It is sometimes said that the Swiss are rather slow… As far as our project of recording Robert Schumann’s complete piano works, it is quite true that we have taken our time, with a first album published in… 2006.
In recent years, Esther Hoppe has established herself as a stylistically confident, virtuosic violinist in both the solo and chamber music repertoires – someone who always places her stupendous technique at the service of the music..
A daring artist with diverse musical interests, virtuoso flutist Marina Piccinini is in demand worldwide as a soloist,
chamber musician and recording artist. Internationally acclaimed for her interpretive skills, rich, expansive colors, technical command and elegant,
compelling stage presence, Ms. Piccinini has been hailed by Gramophone as “the Heifetz of the flute”.
Difficile d’imaginer personnalité plus forte que Heinz Holliger. A 77 ans, le hautboïste suisse continue à défendre ses compositeurs de prédilection.
Il joue aussi bien Mozart, Schumann qu'Elliott Carter ou Isang Yun.
Il a émancipé le hautbois au XXe siècle, et la plupart des grands compositeurs ont écrit pour lui.
Cédric Pescia, pianist of dual French and Swiss nationality, was born in Lausanne. He studied piano with Christian Favre at the Conservatoire de Musique in Lausanne, later with Dominique Merlet at the Conservatoire de Musique in Geneva.
In recent years, Esther Hoppe
has established herself as a stylistically confident,
virtuosic violinist in both the solo and chamber music repertoires – someone who always places her
stupendous technique at the service of the music.
If I want to find another word for music it is again and again Venice - Nietzsche
Vivaldi loved to experiment with old and new, unusual and not yet perfected instruments as well as with rooms and acoustics. His recorded concertos for brass wind-instruments are good examples of this. According to Walter Kolneder – a Vivaldi specialist – they were written for two F Horns which advance even to the clarion register, outdoing with their D’’’ even the trumpets which have to play only C’’’ in their double concertos.
Conversely Malipiero and Fanna are of the opinion that the two horns have to play in the ‘ottava bassa’. Certainly, the high horns were the usual, but even specialists who are well acquainted with these instruments cannot agree as to whether the difficulties of the Vivaldi concerto with regard to the method of blowing and the intonation can be overcome. Therefore we have decided in favor of the solution suggested by Malipiero and Fanna, which seems justified historically.
Both double concertos show similar characteristics. The horns encircle with their quick outside movements the poetic largo of the violoncello, the trumpets sparkle in their..
The Stanford discography is steadily growing, yet when these performers gave the Second Piano Concerto its belated Proms première in 2008, the response suggested that the London critics still lived back in the dark age when Stanford was merely an Interesting Historical Figure, not a composer that one might seriously perform and listen to. Strange that there should be such a gulf between what it is acceptable to record and what it is acceptable...
Programmes of Robert and Clara Schumann are becoming increasingly popular these days, and Nurit Stark and Cédric Pescia, Israeli and Swiss respectively, present an imaginative menu that focuses on the years 1851 (Robert) and 1853 (Clara). They launch into Robert’s Second Violin Sonata with great purpose and energy, its tumult well caught without exaggerated accentuation; effective too is the balance between the work’s supercharged Romanticism ...
Finghin Collins's first volume in Claves's complete cycle of Schumann's piano music (A/06) may be a hard act to follow but in Cédric Pescia, a young French-Swiss pianist, the label has chosen well. Vivacious, lucid and affectionate, all his performances are unfailingly musical. He plays Album for the Young without a hint of condescension but with an open-hearted delight that makes something very special of “In memoriam” (an eloquent tribute to...
Enescu’s early string Octet (completed 1900) displays a dizzying mixture of qualities – exuberance, busyness, contrapuntal complexity, thematic richness and a sweep that suggests a burgeoning creative talent on a roll. I’m often reminded of the young Korngold save that the teenage Enescu’s more prolix style makes for longer musical sentences and, in general, more leisurely arguments. The 12-minute first movement is architecturally imposing, wi...
Producing a jazz record with great musicians is a very exciting experience. With Kenny Drew Jr. it was simply fantastic. Certain titles were recorded 2 or 3 times. All tracks were significantly different and all great performances. Very few musicians are capable of such achievements. The challenge was to choose the recording to be released. Finally, and rightly so, Kenny Drew Jr. made the choice.
It didn’t take much thinking to come up with the idea of matching Jack Wilkin’s guitar with Kenny Drew Jr.’s piano in a recording. Both musicians possess an almost unlimited imagination and technique; both are sensitive, alert, stimulating personalities.
There have been a number of remarkable recordings in the past which have featured the guitar and piano in combination; we are pleased to present a recording that brings a number of ne...
15 years ago in the “West End“, a now defunct jazz club in New York, we had a discussion about the possibility of releasing an LP-recording. Trumpeter Ed “Tiger” Lewis, tenor saxophonist Percy France, and our man Bross Townsend were present. It was to be a record featuring orchestrated, swinging “jump” music.
Sidemen such as trombonist Ted Kelly, baritone saxophonist Cecil Payne and bassist/arranger Georges Duvivie...
Like César Franck or Leoš Janácek; Frank Martin belongs to those composers whose language went through a long period of development before maturing fully as they approached their fifties. He did not attend a music school but trained - at the same time as his classical studies – with a single master; Joseph Lauber. The latter; a prolific composer whom his pupil rightly deemed “a very good technician; but less of an artist”; imparted to him a ma...