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They were both just twenty years young and always good for a musical laugh when they composed the serenades we have recorded on this CD. One of them, Wolfgang Amadeus Mozart, wrote his “Haffner Serenade” KV 250 for..
Finghin Collins’s programme on this CD covers the major period of Chopin’s artistic activity and demonstrates the influence of Italian opera, particularly that of Bellini’s sophisticated bel canto style, and his own inherent dramatic impulses.
Praised for his versatility and engagement in a broad span of projects and musical areas, Roberto González-Monjas has quickly become a
sought-after musician with an exciting career. At just 28 years old he is the concertmaster of the Orchestra dell’Accademia Nazionale di
Santa Cecilia in Rome and the Musikkollegium Winterthur, as well as a violin professor at the Guildhall School of Music & Drama in London
and Joint Artistic Director of the Medellín Philharmonic Academy in Colombia.
His busy schedule focuses as well on conducting and directing: in the upcoming season he will have the chance to debut at the helm
of L’Orchestre National Bordeaux Aquitaine and the Orquesta Sinfónica de Castilla y León, as well as returning to the New World Symphony
in Miami, the Medellín Philharmonic Orchestra and the Musikkollegium Winterthur among other ensembles.
„Pure Music […]. Xavier de Maistre is a virtuoso of the highest order, profoundly musical and capable of realizing a remarkable range of nuance.” Gramophone
Xavier de Maistre belongs to an elite category of soloists who are redefining what is possible with their instrument.
Aside from commissions from composers such as Kaija Saariaho, he performs works like Smetana’s “Ma Vlast“ with breathtaking precision,
presenting masterful arrangements of works that are usually played by an entire orchestra.
The interpretation of these works, that few harpists before him have even considered playing,
has contributed to his reputation as one of the most creative and extraordinary musicians of his generation.
Charl du Plessis rose to fame when he was the youngest pianist in Africa to be named a Steinway Artist in 2010.
He has since embarked on an international career working simultaneously as classical and jazz pianist and has illuminated the music of Bach,
Chopin, Gershwin and Antonio Carlos Jobim and for a new generation of listeners.
Since making the decision to establish his own trio with bassist Werner Spies and drummer Hugo Radyn in 2006,
Charl du Plessis has alerted audiences to the complexities and capabilities of combining jazz and classic music.
The creative possibilities of this musical unit have offered him the means to produce a wide range of music not confined by any style or
Peter-Lukas Graf was born in Zürich. He studied flute with André Jaunet (Zürich), Marcel Moyse and Roger Cortet (Paris).
He was awarded the First Prize as flautist and the Conductors Diploma at the Conservatoire Nationale de Paris. During three years he studied conducting in Munich.
Graf won the First Prize at the International Music Contest of the ARD in Munich and the Bablock Prize of the H. Cohen International
Music Award in London.
The multi-talented musician was appointed the youngest principal flutist at the Winterthur Symphony Orchestra and at the Lucerne
Festival Orchestra with additional conducting responsibilities. It followed a period of full time opera and symphonic conducting.
Vier Symphonien Gustav Mahlers, die der Freiburger Dirigent und Pianist Klaus Simon orchestriert hat, sind schon beim traditionsreichen Wiener Verlag „Universal Edition“ erschienen. Die Sechste wird im März 2019 gedruckt. Nun hat das formidable Mythen Ensemble Orchestral eine fantastische Einspielung der Vierten vorgelegt, die Mahlers Musik wie eine Essenz eindampft. Die vierzehn Instrumente spiegeln nicht nur ohne Qualitätsverlust ein Sympho...
Very imaginative programming pairs Mozart and Poulenc. The three Mozart sonatas (K.301, K.304 and K.378) include the E minor Sonata, K.304 (1778); the only violin sonata that Mozart wrote in a minor key.
Esther Hoppe has a bright and exquisite tone with an endless variety of colours and a vast range of dynamics. Alasdair Beatson is Hoppe’s artistic equal and the shaping of the phrases is beautiful and imaginative, ranging from the dramatic to...
On the face of it, to present a programme with three pieces that range over one hundred and fifty years might seem a strange thing to do. This is especially the case as they are only linked through the solo instrument, the harp, and are stylistically miles apart. However, in the hands of Anaïs Gaudemard this works well, showing the versatility as well as the virtuosity of the young harpist. The disc opens with the Alberto Ginastera Harp Conc...
Anaïs Gaudemard, 1e prix du Concours international de Harpe, Israël 2012 en direct de la Salle Pasteur, Montpellier 2017
En direct de la Salle Pasteur du Corum de Montpellier, Anaïs Gaudemard, 1er Prix du Concours International de Harpe d'Israël 2012 et 2e Prix du Concours ARD 2016 interprète Scarlatti, Parish-Alvars, Debussy, Charpy, Hindemith, Fauré dans le cadre du festival Radio France Montpellier Occitanie 2017.
Festival Radio France Mo...
Since their first encounter in 2007 during the Swiss festival Piano à Saint-Ursanne, Christiane Baume-Sanglard and Dana Ciocarlie have started working together and collaborating as a Four-Hands Piano Duo. The female duo has since played in numerous concerts and festivals all over Europe. Through their friendship, their contrasting personalities make for a vibrant mixture of energy, poetry and musical expressiveness.
Swiss ensemble Trio Nota Bene consists of pianist Lionel Monnet, cellist Xavier Pignat and violinist Julien Zufferey.
Having obtained their virtuosity diplomas in chamber music at the Lausanne Conservatory, the trio perfected their studies in Paris with the Trio Wanderer and took advice from such professors as Roberto Szidon, Menahem Pressler (Beaux-Arts Trio), Patrick Genet (Sine Nomine Quartet), Christian Favre (Schumann Quartet), J...
“Now all instruments will have their turn” wrote Clara Schumann in her diary in early 1849. Her husband Robert had just finished two sets of duos with piano: one for clarinet, the next for horn (the Fantasy Pieces op. 73 and the Adagio and Allegro op. 70 recorded here), and he had made clear to her his intention to proceed in similar fashion across the instrumental spectrum. This was an exaggeration, for Schumann wasn’t some Romantic proto-Hin...
The Volckland organ (1732/37) of Erfurt’s Cruciskirche is one of the most remarkable baroque (Hochbarock) organs of the Thuringe instrument maker and music theorist. Jakob Adlung refers to it in his Musica Mechanica Organoedi (Berlin, 1768), saying that “Der Klang dieser Orgel ist unvergleichlich.” (“The sound of this organ is incomparable).
The foundation stops of this organ are rich in colour and ...