiration to enrich the established repertoire with unusual pieces that so typifies Sebastian Knauer – elsewhere and on this recording. Alongside the two Concertos BWV 1055 and 1056 there are real rarities on this CD, such as the Concerto by C.P.E. Bach. “This work has always absolutely fascinated me, but there was never a published edition of it. Publisher Dohr helped me out and ensured that we had a version in print in good time for the CD.” Even more exciting is the story behind the Concerto by J.C. Bach, which turned the pianist into a musicological researcher at short notice. “I was looking through a collection of sheet music that was being broken up and found a work by Wilhelm Friedemann Bach. Then it emerged that it had been published under a false name and was actually by Johann Christian Bach.” The compositions selected by Sebastian Knauer are of great interest not only as repertoire but because they give an absorbing account of how the piano-concerto genre evolved. That is relevant to the works of C.P.E. Bach, an intermediary between the classic Baroque of his father and the dawning age of Viennese Classicism. “He is a composer of the transitional period,” states Sebastian Knauer, “in whom one can hear sounds that presage the future alongside passages that clearly draw upon his past. That is in part a genuine search for a new style, when he has fermatas for instance at which he pauses. That is very appealing, especially in connexion with the works by his father.” That also applies to his brother Johann Christian, “whose music has a somewhat more amiable style than that of his brother Carl Philipp Emanuel, who sometimes comes over as a bit unwieldy. He is another piece in the music-history jigsaw puzzle.” Father and sons do have more than stylistic differences from one another. The treatment of the solo instrument undergoes a fundamental change at this watershed in the history of music. The keyboard instrument is increasingly emancipated from its accompanying function in continuo, progressing to the status of a true solo instrument. “In the works of J.S. Bach, the harpsichord or pianoforte – the clavier – is still a full member of the ensemble,” comments Sebastian Knauer. “In other words, the clavier joins in orchestral tutti. In turn, the orchestra remains very much in play when the clavier emerges from the tutti as a solo instrument. The two are not really separated; they are still perceived as a coherent unit.” This union is already being weakened in the works of Carl Philipp and Johann Christian Bach, whose concertos tend more and more to showcase the soloist. “That is again noticeable in the two concertos on this CD, in which the orchestra begins before the piano enters with its solo – as was the rule a little later in Viennese Classical music.”

kr 95 (kr 159)
Image The Blue Hour
Created by pianist and composer Federico Albanese, “The Blue Hour” means to convey the dreamlike atmosphere of the transition between day and night. + “The Blue Hour” is instrumentalized with cello and refined effects, transforming the works into minimalist chamber symphonies. + Francesco Donadello, who is known for his work with Tom Yorke and Dustin O’Halloran, mixed and mastered this album.

kr 95 (kr 159)
Image Beauty in Simplicity
Some 50 years ago composers like Steve Reich and Terry Riley were responsible for one of the last great radical changes in twentieth-century music. They liberated contemporary music from the dogmatic clutches of serialism and gave it a new simplicity of compositional structure and harmony, repetitive elements and an uncompromising reduction of the musical material. Hence “Minimal Music” became timeless in two senses: like a perpetuum mobile, once set in motion it appears to be able to remain endlessly in motion from within, and develops in the process an almost psychedelic pull that knows neither beginning nor end. At the same time, with its patterns, loops and drones, it smoothed the path for genres like ambient, techno and post-rock. When I first heard “A New Error” by Moderat a few years ago, it sounded to me like something by Philip Glass still suffering the after-effects of a long weekend at the (in-)famous Berghain club in Berlin. The broken triads of the synthesizer, which on the one hand seemed to flow in a meditative sort of way while simultaneously driving the track forward in an almost manic manner, became in retrospect an aesthetic leitmotiv of the album. The piano with all its acoustic possibilities would become the connecting element between the French salons of the late nineteenth, the minimal music of the twentieth and the pop culture of the twenty-first century. Is Brian Eno’s pioneering album “Ambient 1: Music for Airports” just a cosmopolitan interpretation of Erik Satie’s idea of “musique d’ameublement”? Or, with its layered tape loops perhaps something of a recollection of Steve Reich’s early music? And is Reich’s “Electric Counterpoint” in turn really a piece of techno on totally analogue equipment? And, in the inversion of that argument, can a techno track be restored to its pianistic “original state”? Some of the pieces on this album are original works (Erik Satie, Wim Mertens), while I have transcribed some of the others for piano; such as Peter Michael Hamel’s trance-inspired improvisation “Let it play”, which the composer had transferred to vinyl disc after a night-time recording session in the 1980s, but which was never written down as a score. Steve Reich’s “Electric Counterpoint” too, actually composed for twelve electric guitars and two bass guitars, gains additional rhythmic transparency thanks to the direct and percussive touch of the piano, which lends it a virtually synthetic clarity. Other tracks on the album, on the other hand, are pianistic remixes using “enhanced pianos”. I prepared the strings and body of the piano with e-bows, mallets, drumsticks, chains and vibrators, then recorded individual motifs and patterns which I used sound processing to distort. The resulting samples were then re-assembled in a new order and were the foundations for working out the piano parts in the studio. I used this technique in “A new Error” and “The Hug”. That epic masterpiece by Lampshade, with its three basic chords and its hypnotic guitar loops that build into a wall of sound is, in my opinion, the essence of sonic beauty in simplicity.

kr 95 (kr 159)
Image Horn Trios
Masterly Horn Trios. Felix Klieser first began to take a serious interest in the Horn Trio of Johannes Brahms (1833–1897) at the age of thirteen. Back then he was just a junior student at the College of Music and Drama in Hanover. He bought several different recordings of the work, including one featuring the hornist Peter Damm, whom he was later to meet at a master class in Dresden. “I picked up quickly that Felix was extraordinarily talented. He was able to elicit from the horn a soft, warm sound, a distinctly Romantic horn tone,” says the former horn-player of the Dresden Staatskapelle in high praise of Klieser in the booklet text to the young musician’s new CD entitled “Horn Trios”, released on the Berlin Classics label on September 29, 2017. “The Brahms Trio is the pride of the horn literature,” according to Peter Damm, a view he shares with Felix Klieser. That led him to seek out other such works, perhaps even unknown literature from the horn trio genre. He came across the French composer Frederic Nicolas Duvernoy (1765–1838), who was hornist at the Paris Opera, Faure pupil Charles Koechlin (1867–1950) and the Mannheim-born Robert Kahn (1865–1951) who was hounded by the Nazis. The result is a programme of works spanning nearly 100 years of development of the horn trio, which bring Felix Klieser a further step towards his goal: to place the horn centre stage as a colourful and profoundly Romantic instrument. “I am pleased to take you on a new journey through the world of the horn,” he begins his personal foreword to the CD booklet. Such a plan requires the right chamber music partners, whom Felix Klieser has happily found: at the piano sits the outstanding and sensitive Herbert Schuch, while the violin is played by the Ukrainian ARD competition winner Andrej Bielow. “It was a wonderful experience for us to learn these pieces, some of them quite new to us, thereby expanding the scope of the chamber music genre in an exciting way,” enthuses Felix Klieser. The three musicians have known each other for years. Before playing together in a range of different formations, Felix Klieser even took courses as a young student with his two colleagues, 10 and 12 years his senior. “Horn Trios” is Felix Klieser’s third CD. His debut album “reveries” (2013) featuring Romantic music for horn and piano earned him an ECHO Klassik award as “Newcomer of the Year”. In 2015, he released the CD “Horn Concertos” with works by Joseph Haydn and his younger brother Michael and Wolfgang Amadeus Mozart, recorded with the Wurttemberg Chamber Orchestra of Heilbronn under Ruben Gazarian. That same year, he received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival. His book entitled “Fussnoten – Ein Hornist ohne Arme erobert die Welt” (“footnotes – a horn-player without arms conquers the world”, 2014, published by Patmos) has since been translated into Japanese and Chinese, to accompany his tours to those countries. This new recording confirms to all those who recognised his talent at a young age and encouraged him and believed in him, that Felix Klieser is an exceptional artist. The young student has now risen to be a master of his instrument.

kr 95 (kr 159)
Image Bach in Brazil (Soundtrack)
Inspired by true events, this is a story about what happens when two outsiders from opposite corners of the world are thrown together: Brazil and Germany. Marten Brueckling, a retired music teacher from Germany, has inherited an original sheet of music from Bachs son. Marten has to collect the sheet in person in the beautiful Baroque city of Ouro Preto in the heart of Brazil. But Brazil is not for beginners: Funny circumstances drives hm to teach music to the kids of a juvenile detention center. Bachs music and Brazilian instruments mix perfectly. One of the kids is Fernando, a lovable, abandoned boy, who lived on the streets. But Marten discovers that they have more in common as he thought. WHAT IS BACH DOING IN BRAZIL? Classical music has never been so danceable: the exceptional soundtrack to the motion picture film “Bach in Brazil” offers captivating arrangements of J.S. Bach’s best-loved melodies. This is where Classical music meets Brazilian ardour, encouraging new musical facets to emerge. Brazilian samba and choro interpretations of Bach’s chorales stand alongside preludes and fugues in versions for the guitar or euphonium: a passionate homage to the works of Johann Sebastian Bach. It all began in the 17th century, when Catholic missionaries introduced the Baroque to Brazil. Works of art were created, literary works written and whole cities built in the Baroque style – naturally the music had to match. There is even a genuine Arp Schnitger organ in Brazil, built just like the one that Johann Sebastian Bach used to play on. Researching BACH IN BRAZIL I was amazed to find that there were Baroque scores from the 18th century that had been discovered in the Brazilian region of Minas Gerais. I was told about the music historian Francisco Curt Lange (1903 – 1997), of German parentage, who had searched South America for Baroque music. Brazilian samba and choro interpretations, versions on the guitar and euphonium, Baroque orchestra, boys’ choir and more … He wrote of the influence that Bach had had on Brazilian composers such as Padre José Maurício Nunes Garcia (1767 – 1830) or Pixinguinha (1897 – 1973). The listener will recognize many Bach themes and also – or so I hope – be surprised by the sheer diversity of variations on Bach: The original score of J.S. Bach’s Arioso, the theme tune of our film, is considered to have been lost – only copies have come down to us. While working on the screenplay, we spoke with a historian at the Bach Archive and with music historians in Brazil. On both sides of the Atlantic, there is a belief that music scores written by Bach or his sons may yet be discovered in Brazil. The youngest son, Johann Christian Bach, might even have visited South America. That gave us the idea of writing into the script that the Arioso score bequeathed in a will was a copy by Johann Christian Bach. Our aim in BACH IN BRAZIL is to bring Bach’s melodies to life with Brazilian rhythms and instrumentations, rather like Marten Brückling in the film gaining a new perspective on his life from the children and the Brazilian feeling for life.

kr 95 (kr 159)
Image Satie
After Erik Satie’s death in 1925, friends entered his flat for the first time in years. They were amazed to find, amid countless umbrellas and piles of jumble, two grand pianos stacked one upon another. This is the image that has inspired pianist Tamar Halperin and producer Guy Sternberg to compile their album. They strip down Satie’s compositions into their individual voices, play them on various different instruments and stack the pieces on one another. Halperin and Sternberg take a grand piano, harpsichord, Hammond organ and Wurlitzer piano, and a computer too, and address the question of how Satie’s music would have sounded today. At the same time, their interpretations reflect Satie’s influence on the various generations of artists that followed him. After all, Satie is far more than the archetype of the minimal pianist. He was a composer who blurred the borders between “classical art music” and non-classical, popular styles, introducing various aesthetic concepts into his music such as minimalism, Dadaism, nonsense and surrealism and in the process, leaving his footprints in a wide range of artistic genres. Halperin has her own name for “Gnossienne #2”, for instance, she calls it “Freddie Free”, because the legendary Miles Davis song “Freddie Freeloader” from his album “Kind of Blue” begins with the same sequence of harmonies. “Gnossienne #1” becomes “The Café Scene”, because Louis Malle’s film “Feu Follet” turned the piece into a standard for film soundtracks. “Manie`re de Commencement” is called “Man Ray”, because the American artist called one of the lithographs of his series of the same name “Erik Satie’s Pear”. The album cover is inspired by painter and illustrator Henri de Toulouse-Lautrec. Tamar Halperin was photographed by cameraman Gregor Hohenberg in a costume from Satie’s time. Graphic designer Dirk Rudolph then introduced the photo into an image that plays with elements of Toulouse-Lautrec’s aesthetics.

The Israeli pianist and harpsichordist Tamar Halperin came to prominence through her work with jazz pianist Michael Wollny on the album “Wunderkammer” (ACT). Her repertoire embraces works from five hundred years of music history. As soloist she works with a wide range of international ensembles, including the New York Philharmonic Orchestra.

kr 95 (kr 159)
Image Mein Hamburg
Daniel Behle is one of the most versatile German tenors and is equally successful in the concert, lied and opera genres. His extensive repertoire ranges from Baroque masterpieces to Classical and Romantic works to compositions of the 20th and 21st centuries.

2017 marks an absolute highlight in his career, including concert debuts with Santa Cecilia Rome (“Lobgesang” with Pablo Heras-Casado), Gewandhausorchester Leipzig (“Jahreszeiten” with Trevor Pinnock), Wiener Symphoniker (“St. John Passion” with Philippe Jordan), Balthasar-Neumann-Ensemble (“St. John Passion” with Thomas Hengelbrock), and Berlin Philharmonic (“Missa solemnis” with Christian Thielemann), as well as his debut at the Bayreuth Festival as David in “Die Meistersinger von Nürnberg”.

In April 2014 he made his acclaimed debut Matteo in Strauss’s “Arabella” at the Salzburg Easter Festival under Christian Thielemann. In 2015 he returned to Aix-en-Provence as Belmonte (“Die Entführung aus dem Serail”) and sang his first Wagner role: Erik in “Der fliegende Holländer” at the Frankfurt Opera. In September 2016 Daniel Behle made his debut at the Royal Opera House Covent Garden, performing Ferrando in “Così fan tutte”.

The artist has also made a name for himself as a composer. He premiered his Ringelnatz cycle at the Beethoven House Bonn in 2013. A milestone in his composing career is his arrangement of Schubert’s Winterreise for tenor and piano trio (Sony Classical). Following the UK premiere at the Wigmore Hall and the Germany premiere at the WDR Cologne, he will perform the Netherlands premiere at the Concertgebouw Amsterdam in January 2017.

With this new album “Mein Hamburg” (arrangements and new compositions for tenor and piano trio) Daniel Behle pays musical tribute to his native city Hamburg.

kr 95 (kr 159)
Image Petrouchka / Le Sacre Du Printemps
Silver-Garburg Piano Duo

Sivan Silver and her partner Gil Garburg set new standards in the high art, often too little appreciated, of the duo on one or two pianos: acclaimed by audiences and critics alike, they are the constantly returning guests of top orchestras, festivals and concert organizers. Press reviews acclaim the Israeli artists for their consummate technical mastery, highly versatile and nuanced playing and exceptional sensitivity. Silver and Garburg capture the playful character of the piano writing, the interplay of impulse and intensity. Nor is this superficial showmanship or mechanical interaction; rather it is an organic and natural blending of the voices and a profound understanding of the work that determines the performance of the two exponents.

With their new recording of two highly virtuosic works by Igor Stravinsky, "Le sacre du printemps" and "Petrushka", the two artists have met a formidable challenge. Stravinsky, who arranged this ballet music both for orchestra and for four hands, makes great demands of his pianists. In particular, their interpretation must always stand comparison with the orchestral version. Nor is that all. Stravinsky's works make the utmost demands of the instrument and of the artist: rich in contrast and colour, rhythmically vivid and complex, his music demands power and highly nuanced playing concentrated into a small area. This is a task that the pianist pair tackle with remarkable mastery. They unlock from the piano the timbres of an orchestra and the rhythms of a percussion kit and do it in a way that creates the impression only one person is playing. Silver-Garburg were well on the way to promising solo careers when they paired up first privately and then at the piano. They relish the constant contrast between recitals as a duo and orchestral concerts, between intimate pieces that call upon them as a unity, works conceived as dialogue, and those in which they sit at two pianos and summon up the massed power of a full orchestra. "It's easy for a piano duo to create effects with sheer virtuosity. But we find that far too little. We want the listeners to be touched by our music to the depths of their heart."


kr 95 (kr 159)
Image Parfum
This selection of French poems from the second half of the nineteenth century is influenced by the Impressionism and Symbolism of that era. Most of them are snapshots, though the authors were not simply interested in a simple and realistic reproduction of what they had experienced: in fact, they contain a host of symbols and linguistic images that lend the event being described a special and unique character that goes far beyond the reality: like the aroma of a costly perfume that evaporates and leaves behind just a hint of elegance. And since the poetry loves that word so much and the setting of these poems emphasises evanescence and the intangible, “Parfum” seemed to me to be the ideal title for this recording. That gives a lovely sense of melancholy that evaporates as soon as one is aware of it, and only blossoms in the poetry and the music through memory and refinement, obliging listeners to give free rein to their imaginations. The “l’art pour l’art” movement, that is art for art’s sake, in the spirit of which these poems were written has perfused the art of France, Germany and all the other European nations for more than 100 years. The desire for artificiality and pure beauty – now in soft pastel tones, then in dark, rich colours, but always with a transparency that is inherent in the French style. This album is pure poetry – taking its spark from Christiane Karg’s engagement with the poetical works of Charles Baudelaire, Leconte de Lisle, Paul Verlaine, Tristan Klingsor and Victor Hugo. A poetry in diction that has a wonderful affinity with Impressionist music at the turn from the 19th to the 20th century. Christiane Karg finally decided upon works by Duparc, Koechlin, Debussy and Ravel for her new album. Her selection also includes an early composition by Benjamin Britten, which in its turn was inspired by Debussy and Ravel. Christiane Karg’s voice wafts this poetic scent, these colours in sound, aloft. Poetry and music, words and voice blend into “Parfum”! tourdates USA: 25.04.: Ann Arbor (U.S.) 25.04.: Kansas City (U.S.) 30.04.: New York (U.S.): Carnegie Hall 02.05.: Washington (U.S.)

kr 95 (kr 159)
Image Complete Symphonies (4 CD)
This complete Brahms cycle from the year 1978 does more than consolidate a chapter in the recording history of the Eterna classical music label. It also returns to the original sound of the (former) Berlin Symphony Orchestra, for which the conductor of this recording – Günther Herbig – had so much regard. In a time-consuming process, the analogue Eterna master tapes have been newly processed and remastered for the first time in over 20 years. Günther Herbig’s time as principal conductor of the orchestra ended in 1983 after a dispute with the leading political organs of the GDR. His move to the USA fast-tracked his international career. He was appointed head of the Detroit Symphony Orchestra, and later directed the Toronto Symphony Orchestra. Tours to Japan, South America and Australia and conducting commissions with major European and American orchestras added lustre to his international reputation. Günther Herbig celebrates his 85th birthday on November 30, 2016. Today’s Berlin Konzerthaus Orchestra was founded in 1952 as the Berlin Symphony Orchestra in East Berlin (the Soviet sector of the city) and won international recognition under the direction of Kurt Sanderling in the 1960s and 1970s. Sanderling faced significant hurdles to the development of the orchestra – once the Berlin Wall went up on August 13, 1961, about two thirds of its musicians were no longer available, as they lived in West Berlin – making his achievement all the greater. The orchestra will mark its 65th anniversary in 2017. The Brahms cycle thus provides ample reason to celebrate – as a document of the teamwork between the Berlin Konzerthaus Orchestra and as proof of the excellence of its former principal conductor – and because, for the first time, its original sound has been faithfully renewed. The bonus CD presents two works each by Arnold Schoenberg and Witold Lutoslawski, the release of which on gramophone records in the German Democratic Republic was of more than discographical significance.

kr 137 (kr 229)
Image Carl Orff Edition (5 CD)
Born in Munich in 1895, Carl Orff is one of the 20th century’s most fascinating creators of music. He is famed for his “Carmina Burana”, a work of dazzling brilliance. It forms part of his triptych Trionfi alongside “Catulli Carmina” and “Trionfo di Afrodite”, each of which is equally represented in this edition under the musical direction of Herbert Kegel. Die Kluge is a modern fairy-tale in the manner of a Brechtian moral fable, telling the story of a king, a peasant and the peasant’s clever daughter. The recording is one of the most important in the extensive ETERNA catalogue and remains a benchmark to this day on account of its sound quality and musical interpretation. The conducting repertoire of Herbert Kegel was so wideranging and its special features so unusual that it would be difficult to “sell” him as a specialist for a single composer or a particular era of musical history – indeed, it is tempting to label him a “specialist for everything”, which may sound contradictory, but sums up his abilities in a way that would be suitable for very few other conductors. Kegel’s series of Carl Orff recordings – Carmina Burana being a work he recorded twice for ETERNA – seems out of place (from today’s conventional box-ticking perspective) for a conductor known for his passionate commitment to the modernist works of the Second Viennese School, works he successfully championed in the GDR, as is to be seen – in premiere recordings, of course – from their copious documentation in the catalogue of the state-owned VEB Deutsche Schallplatten record company. Herbert Kegel’s aesthetic horizon crossed borders of every kind and made no compromises in its expansiveness. The same painstaking refinement that he applies to Webern’s filigree textures is prominent in his treatment of Carmina Burana, often presented as a larger-than-life audience-friendly “showpiece”, but here endowed with a rarely experienced aura of ritual solemnity and seriousness.

kr 137 (kr 229)
Image Complete Symphonies (6 CD)
Beethoven’s nine symphonies are one of the fundamental building-blocks in the history of Western music. Under the direction of Franz Konwitschny they were an early part of the recording and release programme at Eterna, where recordings of the Fifth and Sixth Symphonies with the Gewandhaus Orchestra appeared on several shellac discs each. This stereo edition of the complete cycle was made in co-production with Philips in the Bethanienkirche in Leipzig during three extended recording sessions over the period from 1959 to 1961. Franz Konwitschny (1901–1962), a conductor known for his down-to-earth approach to music-making, was appointed Gewandhaus kapellmeister in 1949. Born in northern Moravia, he studied in Brno for two years and then enrolled at the Leipzig Institute which Mendelssohn had founded in 1843. During that period (1923–25) he assimilated the city‘s musical traditions with an open and alert mind. By the time he began to study in Leipzig, his ability to play the violin and viola had already reached such a standard that Furtwängler chose him as a substitute for Gewandhaus concerts. Just as he would in a live concert, he took the refinement and precision of orchestral playing for granted. With his authoritative, flexible and impulsive but relatively sparse gestures, Konwitschny knew how to inspire the orchestra and respond to it. When interruptions or corrections became necessary, his unfailing sense of pace enabled him to resume playing at exactly the same tempo as before, thereby preserving a sense of over-all coherence. The featured recordings are important testimonials of the Beethoven tradition at the Gewandhaus as well as the German recording history.

kr 137 (kr 229)
Image Horn Music (6 CD)
Peter Damm, who is one of the 20th century’s leading hornists, has built up an impressive discography in the course of the last three decades and more. These naturally focus upon “his” instrument: the horn. The present Edition brings together many of his recordings for the Eterna label. It illustrates the history of horn music through a large and varied repertoire such as is only rarely to be encountered. From chamber music to the great horn concertos, from the music of the 17th century to twentieth-century works, the spectrum is immense. Peter Damm was born in Meiningen (Thuringia) in 1937. After learning the horn at the College of Music in Weimar he began his artistic career in 1957 as solo hornist with the Gera municipal orchestra. At the age of just 22, in 1959, Damm was appointed solo horn with the Gewandhaus Orchestra in Leipzig, which at that time was making numerous gramophone recordings. Damm’s first solo recording was in 1961 with the Gewandhaus horn quartet, playing Robert Schumann’s Konzertstück op. 86 for four horns under the baton of Franz Konwitschny; he first appeared on a chamber-music recording in 1964. In 1969 Damm was appointed solo hornist with the Staatskapelle Dresden. His cantabile style of playing placed Damm firmly in the Dresden tradition and became the hallmark of the Dresden wind section for almost forty years. During those years in Dresden Peter Damm was involved in more than 100 studio recordings with the Sächsische Staatskapelle. Famous international conductors such as Herbert von Karajan, Herbert Blomstedt, Bernard Haitink and Giuseppe Sinopoli were fascinated by Damm’s horn playing at first hearing. Peter Damm would always champion new music and the rediscovery of forgotten works from all eras in his work as a soloist on record releases. This applied in particular to the works of the Dresden court composers. Peter Damm celebrates his 80th Birthday on July 27th, 2017.

kr 173 (kr 289)
Image Johannes Passion
Having enjoyed great success with the Christmas Oratorio and the B minor Mass, the Chamber Choir and ensemble frauenkirche dresden under the direction of Frauenkirche music director Matthias Grünert now continue their series of great works by Johann Sebastian Bach. Their St John Passion live from Dresden’s Frauenkirche enthralled audience and critics alike at Passiontide 2017. Release on a double CD not only makes this great work readily accessible at home, it transports you directly into an unforgettable evening of drama. Matthias Grünert, the Frauenkirche’s Erster Kantor since the church’s rededication, is the seasoned Bach expert who leads the Chamber Choir and ensemble frauenkirche dresden through the Passion. These experienced musical partners are complemented by a group of internationally renowned soloists: Camilla Nylund (soprano) and Andreas Scheibner (bass), both Kammersänger of the Land of Saxony, Nicole Pieper (alto), Falko Hönisch (Vox Christi) – and at their head Tilman Lichdi (Evangelist), one of the great recitative tenors of our day. Bach’s Passio secundum Johannem is the later of the two Passions of his that have come down to us complete. It portrays the dramatic turns of events and fateful inevitability of the last hours of Jesus, the Christ, “intensely, and altogether with genius, notably in the choruses,” or so Robert Schumann concluded. Amazingly, the St John Passion is the only one of Bach’s oratorical works that never received final form at his hands, as he was revising it and changing its conceptual approach over the course of his entire life. Although Bach and particularly his vocal oeuvre is often associated with Leipzig, he and his music are just as well suited to Dresden, the Florence of the Elbe – where for years on end he had petitioned the Elector for the title of “Court Composer”. The city’s Frauenkirche provides the perfect backdrop to the intense drama of the Passion music, having a direct link to Bach: it was in this church, in the year 1736, that the great Thomaskantor played the newly dedicated organ in that sacred place where his “Passion according to John” was to be enacted almost three hundred years later.

kr 137 (kr 229)
Image Complete Works for Clarinet
That is quite a coup! Sebastian Manz, ARD Music Competition winner and solo clarinettist of the SWR Symphony Orchestra, sums up the years he has devoted to the clarinet works of Carl Maria von Weber by presenting a complete recording of those works on a double album. Weber's two concertos for clarinet and orchestra, a Concertino, a Grand Duo Concertant, the Silvana Variations and a clarinet quintet represent some of the most important works for clarinet ever written, true masterpieces of the Romantic era. Weber's music also marks a milestone in the musical life of Sebastian Manz. In his youth, he heard a recording of the Second Clarinet Concerto - with jazzman Benny Goodman as soloist - and it was Goodman's energetic playing that convinced the young Sebastian Manz that nothing less than intensive engagement with his instrument would do. Like Goodman, who took a jazz musician's liberties with Weber's work, Sebastian Manz himself enhances the compositions with all the artistic devices at his disposal. In preparing for this recording, he made a close study of the score that belonged to Heinrich Joseph Baermann, the great clarinet virtuoso of his day, who kept up a close friendship with Carl Maria von Weber and was involved in the composition of the clarinet works from start to finish. The consequence was that Baermann prepared his own versions of the works, taken as standard by many clarinettists to this day. Not that Manz ever regarded that as an option! He has developed his own interpretations - resulting in an individual reading full of lightness and artistic invention. The comprehensive uniqueness on all levels of Sebastian Manz's recording has much to do with the circumstances under which it was produced. As solo clarinettist of SWR's Radio Symphony Orchestra Stuttgart (since September 2016, the SWR Symphony Orchestra) Sebastian Manz was able to bring his own Stuttgart colleagues on board for the recordings - making a team that delves into the technical subtleties of Weber's works while also plumbing their emotional depths. Other recording partners include longstanding (chamber music) friends such as pianist Martin Klett, with whom Sebastian Manz won the German Music Competition back in 2008, the Casal Quartet from Switzerland and double-bass player Lars Olaf Schaper. The bassist backs Manz and the quartet in Weber's famous Clarinet Quintet. As arranged by Sebastian Manz himself. Sebastian Manz, who began taking clarinet lessons when he was six, was making his own early discoveries of Weber in concert performances both as an early student and later on a degree course with Sabine Meyer and her husband Reiner Wehle in Lübeck, notably in the First Clarinet Concerto and somewhat later in the Concertino, which he performed at EXPO 2000 in particular with the Youth Symphony Orchestra of Hanover under Cornelius Meister. And in 2008, when Manz collected first prize in the clarinet category at the ARD Music Competition - a prize that had not been awarded for 40 years - along with three further prizes and the audience prize, Weber was key to his success. ECHO Klassik awards, a residency in the “Junge Wilde” series at the Konzerthaus in Dortmund - Weber and his oeuvre always plays a decisive part. This complete recording of the clarinet works brings the wheel full circle, for now, for Sebastian Manz: Carl Maria von Weber - sorted.

kr 113 (kr 189)
Image 3CD-BOX: Brandenburg Concertos
Concerto Köln: Brandenburg Concertos Concerto Köln - more than 25 years of historical performance practice at the highest level. The more times with the ECHO Klassik and other prizes (including prize of the German Record Critics' Award MIDEM Classic) excellent ensemble is popular for its energetic performance and a regular guest at renowned concert halls and major festivals around the globe. With this recording, the ensemble Bach's Brandenburg Concertos can shine in new splendor. For Concerto Köln wanted only take Bach's compendium of Baroque orchestral literature into the program when the existing viewpoints could add new. So familiar territory resurveyed and questions of sound and instrumentation was made ??the starting point of the research. How is about the continuo group to be occupied in the various concerts, which trumpet is played in the second Brandenburg? What is going on with the "Fiauti d'Echo" on itself, which requires stream in the fourth concert, which he had viols for the sixth in the ear? Concerto Köln selected when recording the deep pitch of a1 = 392 Hz, at which the permit high passages of the trumpet a softer interaction in the quartet of soloists, "says Lorenzo Alpert, bassoonist of the ensemble. New Concerto Köln has also answered the question flutes in the 4th Brandenburg Concerto. For the required Bach "Fiauti d'Echo" was allowed for old drawings specifically develop a double flute which produces this desired echo effect. This Concerto Köln is the first orchestra, which used such echo flutes in the fourth concert. The use of harpsichord and violone, replicas of original instruments of Bach's time, must have been familiar with their sonic purity Bach, time is rare. Concerto Köln present with this new recording of an extraordinary interpretation of great intensity and warmth, while maintaining usual fresh and easily and from the highest technical precision. Past performance practice at the highest level.


kr 137 (kr 229)
Image A Chopin Diary, The Complete Nocturnes
Claire Huangci proves herself to be a vividly expressive interpreter of Chopin, the first since Artur Rubinstein to offer a complete cycle of the Nocturnes by Frédéric Chopin. During her background research work into Chopin’s oeuvre she repeatedly came across poems by French authors such as Charles Baudelaire, Victor Hugo and Tristan Corbière. She began to form associations and found a poem contemporary to each of Chopin’s nocturnes. You will find the links between poetry and music in the CD booklet. Claire Huangci herself explains: “They may add a further dimension to your listening pleasure, so that everyone can conjure up an image of what I see as I play. I do hope that these lovely verses will act as an impetus to allow listeners’ fantasy to take flight and to create their very own Chopin diary.” This approach is proof of Claire Huangci’s artistic maturity – an approach that will open up new avenues in our appreciation of Chopin. Frédéric Chopin was a special pioneer in Claire Huangci’s eyes. The child prodigy became acquainted with his works at a very young age and grew up with them. They were decisive to her personal development and artistic career, which took off at an early stage on an international level thanks to concert performances, arts grants and a host of awards. This resulted in a virtuoso life of short-distance and long-haul flights, juggling appearances at New York’s Carnegie Hall, Osaka’s Symphony Hall or the Gewandhaus in Leipzig with life at home in Philadelphia. She has played with a host of orchestras including the Radio Symphony Orchestra of Stuttgart, the China Philharmonic Orchestra, the Indianapolis Symphony and the Moscow Radio Symphony. Accompanying her on her journey, so to speak, were not just her teachers, such as Eleanur Sokoloff, Gary Graffman and Arie Vardi, but the composer Frédéric Chopin: she owes her artistic breakthrough to his music. Time and again she has analysed, documented and profiled Chopin. Claire Huangci has brought together all of this experience and these insights on her new album, forming them into a “Chopin Diary”. The Nocturnes are the epitome of Chopin’s artistic work. They attest to the composer’s emotions on the cusp of the Romantic era and are simultaneously evidence of a restless life that hung between his artistic popularity, his dire state of health and an uncertain future. Composed in an atmosphere of domestic security, as night fell, they reflect his stimulating artistic day-to-day life. They are deemed to be perfect in form, combining all stylistically defining moods in a virtuosic form that to this day is unsurpassed. Some of the total of 21 Nocturnes form part of the standard repertoire for young pianists, yet Claire Huangci’s approach to them is a highly personal, unique one: “With her differentiated agogic approach and superior technique, Claire Huangci proved that she is now the most expressive Chopin performer of her generation", according to Gerd Kurat of the Südkurier newspaper. She rounds off the program with the Nocturne Oubliée and the Etude in C sharp minor, recorded together with cellist Tristan Cornut.

kr 113 (kr 189)
Image Frei aber einsam
“For me f. a. e. [frei, aber einsam] has remained a symbol, and it is in my gift, despite all, to invoke it.” Johannes Brahms to Joseph Joachim, March 5, 1888 Johannes Brahms sought solitude, in order to find freedom in music and in composition. In his new album “Frei aber einsam” – free but lonely – pianist Matthias Kirschnereit brings Brahms’s timeless music into the present day. What can we learn from his works? “Certainly not that we should renounce love and all live the ascetic life”, says Kirschnereit. “But perhaps that we need to focus, take time out and ask ourselves where we want to go. And we can best do that in a state of solitude in the most positive sense of the word. Then we may be able to catch flashes from our own personal chasms. They can sound so sweet! Brahms cultivates dark melancholy, after all, not kitsch.” F.A.E. is thus a reference for the pianist to a captivating and at the same time puzzling composer, coupled with a thought of Johannes Brahms the man, of his life’s motto. In the two “monoliths” – the F minor Sonata and the F minor Quintet – this motto takes musical form. The Scherzo from the eponymous Sonata for piano and violin was Brahms’s first musical involvement with this subject. The close link between Brahms’s artistic achievement and his philosophy of life is well documented. “He made it clear to his friends time and again that he wished to live wholly for music, wholly for his compositions. He was concerned that bourgeois obligations, which he viewed as fetters, would harm his work”, the pianist says.

Matthias Kirschnereit is currently one of the most exciting and successful German pianists of his generation. He has made his name at Berlin Classics with Romantic repertoire and now, following his recordings of works by Schumann and Schubert and his ambitious “Songs without Words” CD set (Mendelssohn/Hensel), he presents his new album. Romantic to the depths of its musical being, this recording wonderfully brings alive the (musical) motto that governed the life of Johannes Brahms. Added interest is won from the chamber-music coupling and his collaboration with the Amaryllis Quartett and violinist Lena Neudauer.

kr 137 (kr 229)
Image Mass in B Minor
Die Messe aller Messen Nach dem großen Erfolg mit dem Live-Mitschnitt des Bachschen Weihnachtsoratoriums lassen der Kammerchor und das ensemble frauenkirche unter ihrem Kantor Matthias Grünert in diesem Frühjahr die h-Moll-Messe folgen. Dieses Werk gilt vielen als Opus ultimum, weil es alle barocken Stile in endgültiger Form vereint und somit als umfassender Höhepunkt der Barockmusik einzigartig dasteht. Im Juli 2014 wurde die h-Moll-Messe an einem besonderen Ort aufgeführt: Die wiederaufgebaute Dresdner Frauenkirche ist seit den nunmehr fast zehn Jahren seit ihrer Weihe als Ort der Versöhnung auch ein Raum für vielfältigste Musik geworden. Aber schon Bach selbst kannte die Frauenkirche, konzertierte er doch im Jahr 1736 an der damals gerade neu geweihten Orgel. In dieser Zeit wurde Bach auch der Titel des „Hof-Compositeurs" verliehen, um den er sich einige Jahre zuvor am Dresdner Hof beworben hatte. Und dies tat er mit einer ersten, damals noch kürzeren Fassung der h-Moll-Messe. Auch vor dem Hintergrund dieser Querverbindungen wurde das Dresdner Konzert zu einem besonderen Abend. Mit namhaften Solisten entfalteten die Musiker den musikalischen Reichtum und die erhabene Größe der "hohen Messe". Der nun vorliegende Live-Mitschnitt erscheint fast auf den Tag genau am 330. Geburtstag des Komponisten und läßt auf zwei CDs nacherleben, wie eindrücklich diese Musik vom ersten Kyrie bis zum abschließenden Dona nobis pacem den ganzen Kreis der lateinischen Liturgie auslotet. Matthias Grünert bleibt dabei immer dicht am Gesangstext und dessen Symbolik und gestaltet mit kontrastreichen Tempi eine mal aufregende mal fast meditative Reise durch die Messen aller Messen.


kr 173 (kr 289)
Image 3CD-BOX: The Piano Concertos
Beethoven's piano concertos are undoubtedly one of the most influential works of music history. "The Art demands of us that we do not stop", the composer once wrote and presented so that the development idea into the center of his music. With his five piano concertos Beethoven led the piano music from the salon in the concert halls, making a decisive contribution to the development of the genre of symphonic and piano music - while suggesting a bridge from the Viennese Classical to the Romantic era. Mari Kodama, who has made a name nationally and internationally through its outstanding virtuoso piano playing, worked together with her husband and star of the international conductor, Kent Nagano, the complete cycle of Beethoven's piano concertos. "Beethoven composed wild, heartbreaking, revolutionary in any case - not only his symphonies, but also the five piano concertos, which he created," says the pianist. "There are actually this depth of his compositions, the ideas behind his music is based, and its timelessness that made me drag my husband Kent and over again to him. For both of us Beethoven is a kind of life companion, an important reference point of our musical work. For each of us in different ways. In this intensive cooperation we discovered and experienced Beethoven again different - incredibly modern, provocative and openly challenging his claim. We have tried to bring these recordings of the five piano concertos a slightly different color in the pretty gloomy images of Beethoven. . A little lighter, they should be differentiated shaded "This is wonderful succeeded -. Passionate, dramatic, yet poetic and nuanced interpretation Mari Kodama piano concertos together with the Deutsches Symphonie-Orchester Berlin, conducted by Kent Nagano, came here a recording at the highest level, exceptionally rich in contrast and of great intensity, which is not least also thanks to the artistic connectedness of Mari Kodama with her husband In addition to the overall cycle of the piano concertos contains the 3CD box and the Triple Concerto by Beethoven - the first in music history and one. few examples of its genre.


kr 215 (kr 359)
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