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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 mastery of musical writing that Frank Martin never ceased to better through his own studies of the great masters. \u003cbr\u003e\u003cbr\u003eAlthough his Trois Poèmes païens (1910); the first of his works to appear in his catalogue; is still under Post-romantic influence; Frank Martin soon freed himself from it to steer towards Impressionism (Les Dithyrambes; Pavane couleur du temps) before gradually turning towards other means of expression. Around 1925 he developed a passion for rhythmic research; leading him to become a disciple of Emile Jaques-Dalcroze; and of which such works as the Trio sur des thèmes populaires irlandais (Trio based on popular Irish melodies) or Rythmes (for full orchestra) are examples. During the following decade; his interest in dodecaphony and his approach towards emancipation from tonal music can be seen in his First Piano Concerto; the Symphony and the String Trio. All of this research; all these transcended influences filtered through the prism of his exceptional personality and talent; make up the language of his mature years. This language first appears in all its fullness in the secular oratorio Le Vin herbé (1938-41) that Frank Martin himself defined as «[…] the first important work in which I spoke my own language. » \u003cbr\u003e\u003cbr\u003eThe years 1940 to 1949 witnessed the creation of numerous ballets by Swiss composers such as Jean Binet (L’Ile enchantée); Henri Gagnebin (Printemps); Hans Haug (L’Indifférent) Arthur Honegger (La Naissance des couleurs; L’Appel de la montagne); André-François Marescotti (Les Anges du Greco) and Frank Martin who wrote Das Märchen vom Aschenbrödel during the autumn of 1941; shortly after completing Le Vin Herbé. 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Jazz holds an obvious esthetical value for me; it is invariably impregnated into each of us; ready to spring out at the first opportunity. But it is an art and esthetic beauty totally void of any ethical value; a purely material; soulless type of art and beauty. […] On the contrary; there is evolution in Aschenbrödel; although matter is unchanging; the spirit is by essence the source of all development. […] To represent Aschenbrödel’s humility; the oboe seemed to me the obvious choice; with its rustic yet profound sound. […] As for the Fairy; her formal yet mysterious intervention will be depicted by the flute and muted strings […]. Having outlined the heroine’s distress; the first act then hosts the intervention of the Fairy; who adorns Aschenbrödel for the ball held by the Prince; to which her step-mother refused to take her. \u003cbr\u003e\u003cbr\u003eAct two takes place at the Royal Palace. The ball is in full swing when Aschenbrödel appears; magnificent; no one recognizing her. The Prince is hypnotized; he leads her into a fabulous waltz; suddenly interrupted by the twelve strikes of midnight and the young lady’s flight; leaving the King’s son in despair. He swears he will only marry the one whose foot will fit into the shoe left behind by the mysterious visitor. \u003cbr\u003e\u003cbr\u003eAct three begins by a fugato – in which the four singers echo the Prince’s oath – then brings us back to the set of the first act. Aschenbrödel is dreaming about the events as the two sisters barge in; furious at having been eclipsed by her. They go as far as mutilating their foot to try to fit it into the shoe brought by the messenger; and the younger sister is about to succeed when the birds; Aschenbrödel’s friends; tell of the treachery. The Prince discovers the young girl whom the step-mother was trying to hide; takes her into a slow dance while the three vile women are punished by the birds and all the singers celebrate; as Frank Martin says; the victory of good over evil; of spirit over matter. \u003cbr\u003e\u003cbr\u003eJacques Tchamkerten - Head of the Library of the Geneva Music Conservatory\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Le compositeur en exploite toutes les ressources expressives, et son inventivité nous vaut une fin d’acte I surnaturelle, une scène de bal enamourée, un final angoissant jusqu’au triomphant happy end. A l’écoute aveugle, rien ne distingue l’Orchestre de la Haute Ecole de Musique de Genève d’un ensemble professionnel. Ils servent une équipe de chanteurs engagés, d’où émerge le soprano velouté de Clémence Tilquin, sous la direction fine et légère du chef Gabor Takacs-Nagy. Un apport significatif à la discographie de Frank Martin.\" - Olivier Gutierrez, avril 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.theartsdesk.com\/classical-music\/classical-cds-weekly-frank-martin-mei-yi-foo-powerplant\" rel=\"noopener\" target=\"_blank\"\u003eThe Arts Desk\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] His fairies are accompanied by music that’s just as delicate as Prokofiev’s, and I’d argue that Martin’s visceral depiction of midnight’s chimes is more terrifying, the texture abruptly thinning after the twelfth bell stroke. The vocal parts are delicious, particularly the pair of women’s voices used to portray the birds’ chorus. The closing chorus is magical. The orchestral playing is indecently accomplished, the players’ sense of shared discovery palpable. Unmissable, in other words. Track this CD down and buy multiple copies for friends and acquaintances. They’ll be grateful.\" - Graham Rickson, May 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/mutheute.com\/\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] «Le conte de Cendrillon» erzählt die bekannte Aschenputtel-Geschichte, der (deutsche) Text von Marie-Eve Kreis bleibt eng an der Grimm’schen Vorlage. Das gut einstündige Ballett wurde nun nach dem grossen Erfolg der Uraufführung seinem langen Dornröschenschlaf entrissen. Dank Genfer Interpreten: Die Musikhochschule und das Grand Théâtre brachten das Stück vor drei Jahren mit wiederum grossem Erfolg auf die Bühne, das Orchester der «Haute École de musique» der Rhonestadt unter der Leitung von Gábor Takács-Nagy ging anschliessend ins Studio und spielte es für Claves ein. Zwar kämpfen einige der vier Sänger manchmal ein bisschen mit den Tücken der deutschen Sprache, aber sonst gibt es an dieser wundervollen Aufnahme nichts auszusetzen: Sängerisch haben die Solisten ihre Partien mit ausdrucksvollem und souveränem Gesang im Griff, und das Instrumental ensemble, das insbesondere in den immer wieder mit virtuosen oder jazzigen Soli herausgefordert ist, macht beste Figur in diesem hörenswerten Martin-Ballett.\" - Reinmar Wagner, August 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.letemps.ch\/culture\/musiques\/un-ballet-retrouve-chaussure-pied\" rel=\"noopener\" target=\"_blank\"\u003eLe Temps\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Si vous assimilez la musique de Frank Martin uniquement à l’austérité grandiose de Golgotha et de ses autres oeuvres d’inspiration religieuse, vous avez une idée limitée de la diversité de ses registres. Le compositeur genevois a cultivé tous les genres. Le moins connu est bien celui du ballet! Au beau milieu de la guerre, alors qu’il vient de terminer Le Vin herbé.[..]\" - Pierre Michot, janvier 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cominmag.ch\/tag\/lhebdo\/\" rel=\"noopener\" target=\"_blank\"\u003eL'Hebdo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] L’enregistrement de la RTS a immédiatement aiguisé la curiosité puis l’intérêt du label Claves, installé à Pully et dirigé depuis peu par Patrick Peikert. «Cette redécouverte d’une partition totalement oubliée entre parfaitement dans l’esprit de notre maison», s’enthousiasme le producteur, bluffé non seulement par l’oeuvre, mais encore par l’interprétation fabuleuse des étudiants genevois dirigés par Gábor Takács-Nagy. «L’enregistrement est accessible depuis trois semaines sur plateforme électronique et suscite déjà beaucoup de réactions, jusqu’au Japon.» [..]\" - Dominique Rosset, février 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nzz.ch\/\" rel=\"noopener\" target=\"_blank\"\u003eNeue Zürcher Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Den Charakter der Stiefmutter und der ambitiösen Schwestern geben Saxofon und Blechbläser in jazznahem Stil wieder. Für Aschenbrödel stehen Oboe und Flöte sowie die Streicher mit noblen Klängen ein. Das Genfer Hochschulorchester bringt die unterschiedlichen Tanzweisen auf ansprechendem Niveau zum Klingen. Die vier Solisten pflegen nicht immer ein astreines Deutsch, geben aber die Charaktere der Märchenfiguren treffend wieder. Pikant, dass die böse Stiefmutter und die gute Fee von derselben Solistin gesungen werden. 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Besides being a soloist; he is a much sought-after chamber music partner and Lieder accompanist. He is also an improviser and works with artists from different horizons. He spends his life between Geneva and Paris. www.fabriziochiovetta.com \u003cbr\u003e\u003cbr\u003eRare are the musicians who truly manage to take on board Schubert’s piano music; to deliver its unusual perspectives without distorting its nature and mystery: the inner drama and doubt; intertwined with earthly spontaneity. The pianist; rather than interpreting this confidential voice; should sing it; freely; simply. \u003cbr\u003e\u003cbr\u003eBut this apparent simplicity is complex; with the vertiginous; common paradox of the human voice: behind the warmest tenderness; there is a scream. A breach; a weakness that becomes strength when; from the very depth of its shimmering itinerancy; comes forth a special radiance. Schubert’s voice is indeed in this intermediate state: the melody; intimate without being intimist; neither erases nor covers up the violence of the scream; but reveals it with its infinite diffractions; as though taming the violence. \u003cbr\u003e\u003cbr\u003eIt is possibly in his masterpieces for solo piano that Schubert places the musician at the heart of this paradox: the composer of Lieder; abandoning the singing voice; invites the pianist to play alone; but not as a soloist. As if he were to accompany an absent voice; and indeed to reveal through this voice-free playing the solitary essence of the song. Far from Romantic heroism; the pianist playing Schubert makes no statement. He does not say “I am singing” or “I am accompanying”: he merely sings. \u003cbr\u003e\u003cbr\u003eWith Schubert; Fabrizio Chiovetta is at the very heart of the matter. An intuitive and sensitive musician; a spontaneous improviser with a great sense of humour; the Genevese pianist accepts the invitation to travel along Schubert’s road as a bewildered passer-by; without the need to underline anything for the architectures to billow out and the magic to unfold. Full of his talent as Lieder accompanist; he allows Schubert’s enigmatic voice to emanate from his piano; he inflects it tenderly; finds a unique intonation for it… which brushes lightly past in order better to touch; which goes around in order better to seize; as if there only remained a fragile and radiant reminiscence of Schubert’s scream. \u003cbr\u003e\u003cbr\u003eSometimes the voice of a composer truly meets that of the interpreter; but it usually happens in a « father to son » lineage: when musicians do not stray away from the voice of the forefathers; they « model » it. Schubert’s voice; when musicians perceive it; is that of an absent brother. 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Such was not the case for the well-educated middle-class of the 19th century. Among those who sought out the music of Wagner, Liszt, and Richard Strauss, it was often by means of piano reductions and small-scale instrumental arrangements that could be performed in the intimacy of the home. The advent of violin virtuosos like Eugène Ysaÿe, Jascha Heifetz, and Toscha Seidel brought this tradition into the concert hall. If the musical transcriptions represented, to varying degrees, a departure from the composer’s original intentions, one should remember that there already existed strong historical precedent: J.S. Bach had refashioned several of his own violin concertos for harpsichord; Mozart had rescored Handel’s Messiah for a larger sized orchestra; Beethoven had recast his 9th Piano Sonata as a string quartet; and Rossini had liberally reused overtures and arias from earlier works. Whether resulting from lofty artistic considerations or the need for additional income, composers and performers had for centuries willingly arranged and tailored their own works and those of others to the constraints of particular venues and specific performers, so much so that a natural inclination towards flexibility and adaptation seems woven into the very fibers of the music itself. \n\u003cbr\u003e\u003cbr\u003e\nWagner was no exception to this rule. Beginning in 1839, he spent three destitute-ridden years in Paris eking out a living as an arranger of French operatic music. Mignonne, one of his more noteworthy lieder from this period, exhibits a melodic grace perfectly suited to the language and style of Pierre de Ronsard’s poem. In 1861, hoping finally to triumph in a city that had seemingly ignored his talents two decades prior, Wagner returned to Paris with a newly revised version of his opera Tannhaüser. The production was a failure and closed after only three performances. In the wake of this bitter disappointment, Wagner composed two short but emotionally charged works for piano: Albumblatt, dedicated to the wife of the Austrian ambassador to France, and Ankunft bei den schwarzen Schwänen (The Arrival of the Two Black Swans), inspired from an early morning walk in the Tuileries. In the first work, presented here in an arrangement by 19th century violin virtuoso August Wilhelmj, a lyrical yearning theme gradually builds in intensity and until the impassioned arrival of Wagner’s hallmark half-diminished 7th chord. In the second work, this same unstable harmony is used in almost obsessive fashion, delaying confirmation of the work’s A-flat tonality until the final measure.\n\u003cbr\u003e\u003cbr\u003e\nThe discovery of Schopenhauer’s writings in 1854 – particularly the notion of music’s ability to describe the true essence of things – exerted a strong influence on Wagner. From that point forward, Wagner, in his vocal works, relied less on text as a way of communicating dramatic meaning. He composed Traüme in 1857 for piano and female voice as the last of 5 songs set to poems by Mathilde Wesendonck. Intended in part as a study for the composition of Tristan und Isolde, the song’s dream-like mood is captured by a two note descending melodic figure, which seems to hover nearly motionless over a chromatically infused 8th note pulse. Equally demonstrative of Wagner’s genius is Walter’s Preislied from the third act of Die Meistersinger von Nürnberg. At this pivotal moment, Walter sings for Hans Sachs a newly composed song, thereby demonstrating a marked improvement from the previous attempt made in the opera’s first act.\n\u003cbr\u003e\u003cbr\u003e\nFranz Liszt – friend, colleague, admirer, and eventual father-in-law to Wagner – produced dozens of virtuosic keyboard arrangements and paraphrases of famous works, often intended as vehicles to display his own prodigious talents as a performer. The Romance Oubliée, Première Elegie, and Am Grabe Richard Wagners are late works reflecting Liszt’s gradual shift towards a less bombastic, more austere style. Romance Oubliée was originally conceived as the song, Oh pourquoi donc, composed in 1843, but passed through various guises before the finalized 1880 version for viola and piano, which Liszt in turn adapted for violin. The Première Elegie was composed in 1874 for several possible instrumental combinations as well. In this compact work, an angst-ridden descending half-step motif is masterfully widened to a whole-step amidst a transcendent coda. Am Grabe Richard Wagners, an homage of ephemeral and short-lived beauty, was originally composed for string quartet and harp in 1883. Its sparse melodic material is derived from both the grail leitmotif from Wagner’s final opera, Parsifal, and the opening theme of Liszt’s own choral work, Die Glocken des Strassburger Münsters.\n\u003cbr\u003e\u003cbr\u003e\nAn einsamer Quelle (A Solitary Spring) is the second of five mood-paintings that Richard Strauss composed for piano in 1884. It is, in essence, a song without words whose simple melodic lyricism welcomes the addition of a violin in Hugo von Steiner’s transcription. Cäcilie was composed in 1894 as a wedding gift to Strauss’s wife Pauline. 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For while Beethoven was deaf, not dotty, Schumann’s state of mind in the early 1850s was often precarious. There were his séance obsessions, the voices in his head, the black dog days and finally the plunge into the Rhine after trying to pay the bridge-keeper’s toll with a handkerchief. Schumann’s wife Clara felt so embarrassed by his last works that she destroyed some and left others unpublished. But critics and commentators soon began reading Schumann’s madness much further backwards, taking earlier signs of formal irregularity in his music as proof of incipient insanity. \n\u003cbr\u003e\u003cbr\u003e\nSchumann’s late works deserve a more differentiated approach. While we must acknowledge that several written before his final breakdown are hardly strong enough to catch on – such as the Violin Concerto – there are many others from his Düsseldorf years that are truly compelling. 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Schumann called these pieces mere “childish pranks” though this was probably just overcautious modesty. Not only was this his first solo work for viola, but also just about the first-ever solo viola work by any Romantic composer of note. Schumann initially couldn’t decide on a title, calling them “viola stories”, “fairy-tale songs” and finally “fairy-tale pictures”, though all of these refer to the narrative element inherent in them. The first and third pieces certainly seem to be “telling” us something, though we know not what; the second is a “hunting horn” rondo; and the fourth and last piece sounds like a Brahmsian lullaby avant la lettre (its main theme, incidentally, seems to hover behind the opening of Mahler’s Ninth Symphony, also in D). \n\u003cbr\u003e\u003cbr\u003e\nSchumann wrote his First Violin Sonata, op 105 in a minor, in September 1851. Barely a month later he was writing a Second, this time in d minor. 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The last movement is in sonata form, and in its tempestuousness recalls the first movement. Schumann had published his First Sonata soon after its composition, so it was probably just the fear that he might swamp the market that made him hold back the Second for another two years. Despite the dedication to David, it was Joseph Joachim who gave the work’s first public performance in autumn 1853, organized roughly to coincide with its publication. Joachim loved it, writing to his friend Arnold Wehner on 10 September that “it is for me one of the loveliest creations of recent times in its magnificent unity and the concision of its themes. It is full of passion … The last movement is splendid in the way it ebbs and flows, and could be a landscape of the soul”. But just a few months after the composer’s death, Eduard Hanslick was already damning the Second Sonata as proof of Schumann’s declining powers. It suited Hanslick’s historical view of things to see a long, gradual decline instead of any abrupt biographical fracture. But the work itself merits no such nonsense. Had Schumann suddenly died in 1852 instead of dwindling away afterwards, Hanslick might well have joined Joachim in declaring the work “magnificent”; for that’s what it is. \n\u003cbr\u003e\u003cbr\u003e\nClara Schumann’s great fortune in life – as she saw it – was to fall in love and marry a composing genius. Her great misfortune in life – one might argue – was the same. Fêted as one of the leading pianists of her age, she was also a gifted composer, though outshone by her husband. Robert was outwardly supportive of her composing efforts, but since Clara also functioned as the conveyor belt for his babies he was of little concrete help to her career – she produced almost as many children as she did opus numbers during their marriage.\n\u003cbr\u003e\u003cbr\u003e\nClara’s Three Romances for violin and piano op. 22 were composed in July 1853 and dedicated to Joachim. They belong among her “last” works – after this year, she hardly ever composed again. In stylistic terms they are clearly situated in the Mendelssohnian\/Schumannian tradition. But even where their mood might seem at first to reflect the bourgeois salon, phrases here and there are subtly elongated or shortened, little cross-rhythms come and go (as in the opening bars of No. 1) and unexpected harmonies intrude (such as the augmented chords in the final bars of No. 3) that altogether reveal a more complex sensibility. After Robert’s decline, Clara returned to her career as a piano virtuoso in order to feed the family. 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They have been accompanied throughout their development by eminent teachers such as Sandor Végh, Nikolaus Harnoncourt and the La Salle Quartet.\n\u003cbr\u003e\u003cbr\u003e\nSpectacular early successes at international competitions brought the Carmina Quartet to the attention of the critics and their international press and led to concert appearances throughout the world.\n\u003cbr\u003e\u003cbr\u003e\nIn addition to the ensemble’s diverse concert activities, including regular appearances with eminent musicians such as Olaf Bär, Mitsuko Uchida and Barbara Hendricks, they made a large number of recordings. These have been recognized with awards such as the Gramophone Award, the Diapason d’or and a Grammy nomination in Los Angeles.\n\u003cbr\u003e\u003cbr\u003e\nThe Carmina Quartet has been “quartet in residence” at the Winterthur\/Zurich School of Music (MWZ) since 1995.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nSchola Romana Lucernensis\n\u003cbr\u003e\u003cbr\u003e\nFounded in Lucerne in 1971, the Schola Romana Lucernensis is dedicated to the cultivation and performance of Gregorian chant; its regular director is Dominik Rickenbacher. The ensemble works in close collaboration with the choral director of the Abbey of Einsieldeln, Pater Roman Bannwart, who is also teacher at the Lucerne “Musikhochschule” (formerly the Academy for School and Church Music \/ Lucerne Conservatory). 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It is rightfully regarded not only as one of the composer’s most important works, but as one of the major works in the whole chamber music repertoire.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann said of the String Quintet that it is the music one would like to hear on one’s deathbed; it is indeed difficult to listen to it without feeling that Schubert must have had some premonition of the approaching end. It is the final and definitive expression of Schubert’s poetic vision, of that Romantic longing for the world beyond, whether in the dark lyricism of the first movement, the vigor of the Scherzo, the poetic Adagio, or the confident good humor of the closing movement.\n\u003cbr\u003e\u003cbr\u003e\nThis parting work is juxtaposed with one of Schubert’s earliest compositions, the Overture in C Minor for string quintet which the budding composer wrote in 1811 at the age of 14. It is characterized by formal clarity and dramatic expressiveness.\n\u003cbr\u003e\u003cbr\u003e\nThe Quartet Sine Nomine won First Prize and the Press Prize at the 1985 Evian International Competition; in 1987 it won the first Borciani Competition in Reggio nell’Emilia. The quartet has performed in the most important concert halls throughout Europe and America, including in London’s Wigmore Hall, New York’s Carnegie Hall and Amsterdam’s Concertgebouw.\n\u003cbr\u003e\u003cbr\u003e\nThe quartet has also recorded Brahms’ complete string quartets as well as his four quintets, Arriaga’s three string quartets, Haydn’s six quartets op. 76 and works by Turina for Claves. They are joined by cellist François Guye for Schubert’s C-Major Quintet, and by violist Michael Wolf for the youthful Overture in C Minor.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nFrançais\n\u003cbr\u003e\u003cbr\u003e\nComposé peu avant sa mort et d’une beauté ineffable, le quintette à cordes en ut majeur D.956 est la dernière composition de musique de chambre de Schubert. Elle est à juste titre considérée non seulement comme l’œuvre la plus importante de ce compositeur, mais aussi comme une des œuvres majeures de tout le répertoire de musique de chambre.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann disait de ce quintette que c’était le genre de musique que l’on aimerait entendre sur son lit de mort ; il est en effet, difficile de l’écouter sans avoir le sentiment que Schubert devait avoir certaines prémonitions quant à sa fin prochaine. C’est l’expression finale et définitive de la vision poétique de Schubert, de cette nostalgie romantique pour l’au-delà que ce soit dans le lyrisme sombre du premier mouvement, la vigueur du Scherzo, la poésie de l’Adagio ou la bonne humeur du mouvement final.\n\u003cbr\u003e\u003cbr\u003e\nCette œuvre «d’adieu» est ici juxtaposée à une des compositions de jeunesse de Schubert, l’ouverture en ut mineur pour quintette à cordes qu’il a écrite, à 14 ans, en 1811. Elle se distingue par sa clarté formelle et son expressivité dramatique.\n\u003cbr\u003e\u003cbr\u003e\nEn 1985, le Quatuor Sine Nomine a remporté le premier prix et le prix de la presse du Concours International d’Evian; en 1987, il a été le lauréat du premier Concours Borciani a Reggio nell’Emilia. Le violoncelliste François Guye les a rejoint pour le quintette en ut majeur de Schubert ainsi que l’altiste Michael Wolf pour l’ouverture en ut mineur.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nDeutsch\n\u003cbr\u003e\u003cbr\u003e\nDas unbeschreiblich schöne Streichquintett in C-dur D. 956, das Schubert kurz vor seinem Tod komponierte, war gleichzeitig sein letzes Kammermusikwerk. Zu Recht gilt es nicht nur als eines der wichtigsten Werke des Komponisten, sondern auch als eines der bedeutendsten kammermusikal-ischen Werke überhaupt.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann sagte einmal, dass man dieses Quintett gerne auf dem Totenbett hören möchte. Und tatsächlich ist es fast unmöglich, das Werk zu hören, ohne zu fühlen, dass Schubert sein nahes Endes vorausgeahnt haben muss. Hier beschreibt und vollendet er seine letzte künstlerische Vision, die romantische Sehnsucht nach dem Jenseits, die in der düsteren Lyrik des Eingangssatzes genau so stark zum Ausdruck kommt wie im kraftvollen Scherzo, im lyrischen Adagio oder im zuversichtlich gut gelaunten Schlusssatz.\n\u003cbr\u003e\u003cbr\u003e\nDieses Werk wird hier einer sehr frühen Komposition Schuberts gegenübergestellt, der Ouvertüre in c-moll für Streichquintett, die er 1811 im Alter von 14 Jahren geschrieben hat. Es zeichnet sich durch formale Klarheit und dramatische Expressivität aus.\n\u003cbr\u003e\u003cbr\u003e\nDem Sine Nomine Quartett wurde 1985 der Erste Preis und der Sonderpreis der Presse-Jury beim Internationalen Wettbewerb in Evian zugesprochen. Es gewann 1987 den ersten Borciani-Wettbewerb in Reggio nell‘Emilia. Seither ist das Ensemble in den bedeutendsten Städten Europas und Amerikas zu hören, namentlich in den berühmten Konzertsälen Wigmore Hall in London, Concert-gebouw in Amsterdam und Carnegie Hall in New York. Das Sine Nomine Quartett hat bereits sämtliche Streichquartette und die vier Quintette von Brahms, Arriagas drei Streichquartette, die sechs Quartette op. 76 von Joseph Haydn sowie Werke von Turina für Claves aufgenommen. 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Strauss \u0026 Schoenberg: Violin Sonatas","description":"Brigitte and Yvonne Lang were winners of the prestigious Kiefer Hablitzel Foundation Award. In addition to prize money and concert appearances at the Menuhin Festival Gstaad, the Lang sisters are the first prize winners to be featured in the foundation’s newly inaugurated CD series. Claves Records is pleased to present the first recording in the «Kiefer Hablitzel Edition».\n\u003cbr\u003e\u003cbr\u003e\nBrahms composed his enchanting Violin Sonata at Lake Thun in Switzerland in 1886. Strauss’ Violin Sonata is a youthful work marked by the sweeping gestures of his first orchestral tone poems. The Daphne Etude and the Allegretto for Violin are two rarely performed miniatures from his later years. 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They won second prize at the international chamber music competition «Premio Trio di Trieste» in Italy in 1999.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nFrançais\n\u003cbr\u003e\u003cbr\u003e\nBrigitte et Yvonne Lang sont toutes les deux lauréates du prix de la Fondation Kiefer Hablitzel 1998. A part ce prix et un concert au Festival Menuhin de Gstaad 2000, les sœurs Lang sont les premières à qui a été offert un enregistrement qui inaugurera l’«Edition Kiefer Hablitzel», une nouvelle série de CD créée par la Fondation. Claves Records est heureux de présenter ce premier disque.\n\u003cbr\u003e\u003cbr\u003e\nBrahms composa sa magnifique «Thuner Sonate» pour piano et violon pendant son premier été passé au bord du Lac de Thoune en 1886. La Sonate pour violon de Strauss, une œuvre de jeunesse, à la légèreté et la vivacité de ses orchestrations de poèmes, tandis que l’Etude Daphné et l’Allegretto pour violon et piano sont deux miniatures écrites vers la fin de sa vie. La Fantaisie de Schoenberg est empreinte de grande sérénité et clarté.\n\u003cbr\u003e\u003cbr\u003e\nLa violoniste Brigitte Lang remporta un premier prix avec mention au Concours des Jeunesses Musicales de Suisse et gagna un prix doté d’une bourse d’études octroyée par la Coopérative Migros. Elle vit actuellement à Londres et à Lucerne. La pianiste Yvonne Lang obtint à Lucerne en 1995 son diplôme de soliste avec mention. Elle remporta le premier prix institué à la mémoire d’Edwin Fischer ainsi que le prix doté d’une bourse d’études de la Coopérative Migros. Les deux sœurs jouent en duo depuis leur enfance. En 1992, elles remportèrent le second prix du Concours international «Premio Trio di Trieste» en Italie. Elles ont donné des concerts, entre autres, au Wigmore Hall de Londres, à Paris, en Ecosse ainsi qu’au Canada.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nDeutsch\n\u003cbr\u003e\u003cbr\u003e\nEndlich ist auch die Violinsonate A-dur, op.100, die sogenannte «Thuner Sonate» von Johannes Brahms im Repertoire von Claves. Sie entstand im Sommer 1886 beim ersten Aufenthalt des Komponisten am Thunersee. Die in diesem ertragreichen Sommer entstandenen Werke zeichnen sich alle durch eine «herrliche Frische der Phantasie» aus, wie der Dichter Joseph Viktor Widmann sie beurteilte. Im Hause Widmann in Bern wurden die in Thun entstandenen Werke auch erstmals gespielt, Brahms selber spielte den Klavierpart. Bei der ersten offiziellen Aufführung am 2. Dezember 1886 spielten Brahms und Joseph Hellmesberger im kleinen Saal des Wiener Konzertvereins.\n\u003cbr\u003e\u003cbr\u003e\nDie Sonate in Es-dur von Richard Strauss ist – wie fast alle seine kammermusikalischen Werke – ein Jugendwerk, aber schon stark gezeichnet von der schwungvollen Gestik seiner folgenden gros-sen sinfonischen Tondichtungen. Die zwei selten gespielten Miniaturen, die Daphne Etüde und das Allegretto, sind zwei kleine, charmante Ergänzungen aus den späten Jahren des Komponisten. Auch Arnold Schönbergs «Fantasie», die sich durch grossen inneren Frieden und kompositorische Klarheit auszeichnet, ist ein Alterswerk dieses wegweisenden Komponisten und entstand im März 1949.\n\u003cbr\u003e\u003cbr\u003e\nDie zwei Interpretinnen Brigitte und Yvonne Lang haben in ihrer noch jungen Karrierre einzeln oder als Duo schon viele nationale und internationale Auszeichnungen erhalten. Die Schwestern bilden seit ihrer Kindheit ein Duo, und gemeinsam sind sie schon in der Wigmore Hall in London, in Paris, in Schottland und in Kanada aufgetreten. Bereits 1992 erhielt das Duo den Zweiten Preis am internationalen Kammermusikwettbewerb «Premio Trio di Trieste» in Italien zuerkannt. Beide Musikerinnen sind Preisträgerinnen der renommierten Kiefer Hablitzel Stiftung und erhielten nebst Preisgeld eine Einladung, im Rahmen des Menuhin Festivals Gstaad 1999 zu konzertieren. \n\u003cbr\u003e\u003cbr\u003e\nAls erste der bisherigen Gewinnerinnen und Gewinner können sie auf einer neu von der Stiftung ins Leben gerufenen CD-Serie ihr Talent unter Beweis stellen. 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The great flute teacher at the Conservatory was Paul Taffanel (1844–1908), who founded the French school of flute playing that remains influential today. The music on this recording is imbued with the spirit of this epoch, from Gabriel Fauré’s early melodic masterpiece ”Morceau de concours” to Georges Hüe’s ”Fantaisie” with its Spanish and Arabic overtones. In the Romantic tradition of virtuoso recitalists, Marina Piccinini contributed fantastic variations and flourishes of her own to Borne’s Fantasy on Bizet’s Carmen. \u003cbr\u003e\u003cbr\u003eFlutist Marina Piccinini has earned an international reputation for her brilliant virtuosity, captivating presence and tremendous range of tonal colors. Since making her critically acclaimed debuts in New York’s Town Hall and London’s Southbank Centre, Ms. Piccinini has enjoyed a concert schedule that has taken her to the major halls throughout the United States, Canada, Europe and Japan. 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We need this artist to come back to London as soon as possible.\" \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTranslated from French with www.DeepL.com\/Translator (free version)","brand":"Claves Records","offers":[{"title":"CD 2011 \/ 1 \/ Ursula Dütschler","offer_id":40119961681955,"sku":"2011","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"https:\/\/music.apple.com\/us\/album\/j.s.-bach-toccatas-bwv-910\/id261679045?l=fr \/ iTunes \/ Ursula Dütschler","offer_id":32339007406115,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"829410505468 \/ upc \/ Ursula Dütschler","offer_id":45765699086,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Ursula Dütschler","offer_id":45895717582,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/3tRo2KBFSU9HIk83UuBu5S \/ Spotify \/ Ursula Dütschler","offer_id":15872866883,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_meXEDTmx6jPcvL6p88Cr0YY8vP_AWdDaQ \/ Youtube Music \/ Ursula Dütschler","offer_id":39495907344419,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/johann-sebastian-bach-toccatas-bwv-910-916\/0829410505468 \/ Qobuz \/ Ursula Dütschler","offer_id":15872867011,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/136254 \/ Deezer \/ Ursula Dütschler","offer_id":15872867075,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/J-S-Bach-The-Toccatas-910-916\/dp\/B0023PWO2M\/ref=sr_shvl_album_4?ie=UTF8\u0026qid=1366204017\u0026sr=301-4 \/ AmazonMp3 \/ Ursula Dütschler","offer_id":15872867139,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2011 \/ Naxos \/ Ursula Dütschler","offer_id":31662381582,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/ursula-dutschler\/j-s-bach-the-toccatas-bwv-910-916\/11078957\/ \/ eMusic \/ Ursula Dütschler","offer_id":15872867203,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Ursula Dütschler","offer_id":15872867267,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=c6l5f2kZC1c\u0026list=OLAK5uy_meXEDTmx6jPcvL6p88Cr0YY8vP_AWdDaQ \/ Video \/ Ursula Dütschler","offer_id":39497275572259,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2011.jpg?v=1414592432"},{"product_id":"bach-marcello-vivaldi-handel-works-for-oboe-organ","title":"(2000) Bach, Marcello, Vivaldi, Händel: Works for Oboe \u0026 Organ","description":"This recording grew from our friendship of nearly twenty years. 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We hope that listeners will share our pleasure in these compositions; their diverse and fascinating histories are engagingly accounted for by musicologist Guiseppe Clericetti.\n\u003cbr\u003e\u003cbr\u003e\nOmar Zoboli and Diego Fasolis","brand":"Claves Records","offers":[{"title":"CD 2012 \/ 1 \/ Omar Zoboli","offer_id":40119961714723,"sku":"2012","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/bach-marcello-vivaldi-handel\/id253841947 \/ iTunes \/ Omar Zoboli","offer_id":32339007438883,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"829410505567 \/ upc \/ Omar Zoboli","offer_id":45765699214,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Omar Zoboli","offer_id":45895717646,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2YaX1i6ZYEdTHKyBXbPBTK \/ Spotify \/ Omar Zoboli","offer_id":15872867523,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_nbfS6Ovp94NXNuGgfXQlqsPo_Bn0wGgAg \/ Youtube Music \/ Omar Zoboli","offer_id":39495907377187,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1JYiVWj \/ Qobuz \/ Omar Zoboli","offer_id":15872867651,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/141318 \/ Deezer \/ Omar Zoboli","offer_id":15872867715,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1SGOQvD \/ AmazonMp3 \/ Omar Zoboli","offer_id":15872867779,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2012 \/ Naxos \/ Omar Zoboli","offer_id":31662381774,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/omar-zoboli-diego-fasolis\/mosaico-barocco-bach-marcello-vivaldi-handel\/11034331\/ \/ eMusic \/ Omar Zoboli","offer_id":15872867843,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Omar Zoboli","offer_id":15872867907,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=OTW1Od1Dxl8\u0026list=OLAK5uy_nbfS6Ovp94NXNuGgfXQlqsPo_Bn0wGgAg \/ Video \/ Omar Zoboli","offer_id":39497275605027,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2012.jpg?v=1414592225"},{"product_id":"miniatures-for-flute-guitar","title":"(2000) Miniatures For Flute \u0026 Guitar","description":"Flutist Peter-Lukas Graf and guitarist Konrad Ragossnig have appeared together in concert and have been bound in personal friendship for many, many years. This recording presents a selection of favorite miniatures and encore pieces from their vast duo repertoire – a wonderful idea ! It is a diverse selection of charming, serious and lighter works extending from the Baroque period (Johann Sebastian Bach and Carl Philipp Emanuel Bach) to the Rococo (Niccolò Paganini and François Joseph Gossec), the Classic (Wolfgang Amadeus Mozart) and the Romantic (Frédéric Chopin and Piotr Ilitch Tchaikovsky). It is likewise delightful to see brave excursions into 20th century music, including Rags by Scott Joplin, pieces by Heitor Villa-Lobos, Jacques Ibert and Maurice Ravel, as well as dances from Aram Khatchaturian’s ballet “Gayaneh”.\n\u003cbr\u003e\u003cbr\u003e\nGraf and Ragossnig lend these miniatures (of one and a half to seven minutes in length) their personal signature with their famed technical mastery and interpretative skills. As is often the case in live concerts, once the official program has been completed and the audience has been won over, musicians are able to enjoy a certain liberty and spontaneous creative energy during the following encores that is not present in the “official” part of the concert. Peter-Lukas Graf and Konrad Ragossnig have placed these exquisite miniatures in the spot-light for once, and the result is 60-minute program of great variety and listening pleasure.","brand":"Claves Records","offers":[{"title":"CD 2013 \/ 1 \/ Peter-Lukas Graf","offer_id":40119961747491,"sku":"2013","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/miniatures-for-flute-guitar\/id261679662?l=fr \/ iTunes \/ Peter-Lukas Graf","offer_id":32339007471651,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"829410505666 \/ upc \/ Peter-Lukas Graf","offer_id":45765699854,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Peter-Lukas Graf","offer_id":45895717710,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2RcJyHHn10fXskMz5cLhMj \/ Spotify \/ Peter-Lukas Graf","offer_id":15872868163,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_my_YcCkdVKm3pg3jRqOKwmunUewE7RJrU \/ Youtube Music \/ Peter-Lukas Graf","offer_id":39495907442723,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/peter-lukas-graf-flute-miniatures-pour-flute-et-guitare\/0829410505666 \/ Qobuz \/ Peter-Lukas Graf","offer_id":15872868291,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/174311 \/ Deezer \/ Peter-Lukas Graf","offer_id":15872868355,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/Miniatures-For-Flute-Guitar\/dp\/B0023PZXMK\/ref=sr_shvl_album_1?ie=UTF8\u0026qid=1366204147\u0026sr=301-1 \/ AmazonMp3 \/ Peter-Lukas Graf","offer_id":15872868419,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2013 \/ Naxos \/ Peter-Lukas Graf","offer_id":31662382222,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/peter-lukas-graf-konrad-ragossnig\/miniatures-for-flute-guitar\/11078956\/ \/ eMusic \/ Peter-Lukas Graf","offer_id":15872868483,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Peter-Lukas Graf","offer_id":15872868611,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=Lg-NAUzfK7A?list=PLy5IRCYvmbSz6MOnj35CYhN3VlXR0kDey \/ Video \/ Peter-Lukas Graf","offer_id":46068056078,"sku":"2013","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2013.jpg?v=1414596757"},{"product_id":"ravel-piano-concertos-alborada-del-gracioso","title":"(2001) Ravel: Piano Concertos \u0026 Alborada del Gracioso","description":"\u003cp\u003eA whole series of factors came together to make this recording an unforgettable experience for everyone involved. The project was born in May 2000 during a tour of South America. The orchestra, conducted by Gilbert Varga and featuring pianist Joaquín Achucarro, had performed works by Ravel to great acclaim from audiences in Chile and Argentina. This led to the idea of recording three works by this universal composer, whose Basque roots are undeniable.\u003c\/p\u003e\n\u003cp\u003eRavel was born in Ciboure in 1875. His father was of Swiss descent, which explains why Stravinsky called the composer “the Swiss watchmaker” whenever he spoke of Ravel's highly complex compositional style and attention to the smallest detail. His mother was Basque. She was born on the French Basque coast in St-Jean-de-Luz, where Ravel often spent his summer vacations. He made many excursions throughout the Basque country, learning its language, which he continued to practice throughout his life.\u003c\/p\u003e\n\u003cp\u003eThe Concerto in G major is probably the work Ravel worked on longest. In 1911, he was already well advanced in writing this concerto, which had a Basque title, but then abandoned the project, only to revive the idea following a tour of South America. He completed it in 1931, and the concerto was premiered on May 14, 1932 at the Salle Pleyel in Paris to an enthusiastic audience. According to Ravel, his models were Mozart and Saint-Saëns. This three-movement concerto demonstrates great academic virtuosity, combining three elements: the circus, Spanish music and, of course, jazz.\u003c\/p\u003e\n\u003cp\u003eThe Concerto for the Left Hand was commissioned by Austrian pianist Paul Wittgenstein, who had lost his right arm in the war. 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English music historian Charles Burney wrote: «He has perhaps supplied the performers on bowed instruments and lovers of Music with more excellent compositions than any other master of the present age, except Haydn. His style is at once masterly and elegant. \u003cbr\u003e\u003cbr\u003eThere are movements in his works, of every style, and in the true genius of the instruments for which he writes, that place him high in rank among the greatest masters who have ever written for the violin or the violoncello...» The great master Haydn himself once described Boccherini as a «genius». And Mozart demonstrated esteem for his colleague in a number of works, particularly in his string quintets. \u003cbr\u003e\u003cbr\u003eBoccherini’s quintets are among the finest examples of classical chamber music and have rarely enjoyed the appreciation they deserve. His works for flute and string quartet (the so-called flute quintets) bear witness to the originality of this composer. 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A number of other composers employed Vivaldi's four masterpieces in their own compositions already during the composer’s lifetime. «Le Printemps ou les saisons amusantes» are arrangements for popular instruments at the time such as the hurdy-gurdy or bagpipes.In 1766 Michel Corrette composed the psalm Laudate Dominum de coelis by adding additional voices to the music of Spring and in 1775 Jean-Jacques Rousseau even published Spring in a transcription for flute solo! \u003cbr\u003e\u003cbr\u003e This recording features Baroque violin virtuoso Duilio Galfetti and the ensemble I Barocchisti under the direction of Baroque specialist Diego Fasolis performing Vivaldi's timeless Seasons on historical instruments.In addition to strings and basso continuo, I Barocchisti have doubled some string parts with historical wind instruments, a technique that Vivaldi's pupil and friend Johann Georg Pisendel employed with other concertos by the Italian composer. The effect is extraordinary: discreet brush strokes that add highlights and color to the most famous seasons in history. \u003cbr\u003e\u003cbr\u003e This recording also features four other concertos by Vivaldi.The Concerto for mandolin «...Con tutti li violini pizzicati» provides soloist Duilio Galfetti opportunity to display his mastery of another stringed instrument. 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But it was not until Berlioz and Debussy that composers truly began to take advantage of its unique instrumental and expressive qualities. Since then nearly all of the major composers have composed for it, but it has been the French school of composition that has refined the art of writing for the harp to its quintessence: delicate, pure and poetic. The four works featured on this recording offer telling evidence. \u003cbr\u003e\u003cbr\u003e Gabriel Pierné demonstrated masterful facility in all respects (compositional, architectural, stylistic) with his Piece de concert, spotlighting the soloist in a particularly advantageous fashion. François Adrien Boïeldieu wrote his perennial Concerto for Harp in C major at the age of twenty. The dramatic third movement stands out in particular. \u003cbr\u003e\u003cbr\u003e Camille Saint-Saëns’ Concerto for Harp and Orchestra was conceived to display the brilliance of the soloist and his instrument. It is a veritable test of skills, a true «showpiece». Henriette Renié, of whom Lily Laskine said that «to think of the harp is to think of Henriette Renié», composed her Concerto for Harp and Orchestra in 1901. It was a an immediate success, displaying the great expressive power and technical versatility of the instrument. It is a true reflection of the composer’s personality, of her love for the harp, her mastery of this ancient instrument and her desire for innovation. \u003cbr\u003e\u003cbr\u003e Xavier de Maistre won his first international competition in Paris at the age of sixteen. More prizes followed at other major international competitions: Cardiff, Munich, Vienna, Jerusalem. And in 1998 he won the first prize and two additional prizes for interpretation at the prestigious USA International Harp Competition in Bloomington. Xavier de Maistre has since performed with eminent orchestras and conductors around the world. He was appointed solo harpist with the Bavarian Radio Symphony Orchestra under Lorin Maazel at the age of 22; three years later he was appointed to the coveted position as solo harpist with the Vienna Philharmonic Orchestra.","brand":"Claves Records","offers":[{"title":"CD 2206 \/ 1 \/ Xavier De Maistre","offer_id":39943510589475,"sku":"2206","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410486767 \/ upc \/ Xavier De Maistre","offer_id":13668963549219,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/romantic-french-concertos\/id286189681?l=fr \/ iTunes \/ Xavier De Maistre","offer_id":32339008061475,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2002 \/ release \/ Xavier De Maistre","offer_id":45895720462,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/3tkKZelGKudyZhL77PaEBH \/ Spotify \/ Xavier De Maistre","offer_id":16194212803,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_nMcpYi3Gac1ia4nR-sBKGAYtDEtbibcUw \/ Youtube Music \/ Xavier De Maistre","offer_id":39496033009699,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/xavier-de-maistre-harpe-concertos-francais-pour-harpe\/0829410486767 \/ Qobuz \/ Xavier De Maistre","offer_id":16194212995,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/132668 \/ Deezer \/ Xavier De Maistre","offer_id":16194213123,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1Sgaf00 \/ AmazonMp3 \/ Xavier De Maistre","offer_id":16194213187,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2206 \/ Naxos \/ Xavier De Maistre","offer_id":31663182926,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/xavier-de-maistre\/french-concertos-for-harp\/11246932\/ \/ eMusic \/ Xavier De Maistre","offer_id":16194213251,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Xavier De Maistre","offer_id":16194213379,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=AALAgU4zTKs?list=UUJ0OoTwBhf4nmPg3iX7WSIQ \/ Video \/ Xavier De Maistre","offer_id":46068060942,"sku":"2206","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2206.jpg?v=1414747530"},{"product_id":"shchedrin-carmen-suite-russian-photographs-glorification","title":"(2002) Shchedrin: Carmen Suite - Russian Photographs - Glorification","description":"Rodion Shchedrin is one of the most important Russian composers to follow Chostakovitch; he earned initial international fame for his «Carmen Suite» (see below). Claves Records is pleased to celebrate his 70th birthday with a recording featuring this beautiful suite as well as two world premiere recordings. \u003cbr\u003e\u003cbr\u003e Shchedrin wrote the «Carmen Suite» in 1967 as the music for a one-act ballet at the Bolshoi. It is an amazing document of the composer’s phenomenal mastery of orchestration. Without altering the musical material, Shchedrin transformed Bizet’s music by varying rhythms, colors and orchestration. The palette of sonorities that he created is astounding. The score and the ballet, however, received negative reactions not only from the political bureaucrats but even from some musicians. \u003cbr\u003e\u003cbr\u003e As Shchedrin recalls, it was Chostakovitch who came to the rescue. He «went to the Ministry of Culture, called top officials, etc.» In fact, Chostakovitch did more than just make calls, he gave an interview. «I saw the Carmen Ballet Suite at the Bolshoi and was truly amazed at the brilliance of Shchedrin’s transcription of Bizet’s music. It is an independent work, I would even call it original music. It should be ranked with the best transcriptions by Liszt or Busoni. And how unpretentious! \u003cbr\u003e\u003cbr\u003e None of Bizet’s melodies have been changed; the accents have been slightly shifted, strings and percussion are simply substituted for the soloists, chorus and orchestra!... To many, I know, Shchedrin’s experiment might first appear impudent if not blasphemous. But look at the result, a joyful celebration of ballet, and beyond that a major success in Soviet music... We could use more of such experiments!» \u003cbr\u003e\u003cbr\u003e Also included on this recording are two world premiere recordings. «Russian Photographs» is a four-movement suite, snapshots of Russian life, composed in 1994. «Velicanie» (Glorification) for string orchestra was written in September 1995 on commission from the World Economic Forum in Davos, Switzerland. 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His unique concerts with specialized Baroque ensembles (Musica Antiqua Köln, Europa Galante, Sonatori de la Gioiosa Marca, Akademie für Alte Musik Berlin, etc.) have earned him regular invitations to festivals, concert series and radio broadcasts throughout Europe. His performances with the Baroque orchestra I Barocchisti under the direction of Diego Fasolis were overwhelming successes. \u003cbr\u003e\u003cbr\u003e In addition to his concentration on historical instruments and performance practices he also performs music from four centuries on modern instruments and appears frequently in concert with the Zurich Chamber Orchestra under the direction of Howard Griffiths. \u003cbr\u003e\u003cbr\u003e His five recordings for Claves Records have received unanimous acclaim from critics around the world and have been awarded a number international prizes. This special portrait of the artist features a personal selection from these five gems and is a fascinating document of his art.","brand":"Claves Records","offers":[{"title":"CD 2208 \/ 1 \/ Maurice Steger","offer_id":40119962370083,"sku":"2208","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410488464 \/ upc \/ Maurice Steger","offer_id":13668963614755,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/portrait\/id286195441?l=fr \/ iTunes \/ Maurice Steger","offer_id":32339008127011,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"01.07.2005 \/ release \/ Maurice Steger","offer_id":45892427790,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/7D9GD2Nkjyo5KNgImHSAVO \/ Spotify \/ Maurice Steger","offer_id":16194217539,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_kQSl4LNfYs-RPy7Ll8Uc5U65IuJrMy2ps \/ Youtube Music \/ Maurice Steger","offer_id":39496033075235,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/maurice-steger-flute-a-bec-portrait\/0829410488464 \/ Qobuz \/ Maurice Steger","offer_id":16194217667,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/132856 \/ Deezer \/ Maurice Steger","offer_id":16194217731,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.com\/Portrait\/dp\/B001CQK8DU\/ref=sr_1_8?s=dmusic\u0026ie=UTF8\u0026qid=1372709326\u0026sr=1-8\u0026keywords=Maurice+Steger \/ AmazonMp3 \/ Maurice Steger","offer_id":16194217795,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2208 \/ Naxos \/ Maurice Steger","offer_id":31663183118,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/maurice-steger\/portrait\/11246864\/ \/ eMusic \/ Maurice Steger","offer_id":16194217859,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Maurice Steger","offer_id":16194217923,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=YrOQR7ev3Uc\u0026list=OLAK5uy_kQSl4LNfYs-RPy7Ll8Uc5U65IuJrMy2ps \/ Video \/ Maurice Steger","offer_id":39497275899939,"sku":"2208","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2208.jpg?v=1414744988"}],"url":"https:\/\/www.claves.ch\/collections\/all-albums\/arts-et-des-techniques-appliques-a-la-vie-moderne.oembed","provider":"Claves Records","version":"1.0","type":"link"}