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Nikolai Rimsky-Korsakov, for example, opened new horizons in his late operas, but was more conservative in his teachings, instructing young composers to learn from composers such as Mikhail Glinka. In the summer of 1885 Rimsky-Korsakov transcribed excerpts from Glinka’s operas «Ivan Susanin» (A Life for the Tsar) and «Ruslan and Lyudmila» for a student string orchestra which he conducted. \u003cbr\u003e\u003cbr\u003eThese transcriptions form a kind of musical mosaic that could be viewed as a model for the program of this recording as a whole. \u003cbr\u003e\u003cbr\u003eVarious works by a number of well-known as well as less well-known composers from this period go to make up the remaining pieces of this mosaic: Vasily Kalinnikov, Alexander Glazunov, Sergueï Rachmaninov, Fyodor Akimenko, Anton Arensky, Vladimir Rebikov and Sergei Aslamazyan, whose settings of two Russian folk songs do not appear by chance on this recording. 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Jan Koetsier’s Suite was originally written for members of the Concertgebouw Orchestra of Amsterdam. \u003cbr\u003e\u003cbr\u003e Scored for two trumpets, horn and trombone, this quartet shows the composer’s skill and understanding in writing for bass instruments. Finally a word about Elgar Howarth’s Variations on that most popular of airs ‘The Carnival of Venice’. Like ‘Lucerne Song’ it was written as an encore piece for the Ensemble. But whereas ‘Lucerne Song’ is designed as a ‘farewell symphony’ with each member leaving the stage one by one until only Fletcher our tuba player is left playing all by himself. \u003cbr\u003e\u003cbr\u003e ‘Variations’ is a ‘Show Band’ piece. The solos are played by Ifor James, john Iveson, Elgar Howarth and John Fletcher with suitable comments both musical and otherwise from the rest of the Ensemble. 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Despite the fact that he was born in the heart of the flamenco country of Seville, la cava de los gitanos, he was the first member of his family to choose flamenco as a profession. Like so many other young Andalusians, he was fascinated by flamenco art, an art peculiar to the Andaluaians. Ricardo was to be found wherever there were leading flamenco and he very soon feil under the spell of that magnificent instrument - the flamenco guitar.\n\u003cbr\u003e\u003cbr\u003e\nHe had already achieved great fame throughout Spain at an early age and for two years accompanied Pépé Marchena, one of the best known of contemporary flamenco singers. He also took part in flamenco festivals in Cordoba, Seville and Grenade, the acknowledged centers where the art flourishes and where competitions are held every three years in all aspects of the art - singing, guitar playing and dancing.\n\u003cbr\u003e\u003cbr\u003e\nAt the last Cordoba festival he won the first price for guitar thus adding his name to the outstanding exponents of the flamenco guitar. Contracts flooded in and he performed in many countries, not only in Europe, but also in Latin-America and many oriental countries.\n\u003cbr\u003e\u003cbr\u003e\nFrom 1969 onwards he was a regular performer at the Fiesta Gitana, the biggest flamenco event outside Spain itself, and as first guitarist made many tours with the company in leading world concert halls.\n\u003cbr\u003e\u003cbr\u003e\nBut his playing is not solely confined to the accompaniment of singing and dancing: Ricardo Miño has also done many solo performances with resounding success. He has thus demonstrated that he belongs to a new race of flamenco guitarists who do not confine themselves to accompaniment, but also see their instrument as a means of solo interpretation with almost limitless possibilities.\n\u003cbr\u003e\u003cbr\u003e\nFlamenco de concierto\n\u003cbr\u003e\u003cbr\u003e\nIn flamenco the guitar was originally used to accompany singing and dancing. The technique is extremely difficult and differs in important ways from classical guitar playing. A marked feature of flamenco playing is the mastery of tempo-'compas’. With a good flamenco artist this measure comes, as it were, from his subconscious, without the intervention of conscious thought. What he plays is not part of a composition in the classical sense. The flamenco guitarist uses the word toque to describe the whole art of flamenco - the traditional singing and dancing - and this is further defined by what he himself plays.\n\u003cbr\u003e\u003cbr\u003e\nMelodic variations introduced into the toque are called falsetas and require various righthand techniques known as rasgueos. There are many of these and they are the basis of flamenco guitar playing. One of the rasgueos for example, consists of sliding the fingers over each string separately in one continuous movement, resulting in a kind of ’droning' sound. The thumb of the right hand also has an extremely important function in flamenco guitar technique and special effects can be achieved with it.\n\u003cbr\u003e\u003cbr\u003e\nOther techniques that can be mentioned are the picado, the arpegio and the tremolo and in flamenco guitar technique are performed as follows: The picado consists chiefly of the rapid plucking of one string alternately by the index and middle finger, the middle and the third finger, or the index and third finger. The arpegios are executed by the thumb plucking the bass string, plus a given high toned string, alternated by two, three of four fingers.\n\u003cbr\u003e\u003cbr\u003e\nLeft hand technique is reserved for chords and ligado. The ligado occurs when a finger is slid over a string and lifted to produce a tone. For this all the fingers but not the thumb are used. This technique is most important in flamenco guitar playing. Until about 20 or 30 years ago all flamenco guitarists used this technique exclusively to accompany singing and dancing.\n\u003cbr\u003e\u003cbr\u003e\nRamon Montoya (1880-1955), himself an eminent guitarist - deserves the credit for having drastically revised the role of the flamenco guitarist as simply an accompanist. Influenced by classical guitar playing he applied some of the classical techniques to flamenco playing, in particular to the tremolo, the arpegio and the picado. The left hand also became stronger and more complex. This gave rise to a style of guitar playing known in flamenco as flamenco de concierto. Although it has absorbed many classical influences it has remained predominantly flamenco.\n\u003cbr\u003e\u003cbr\u003e\nHowever great the virtuosity thus introduced, the compas (tempo) always has to be respected and the duende - a flamenco expression meaning 'inner dignity’ - has to be preserved. Every good flamenco guitar player is in fact a composer, spontaneously weaving his emotions into what he is playing.\n\u003cbr\u003e\u003cbr\u003e\nln Ricardo Miño we have one of our most brilliant contemporary guitar players, a follower of the flamenco de concierto, and it is on this recording that he demonstrates in his own inimitable way his inspiration by traditional Andalusian songs.","brand":"Claves Records","offers":[{"title":"CD 0607 \/ 1 \/ Ricardo Miño","offer_id":40119960600611,"sku":"0607","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410601962 \/ upc \/ Ricardo Miño","offer_id":42254186510,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1987 \/ release \/ Ricardo Miño","offer_id":45895708942,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/flamenco-de-concierto\/id260794200 \/ iTunes \/ Ricardo Miño","offer_id":32339006357539,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/6tRzHDcBWUgpP7u4WFxCrO \/ Spotify \/ Ricardo Miño","offer_id":16492532099,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lKJrYAas2AkNu9Gz-WgkpFnEFP_0Luu84 \/ Youtube Music \/ Ricardo Miño","offer_id":39495906263075,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/flamenco-de-concierto-ricardo-mino\/0829410601962 \/ Qobuz \/ Ricardo Miño","offer_id":16492532227,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/144954 \/ Deezer \/ Ricardo Miño","offer_id":16492532291,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.com\/Flamenco-De-Concierto\/dp\/B0011TMLOW\/ref=sr_shvl_album_3?ie=UTF8\u0026qid=1373450407\u0026sr=301-3 \/ AmazonMp3 \/ Ricardo Miño","offer_id":16492532355,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Ricardo Miño","offer_id":31661627534,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/ricardo-mino\/flamenco-de-concierto\/11075133\/ \/ eMusic \/ Ricardo Miño","offer_id":16492532419,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Ricardo Miño","offer_id":16492532483,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=Ba6TdDr_BX0\u0026list=PLy5IRCYvmbSzDbkl3Ctr02yfQt2CoTsMI \/ Video \/ Ricardo Miño","offer_id":31877348589603,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/11546570 \/ Tidal \/ Ricardo Miño","offer_id":31355486350,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/ricardo-mino-tango\/album\/flamenco-de-concierto \/ Rhapsody \/ Ricardo Miño","offer_id":17334864835,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Composers \/ Ricardo Miño","offer_id":31245383171,"sku":"0607","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_0607.jpg?v=1417769553"},{"product_id":"the-slokar-trombones","title":"(1988) The Slokar Trombones","description":"\u003cp\u003eIn my country, ‘life is music’; every happy or sad event is played, sung and danced to. Languorous or upbeat melodies greet our events, and are part of who we are. \u003c\/p\u003e\n\u003cp\u003eAs a child, I used to express my joy at life, my disappointments or my hopes by whistling. One of our friends' oboe teachers was astonished by the pitch of my voice and encouraged me to choose and study an instrument. My temperament was not suited to the preciousness of the flute or the filigree of the violin. The majesty of the trombone, which shakes a church with its ‘fortissimo’ or rocks a child with its ‘pianissimo’, seemed better suited to my passionate nature. So I went on to study classical music, without giving up the pleasure of entertaining our many family and friends by playing variety music. \u003c\/p\u003e\n\u003cp\u003eAfter my studies in Paris, I moved to Berne where, for six years, I kept up these traditions with my orchestral colleagues and pupils, working rigorously on the classical repertoire while occasionally indulging in variety and improvisation. \u003c\/p\u003e\n\u003cp\u003eAfter three classical albums, the Claves label gave me the opportunity to record a variety album that illustrates the range of possibilities for the trombone, capable of delivering both a profound classical message and the lighter message of variety. \u003c\/p\u003e\n\u003cp\u003eSo it was with my ensemble of five trombones and a tuba, joined in the Bach and Frescobaldi by Jörg Ewald Dähler on harpsichord, that I recorded these arrangements. A rhythm section made up of teachers from the Swiss Jazz School was kind enough to lend us a hand, adding to our enjoyment and enabling us to perfect our performance. \u003c\/p\u003e\n\u003cp\u003eBranimir Slokar\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 0711 \/ 1 \/ Branimir Slokar","offer_id":40119960895523,"sku":"0711","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410601665 \/ upc \/ Branimir Slokar","offer_id":42254213006,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1988 \/ release \/ Branimir Slokar","offer_id":45895711374,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/the-slokar-trombones\/id260714111 \/ iTunes \/ Branimir Slokar","offer_id":32339006619683,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4ZXuzeVzvGW2jnR4NIQhWT \/ Spotify \/ Branimir Slokar","offer_id":15825127299,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_kOMLQBTmQe94-JyTogAipCHe-FfikIvO0 \/ Youtube Music \/ Branimir Slokar","offer_id":39495906525219,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/the-slokar-trombones\/0829410601665 \/ Qobuz \/ Branimir Slokar","offer_id":15825127427,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/137866 \/ Deezer \/ Branimir Slokar","offer_id":15825127491,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.com\/The-Slokar-Trombones\/dp\/B000VEQR6G\/ref=sr_shvl_album_1?ie=UTF8\u0026qid=1372407170\u0026sr=301-1 \/ AmazonMp3 \/ Branimir Slokar","offer_id":15825127555,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-0711 \/ Naxos \/ Branimir Slokar","offer_id":31661628238,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/the-slokar-trombones-silvano-bazan-jorg-ewald-dahler-ira-kriss-rolf-aberer-billy-brooks\/the-slokar-trombones\/11075058\/ \/ eMusic \/ Branimir Slokar","offer_id":15825127619,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Branimir Slokar","offer_id":15825127683,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=u7ujpJHgXfU\u0026list=PLy5IRCYvmbSwArVLDwKqp-jtM5XFqfyrQ \/ Video \/ Branimir Slokar","offer_id":46167354190,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/11673922 \/ Tidal \/ Branimir Slokar","offer_id":31355488590,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/billy-brooks\/album\/the-slokar-trombones \/ Rhapsody \/ Branimir Slokar","offer_id":17334866051,"sku":"0711","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_0711.jpg?v=1417769826"},{"product_id":"es-war-einmal","title":"(1989) Es War Einmal…","description":"\u003cp\u003eGone with the wind... \u003cbr\u003e\u003cbr\u003eAnd yet still palpably with us as witnesses of a time long passed, these old melodies strike our ears as if they want to invite us to linger a moment. \u003cbr\u003e\u003cbr\u003eAre we happy? Were our forefathers also happy? What do these melodies – rising from forgotten times, enrapturing us with their beauty, only to fade again – wish to tell us? Perhaps they bring us in contact with an epoch which bestowed on man what he so often misses today: a little peace after a day’s work, moments to reflect and relax and, above all, inner contentment! \u003cbr\u003e\u003cbr\u003eThrough the ages man has tried to use music to relax. Once mechanical musical reproduction became possible, music spread as never before. Even non-musicians and the less well-off were able to have their own concerts, and the old and infirm could shorten the long hours. \u003cbr\u003e\u003cbr\u003eMechanical music was also acknowledged by the great classical composers; Mozart and Haydn, for example, like many others, wrote music for transcription for mechanical instruments. Count Esterhazy possessed many chamber barrel organs. Automatic instruments were to be found at the courts of emperors and kings, as well as in oriental harems or the houses of the middle class. Musical boxes were to be found in tiny jewel boxes and in huge dance-hall orchestrions. \u003cbr\u003e\u003cbr\u003eThey were barrel organs with dancing puppets and bell-ringing Chinamen to entertain those in the waiting-rooms at stations, and there was hardly a child who did not ask for a coin to buy a minute of happiness. However, only change is permanent… \u003cbr\u003e\u003cbr\u003eMore than a hundred years ago Thomas A. Edison succeeded in recording the human voice. The phonograph, constantly improved, began its triumphant progress around the world, unabated today. The discs and tapes have brought us much, both good and bad, who can say? They have, however, also taken something from us: a personal relationship with the instruments. Today music can be “called up” from a disc or a tape without the slightest thought; you are served at the touch of a button. \u003cbr\u003e\u003cbr\u003eThis recording of music for mechanical instruments from three centuries reminds us of our ancestors’ ingenuity, and that the standard of technology of the 20th century is only possible because of the foundation laid by craftsmen of earlier generations. Perhaps it is the irony of our time that because of cost we are no longer able to produce such instruments in detail, although the most modern machines are at our disposal. Have we become slaves to our Machines or of the Times? \u003cbr\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 0815 \/ 1 \/ Hannes Meyer","offer_id":40119961190435,"sku":"0815","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410496568 \/ upc \/ Hannes Meyer","offer_id":42254223566,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"1989 \/ release \/ Hannes Meyer","offer_id":45895713614,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/spieldosen-drehorgeln-music-boxes-barrel-organs\/286197827 \/ iTunes \/ Hannes Meyer","offer_id":39586963554339,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2yyrPBzsgthpmt6Bj6XkcV \/ Spotify \/ Hannes Meyer","offer_id":15825133571,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_mJJ6HjNh8a1bUriRybl6MY2LQ-s_kAX9w \/ Youtube Music \/ Hannes Meyer","offer_id":39509026897955,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/es-war-einmal-spieldosen-und-drehorgelklange\/0829410496568 \/ Qobuz \/ Hannes Meyer","offer_id":15825133699,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/3858431 \/ Deezer \/ Hannes Meyer","offer_id":15825133763,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1KpurKd \/ AmazonMp3 \/ Hannes Meyer","offer_id":15825133827,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-0815 \/ Naxos \/ Hannes Meyer","offer_id":31662378766,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/speildosen-und-drehorgelklange\/es-war-einmal\/11246988\/ \/ eMusic \/ Hannes Meyer","offer_id":15825133891,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Hannes Meyer","offer_id":15825133955,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Video \/ Hannes Meyer","offer_id":15825134019,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/listen.tidalhifi.com\/album\/12569521 \/ Tidal \/ Hannes Meyer","offer_id":31355491022,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.rhapsody.com\/artist\/hannes-meyer\/album\/spiel-orgel-spiel-classical-and-popular-music-transcribed-f \/ Rhapsody \/ Hannes Meyer","offer_id":17334867523,"sku":"0815","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_0815.jpg?v=1417770056"},{"product_id":"shostakovich-weinberg-kobekin-anastasia-kobekina","title":"(2019) SHOSTAKOVICH, WEINBERG \u0026 KOBEKIN - Anastasia Kobekina","description":"\u003cp\u003e\u003cstrong\u003eANASTASIA KOBEKINA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe Russian cellist \u003ca href=\"\/collections\/anastasia-kobekina\"\u003eAnastasia Kobekina\u003c\/a\u003e is a multiple prize winner at international competitions. In 2018, she was awarded the Prix Thierry Scherz and the Prix André Hoffmann at the Swiss winter music festi­val “\u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\"\u003eSommets musicaux de Gstaad\u003c\/a\u003e”, which includes a recording with orchestra for the Swiss recording label Claves. In the same year, Anastasia was selected by BBC 3 to join the BBC New Generation scheme from 2018 to 2020.\u003c\/p\u003e\n\u003cp\u003eIn 2016, she won the soloist prize of the renowned German festival „Festspiele Mecklenburg-Vorpommern“ and the 2nd prize at the George Enescu Competition in Bukarest. In 2015, Anastasia Kobekina won the 1st prize at Germany’s most important International Youth Competition “Tonali15 Music Competition” (Hamburg). As a result of this competition success, Anastasia earned €10.000 prize money and a violoncello made by G. B. Guadagnini loaned for three years. Additionally, in her home country, Anastasia also was the first-prize winner of several international competitions, such as the television contest “Nutcracker” in 2007 and the competition “New names” (2008).\u003c\/p\u003e\n\u003cp\u003eAs a soloist, Anastasia recently has played with orchestras such as Konzerthausorchester Berlin, Gidon Kremer’s Kremerata Baltica (including participating in a CD production), German Chamber Philharmonic Bre­men, Chamber Orchestra of the “Viennese Music Association”, Moscow Virtuosi, Vienna Symphonics, Orchestra of the Mariinsky Theater under the baton of V. Gergiev, the Moscow Tchaikovsky Symphony Orchestra, Moscow Virtuosi, Israel Camerata, and the Sinfonia Varsovia under the baton of Krzysztof Penderecki. Furthermore, the cellist has performed at prestigious venues like Lincoln Center, Avery Fisher Hall, Berlin Konzerthaus, Zurich Tonhalle and Mariinsky Theater. Additionally, she participated in many International festivals. Among them are the Chamber Music Week of the Verbier Festival, Les Flâneries Musicales de Reims, Kronberg Cello Festival, Festival „Spannungen“ Heimbach, Easter Festival of Aix-en-Provence, and Festspiele Mecklenburg Vorpommern. She regularly performes with excellent musicians like Gidon Kremer, András Schiff, Yuri Bashmet, Isabelle Faust, Lars Vogt, Artur Pizarro and Nicolas Altstaedt.\u003c\/p\u003e\n\u003cp\u003eIn 2012, Anastasia has participated in the Verbier Festival Camp.\u003c\/p\u003e\n\u003cp\u003eIn November 2016, Anastasia Kobekina also was invited by Rolando Villazón to his German\/French TV Show on arte TV „Stars of tomorrow“.\u003c\/p\u003e\n\u003cp\u003eFrom 2012 to 2016, Anastasia has studied at the prestigious German Kronberg Academy with Frans Helmerson. From 2016 to 2018, the cellist continued her study at the class of Jens Peter Maintz at University of Arts in Berlin. She curently studies in Paris.\u003c\/p\u003e\n\u003cp\u003eIn 2018 came out the debut CD of Anastasia on the French label „Disque Auvers“ together with pianist Paloma Kouider with works of Stravinsky, Franck and Myaskovsky“.\u003c\/p\u003e\n\u003cp\u003eAnastasia Kobekina is playing a cello made by Giovanni Battista Guadagnini.\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHIERRY SCHERZ PRIZE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSponsored by the Pro Scientia et Arte Foundation and the Friends of the \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\"\u003eSommets musicaux de Gstaad\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the main goals of the Sommets Musicaux de Gstaad has always been to give young talents a chance, to help and guide them, reason for which, from the very start, the festival included into its programme a series of concerts given in the Gstaad chapel by promising young musicians of different nationalities playing the same instrument.\u003c\/p\u003e\n\u003cp\u003eEvery year, this Prize aims to reward one of these young musicians with the opportunity of recording a CD with an orchestra, produced by Claves Records, ensuring a wide distribution.\u003c\/p\u003e\n\u003cp\u003eThis Prize gives the laureate experience with microphones, collaboration with a conductor, with orchestra musicians, an artistic director, sound engineers… and finally the joy of an extensive distribution.\u003c\/p\u003e\n\u003cp\u003eOur laureates’ success reminds us of the importance of supporting a promising career in its early days. We offer our sincere thanks to our sponsors who enable us to continue in this direction.\u003c\/p\u003e\n\u003cp\u003eThe Thierry Scherz Prize is an homage to the co-founder and artistic director of the Festival.\u003c\/p\u003e\n\u003cp\u003e2018 Prize: \u003ca href=\"\/collections\/anastasia-kobekina\"\u003eAnastasia Kobekina\u003c\/a\u003e, cello\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE BERNE SYMPHONY ORCHESTRA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Berne Symphony Orchestra can look back on a 140-year tradition as orchestra in the capitol city of Switzerland. With its nearly 100 musicians from over 20 different nations, the symphony orchestra is unified under the umbrella “Konzert Theater Bern” along with the opera, drama, and dance divisions of the theater.\u003c\/p\u003e\n\u003cp\u003eAt the beginning of the 2010\/2011 season, the position of head conductor of the BSO was taken over by Swiss Mario Venzago. Among his predecessors are counted Andrey Boreyko, Dmitrij Kitajenko, and Peter Maag. Notable guest conductors, such as Bruno Walter, Wilhelm Furtwängler, Karl Böhm, Herbert von Karajan, as well as more recently, Eliahu Inbal, Sir Neville Marriner, Eiji Oue, Jun Märkl, and Michael Sanderling have also left and continue to leave their marks on the orchestra. World-class soloists like Joshua Bell, Sol Gabetta, Patricia Kopatchinskaja, Fazil Say, Mischa Maisky, or Jean-Yves Thibaudet, as well as young classical stars like Kit Armstrong, Lise de la Salle, or Christoph Croisé see to it that the good reputation of the Berne Symphony Orchestra transmits well beyond the country’s borders. This leads to regular invitations inside and outside of Switzerland, such as the May 2017 tour of China.\u003c\/p\u003e\n\u003cp\u003eThe young, highly motivated BSO, now one of Switzerland’s largest orchestras, performs about 50 concerts per season. Besides the symphony concerts, the Gala and New Year’s Concerts in particular are among the cultural highlights of the year. The BSO also attracts a large and enthusiastic audience at its annual open-air concert on the Bundesplatz Bern (the capital’s main square), and offers the citizens of Berne a musical home. The Berne Symphony Orchestra’s further activities include guest performances in Switzerland and abroad as well as radio and CD recordings.\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003ch3\u003eOther Thierry Scherz prices from the Sommets musicaux de Gstaad\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/sommets-musicaux-de-gstaad\/products\/korngold-mozart-violin-concertos-caroline-goulding-violin\"\u003e\u003cimg style=\"float: none; margin: 5px auto; display: block;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931180823_frontcover_large_a5431eae-579e-4675-b9e8-f438e6386727_compact.jpg?v=1548078431\" alt=\"\"\u003e\u003c\/a\u003e \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\/products\/harp-concertos-works-of-ginastera-boieldieu-debussy-anais-gaudemard-orchestre-de-l-opera-de-rouen-normandie\"\u003e\u003cimg style=\"float: none; margin: 5px;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931161327_HR_RVB_sc_large_a12ca0ca-006a-4bd9-b392-eea556e36f66_compact.jpg?v=1548078458\" alt=\"\"\u003e\u003c\/a\u003e \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\/products\/schubert-haydn-debussy-works-for-piano-guillaume-bellom\"\u003e\u003cimg style=\"float: none; margin: 5px;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931170725_Frontcover_Digital_large_2a50e9f0-0262-4e1b-9c5d-79e2b6e5afca_compact.jpg?v=1548078469\" alt=\"\"\u003e\u003c\/a\u003e \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\/products\/ravel-escaich-liszt-rachmaninoff-ligeti-works-for-piano-kevin-jansson\"\u003e\u003cimg style=\"float: none; margin: 5px;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931171821_Frontcover_Digital_large_cc9e9a72-c051-4b73-9774-b54e904eb297_compact.jpg?v=1548078479\" alt=\"\"\u003e\u003c\/a\u003e \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\/products\/schumann-cello-concerto-op-129-tchaikovsky-rococo-variations-f-gulda-cello-concerto\"\u003e\u003cimg style=\"float: none; margin: 5px;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/2901_Altstaedt_Cov_HR_sc_large_e9fcb69e-1241-4b75-b8fb-6f99ccfe5fab_compact.jpg?v=1548078492\" alt=\"\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\"\u003eView more albums\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eRadio France - Anastasia Kobekina\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.radiofrance.fr\/francemusique\/podcasts\/stars-du-classique\/anastasia-kobekina-l-intensite-musicale-9424504\" title=\"Écoutez l'émission sur radio France\" target=\"_blank\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/RadioFrance_INSTA_480x480.jpg?v=1681291988\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.kultur-tipp.ch\/artikel\/artikeldetail\/cd-tipp-klassik-schostakowitsch-weinberg-kobekin\/%20\" rel=\"noopener\" target=\"_blank\"\u003eKulturTipp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Mit dem Berner Symphonie­orchester spielt die 24-jährige Russin Schostakowitschs 1. Cellokonzert von 1959 charaktervoll. Eine Fantasie von Mieczysław Weinberg (1919–1996) und ein «Bacha­nale» von Vladimir Kobekin (1947) vervollständigen die grossartige Aufnahme stimmungsvoll.\" - Christian Berzins, Juli 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.24heures.ch\/le-violoncelle-fremissant-419723362037%20\" target=\"_blank\"\u003e24 Heures\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] En 2018, la violoncelliste Anastasia Kobekina avait séduit le jury et rebondi avec un magnifique album «Chostakovitch, Weinberg, Kobekin» l’année suivante. Doué d’une sonorité à la fois raffinée et impétueuse, le violoncelle d’Anastasia Kobekina est polyglotte comme elle, à l’aise dans toutes les langues et cultures. Son étonnant dernier disque, «Ellipses», le prouve à nouveau en sautant à pieds joints à travers toutes les époques et les pays, avec un constant bonheur d’expression. [..]\" - Matthieu Chenal, janvier 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.pizzicato.lu\/anastasia-kobekina-russische-cellistin-in-russischem-programm\/%20\" rel=\"noopener\" target=\"_blank\"\u003ePizzicato.lu\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"In perfect harmony, Anastasia Kobekina and Kevin John Edusei deliver passionate and very well differentiated performances of works by Shostakovich, Weinberg and Kobekin. The Bern Symphony Orchestra is a reliable partner for the conductor and the soloist.\" - Remy Franck, April 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/classica.fr\/la-garde-montante-anastasia-kobekina\/%20\" target=\"_blank\"\u003eClassica\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Ouverte à plusieurs cultures, cette jeune violoncelliste à la sonorité profonde et ductile prend place parmi les instrumentistes les plus captivants de la nouvelle génération. [..] En avril 2019, son enregistrement sur son Giovanni Guadagnini de 1745 du Concerto n° 1 de Chostakovitch, de celui de Weinberg et de son père Vladimir Kobekin avec l’Orchestre symphonique de Berne (Clavès) reçoit l’approbation de la presse spécialisée. [..]\" - Michel Le Naour, mai 2021\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.classicvoice.com\/rivista\/recensioni-cd\/shostakovic-weinberg-kobekin-opere-per-violoncello-e-orchestra\/%20\" rel=\"noopener\" target=\"_blank\"\u003eClassical Voice\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Il capolavoro di quest’ultimo, che apre il cd, è una vera manifestazione di sapienza orchestrale dove la nitidezza delle frasi e delle idee narrative si amalgama mirabilmente con i timbri delle varie sezioni strumentali e dell’enfasi comico-drammatica del violoncello solista, cui, peraltro, il compositore lascia un cammeo solistico in tutto il terzo movimento (denominato “Cadenza”) dove la giovane cellista Anastasia Kobekina, intorno a cui è confezionato il cd, esplicita con smagliante precisione e linearità espressiva tutta la sua competenza musicale. Decisamente rilevante appare l’esecuzione della Berner Symphonieorchester perfettamente in sintonia con la autorevole bacchetta di Jevin John Edusei.\" - Antonio Brena, ottobre 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.crescendo-magazine.be\/premier-album-avec-orchestre-de-la-violoncelliste-anastasia-kobenika\/%20\" target=\"_blank\"\u003eCrescendo Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Ce CD dévolu à un répertoire russe est le premier disque avec orchestre d’Anastasia Kobekina. Cette jeune artiste, qui fait partie de la nouvelle génération montante au tempérament généreux, n’a pas choisi la facilité pour cette première production. Ecrit à l’intention du jeune Rostropovitch qui en a laissé une dizaine de versions, le Concerto n° 1 de Chostakovitch est devenu l’un des chevaux de bataille du répertoire du violoncelle. Il demande une technique d’archet très sûre et diversifiée, une qualité d’intonation et un engagement permanent. Des qualités que possède à coup sûr cette artiste au jeu subtil et ample. [..]\" - Jean Lacroix , novembre 2020\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/dcs.community\/t\/dcs-classical-choices-april-2019-curated-by-charlotte-gardner\/386\" rel=\"noopener\" target=\"_blank\"\u003eDCS\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The Russian cellist Anastasia Kobekina isn’t yet a well-known name in the UK, but that’s set to change fast. Firstly because last autumn she joined the BBC New Generation Artist scheme, meaning that increasingly she’ll be popping up on BBC Radio 3 airwaves and upon stages around the country. [..] Kobekina has made each and every one of these works her own; in fact never have I heard a more lyrical and ravishing-toned reading of the Shostakovich. However it’s Weinberg’s more pastoral 1956 work on this playlist, and I defy anyone not to be instantly seduced.\" - Charlotte Gardner, May 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/dasorchester.de\/artikel\/cello-orchestra\/\" target=\"_blank\"\u003eDas Orchester\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Beide Werke befinden sich hier bei der jungen russischen Cellistin Anastasia Kobekina in den bestmöglichen Händen. Ob leuchtende Kantilene, vertrackte Doppelgriffe (etwa in der Schostakowitsch-Kadenz), rasende Läufe oder rhythmische Attacke: Dieser Meisterin gelingt alles aufs Tonschönste. Bravo! Mit dem Berner Symphonieorchester und dem vielseitigen Dirigenten Kevin John Edusei stehen ihr subtil musizierende Partner zur Seite. Selten hat man den Kopfsatz des Schostakowitsch-Konzerts so entspannt als wirkliches Allegretto gehört. [..]\" - Gerhard Anders, Oktober 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.resmusica.com\/2019\/08\/27\/cello-orchestra-anastasia-kobekina-chostakovitch-weinberg-kobekin-claves\/%20\" target=\"_blank\"\u003eResMusica\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Associer l’un des grands concertos russes pour violoncelle du XXe siècle avec une pièce attachante de Weinberg puis une récente partition de Kobekin est une excellente idée. Qui plus est, bien défendue par les interprètes, en particulier la jeune Anastasia Kobekina. [..] Le disque se conclut avec l’humour de Bacchants (2018) – il s’agit du premier enregistrement de l’œuvre de Vladimir Kobekin, père de la soliste – dont les ornements de la percussion et des bois font swinguer ce divertissement. Il serait une ouverture de concert idéale. Un disque bien pensé.\" - Stéphane Friédérich, août 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/lecourrier.ch\/2019\/04\/17\/violoncelle-a-la-russe\/\" rel=\"noopener\" target=\"_blank\"\u003eLe Courrier\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Accompagnée par le Berner Symphonieorchester, sous la direction de Kevin John Edusei, Anastasia Kobekina s'attaque avec bonheur au Concerto n °1 pour violoncelle de Chostakovitch et à la version pour violoncelle et orchestre de la Fantaisie de Mieczyslaw Weinberg - cette même oeuvre rencontrait son public pour la première fois sous forme de duo violoncelle et piano, à Moscou, en 1953. Anastasia Kobekina crée dans la foulée les Bacchantes pour violoncelle et orchestre de son père, le compositeur russe Vladimir Kobekin. [..]\" - Maria Pineiro, avril 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.ludwig-van.com\/toronto\/2019\/04\/05\/lebrecht-listens-new-album-by-anastasia-kobekina-is-our-record-of-the-year-so-far\/%20\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eludwig-van.com\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This recording almost slipped by unnoticed. It opens with a neither here nor there performance of the first Shostakovich concerto, neither rippled with black comedy the way Slava Rostropovich played it nor invested with loving compassion like the mellifluous Heinrich Schiff. The Berlin-based soloist, Anastasia Kobekina, gives a good account of the piece and the Berne Symphony play well enough under the direction of Kevin John Edusei. [..] Rest assured that this is an indispensable addition to the cello repertoire and the main theme is one that you’ll think you have known all life long. I don’t care what happens in the next eight months. This is my record of the year for 2019.\" - Norman Lebrecht, April 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.austa.asn.au\/\" target=\"_blank\"\u003eAusta - Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Thierry Scherz Prize from the Sommets Musicaux de Gstaad. It is a praiseworthy recording of three colourful Russian works. The young Russian cellist born in 1994 is a multiple prize winner at international competitions. [..]  Her excellent tonal clarity and rhythmic vitality ensures fine projection even in the largest orchestral sections and the climactic and frantic 4th movement. Her lyrical playing in the second movement creates a well-balanced dialogue between the cello and orchestra. As an admirer of Mieczyslaw Weinberg’s cello concerto, I was excited to hear his Fantasy for Cello and Orchestra from 1953. This is another hidden treasure by the Polish-Russian composer. Kobekina gives an enthralling account of this melodic and soulful work, which mixes traditional and contemporary with Weinberg’s uniquely ethnic Jewish roots. [..]\" - Catherine Milligan, October 2019\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 1901 \/ 1 \/ Anastasia Kobekina","offer_id":39924536705059,"sku":"1901","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"Berner Symphonieorchester \/ orchestra \/ Anastasia Kobekina","offer_id":14373518442531,"sku":"1901","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Kevin John Edusei \/ conductor \/ Anastasia Kobekina","offer_id":39487860637731,"sku":"1901","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"05.04.2019 \/ release \/ Anastasia Kobekina","offer_id":14373518475299,"sku":"1901","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931190129_itunes.pdf?11698371254395784788 \/ Booklet \/ Anastasia 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Il est constitué d’un grand mélange stylistique : airs d’opéra, monodies profanes, extraits d’oratorios, motets religieux et oeuvres instrumentales de l’Italie du XVIIe siècle. Pourtant, toutes ces pièces ont une direction commune : chacune a pour but de mettre en lumière un affect très fort, reprenant en quelque sorte le principe pictural du « Clair-Obscur » par de violents contrastes interprétatifs. Ainsi, par la force de l’expression rhétorique, la musique devient véritablement le miroir de la vie humaine, \u003cem\u003eLe Théâtre du Monde\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNous avons pu constater, à de nombreuses reprises, l’impact émotionnel de ce programme sur des publics aussi nombreux que variés. Le spectateur est véritablement touché, tant dans la joie que dans la tristesse, car ces pièces le renvoient directement à ses propres émotions. En effet, notre démarche est de mettre, en premier lieu, l’accent non pas sur la beauté, mais sur la sincérité. Tout l’enjeu de ce disque fut donc pour nous de transmettre cette interprétation musicale uniquement par l’écoute, sans l’influence indéniable de l’oeil sur l’oreille, lors de concerts. Avec cet enregistrement, nous scellons également notre identité musicale.\u003c\/p\u003e\n\u003cp\u003eÀ la différence du concert placé sous l’égide de la magie de l’instant, l’exercice du disque nous pousse à affirmer musicalement qui nous sommes, car chaque note, chaque effet est voulu et gardé intentionnellement au montage. Nous sommes fiers de vous présenter notre sensibilité musicale, avec ses qualités et ses fragilités, qui définissent notre personnalité.\u003c\/p\u003e\n\u003cp\u003eBonjour, nous sommes l’Ensemble \u003cem\u003eChiome d’Oro\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePierre-Louis Rétat et Capucine Keller\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"1499672588 \/ Digital only \/ Capucine Keller","offer_id":31775925305379,"sku":"3020","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ orchestra \/ Capucine Keller","offer_id":39798299885603,"sku":"3020","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Ensemble Chiome d’Oro \/ ensemble \/ Capucine Keller","offer_id":39798299918371,"sku":"3020","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Pierre-Louis Rétat \/ conductor \/ Capucine 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Keller","offer_id":31775926059043,"sku":"3020","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/Pochette_CD_3000x3000px.jpg?v=1583424700"},{"product_id":"swiss-music-film-anthology-1923-2012","title":"(2020) Swiss Music Film, Anthology 1923-2012","description":"\u003ch3\u003eWhat would a film be without its music?\u003c\/h3\u003e\n\u003cp\u003eIt has happened to every one of us: we hear a snatch of melody and a flood of images appears before our inner eye, all triggered off by the memory of the music. When it’s film music, often we only need to hear a brief fragment of a melody and the whole film seems to roll before us.\u003c\/p\u003e\n\u003cp\u003eIs there anything more touching than the perfect combination of image and music in a film scene? It is thanks to the power of the music that we, the audience, experience the moods and emotions that the filmmakers wish to convey. Building up tension, evoking romance, expressing joy and sadness – all this lies in the power of the music. The work of Swiss film music composers is a matter of special concern to \u003ca href=\"https:\/\/www.fondation-suisa.ch\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFONDATION SUISA\u003c\/a\u003e. We offer financial support for original film music compositions, we award various prizes and accolades at film music competitions and we are involved in other activities such as the present anthology. All this serves to underline the high degree of importance we place on music in the “seventh art”.\u003c\/p\u003e\n\u003cp\u003eThe research undertaken for this anthology has confirmed what we suspected in advance: Switzerland possesses an immense wealth of fine film music from both the present and the past. Our collection aims to unearth these treasures and make them available to a wider audience. It is also intended to offer an overview of the variety and quality that have been characteristic of Swiss film music since its beginnings.\u003c\/p\u003e\n\u003cp\u003eWe have made our selection in the course of intense discussions held over several years, and while it offers a broad spectrum of music, it can still only present a fragmentary picture. Numerous personalities and many important works in filmic and musical terms have had to be omitted for reasons of space. So the works we have chosen tell a story of Swiss film music that is just one of many possible stories – and of course they cannot tell the history of Swiss film.\u003c\/p\u003e\n\u003cp\u003eWe also had to set boundaries. It is a moot question as to what should actually count as “Swiss film music”, for this is a profession that tends to recognise linguistic boundaries, not national borders. The language boundaries of Switzerland have the advantage of a cultural diversity that one hardly finds anywhere else within such a small geographical space. We have decided to concentrate on film music by composers who have lived in Switzerland, or who originated in this country.\u003c\/p\u003e\n\u003cp\u003eOur criteria meant including all film genres including commissioned films, advertising films and other music media such as those that have emerged on the Internet. However, we have only taken original film sound into consideration. Only in the case of the era of the silent film and of the earliest talkies did we decide to use modern recordings, our reason being the poor technical quality of the originals.\u003c\/p\u003e\n\u003cp\u003eIt must be stressed that the present anthology is not intended to be any kind of ersatz project for the research conducted at institutions of tertiary education. Instead, we hope that it will encourage a further engagement with this diverse, fascinating topic, also among the scholarly community. For this reason I would like our work to be understood not as a culmination of something, but as a starting point and a stimulus for other publications on Swiss film music. Much remains that has not yet been researched, and the situation with regard to the sources is often uncertain. Numerous treasures await their discovery in media libraries and archives. But even in a small country such as Switzerland, today’s film music scene also offers such an abundance that one can barely keep track of it. It only remains for me to thank all the composers, film makers, and copyright-holders who together have helped with this project. It is thanks to their advice and assistance that such an ambitious undertaking as this could be realised at all.\u003c\/p\u003e\n\u003cp\u003eAbove all, here I would like to mention Marcel Kaufmann, the project director at FONDATION SUISA. For several years he has been organising in the background, holding everything together and then – rather like a film director – drawing together all the strands of the plot, as it were, and turning them into a coherent script.\u003c\/p\u003e\n\u003cp\u003eMy special thanks go to Mathias Spohr. Without his immense expert knowledge and his perseverance in both research and analysis, this anthology would probably never have come about. He and the members of our working group (Chicca Bergonzi, Roland Cosandey, Laurent Guido, Pierre-Emmanuel Jaques and Frédéric Maire) have succeeded in achieving what had been lacking in Switzerland up to now: an overview of Swiss film music.\u003c\/p\u003e\n\u003cp\u003eJürg von Allmen from Studio Digiton displayed all his brilliant expertise and sensitivity in editing a new version of all these sound recordings, carefully restoring the older examples. On the accompanying DVD, the quality of the sound was prioritised, not the picture quality; the images serve merely to provide extra information.\u003c\/p\u003e\n\u003cp\u003eWe also owe thanks to the following institutions whose personnel advised and aided us, thereby making it possible for us to present this selection of film music: SUISA, the Swiss Cooperative Society for Music Authors and Publishers, Zurich; Cinémathèque suisse, Lausanne; Swiss Radio and TV (SRF), Zurich; Archives RTS – Radio Télévision Suisse, Geneva; the Music Department of the Zentralbibliothek Zürich; the Medien- und Informationszentrum (MIZ) of the Zurich University of the Arts (ZHdK); the Museum of Communication, Bern; the Swiss Federal Archives (BAR), Bern; SBB Historic – Heritage Foundation SBB, Bern; Lichtspiel\/Kinemathek, Bern; Ernst Scheidegger Archive Foundation, Flims; the Archives of the Migros-Genossenschafts- Bund, Zurich; and the Kunsthaus Zürich. We would also like to thank the many other people and institutions who have contributed to the success of this project.\u003c\/p\u003e\n\u003cp\u003eI am sure that the audio recordings selected here will offer much pleasure to the listener. And if this music conjures in the mind’s eye of the listener those images from wonderful films that we thought we had long forgotten – then we have achieved what we set out to do.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUrs Schnell, Director of \u003ca href=\"https:\/\/www.fondation-suisa.ch\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFONDATION SUISA\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/Swiss_Film_Music.pdf?v=1594651935\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cem\u003eRead more in ENG \/ FRE \/ GER in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"1525281618 \/ Digital only \/ Various Artists","offer_id":32328558444579,"sku":"3030","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ orchestra \/ Various 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Artists","offer_id":32360044724259,"sku":"3030","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Various Artists","offer_id":32270590672931,"sku":"3030","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/DO_3030_frontcover.jpg?v=1594652065"},{"product_id":"comme-il-faut-gallaz-massy-chamber-duet","title":"(2021) Comme il faut - Gallaz-Massy Chamber Duet","description":"\u003cp\u003e\u003cstrong\u003eGALLAZ-MASSY CHAMBER DUET \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eBEFORE\u003c\/p\u003e\n\u003cp\u003eBertrand Gallaz and Pierre-François Massy met in 1984, the year in which they gave several concerts as a trio with drummer Olivier Clerc, interpreting Ornette Coleman’s compositions in a creative and libertarian way.\u003c\/p\u003e\n\u003cp\u003eIn 2015 the two musicians met again to elaborate as a duo a more diversified repertoire, illustrated by a few “house” recordings whose musical quality en­couraged them to continue and deepen their work.\u003c\/p\u003e\n\u003cp\u003eNOW\u003c\/p\u003e\n\u003cp\u003eThe repertoire is made up of original pieces and cov­ers coming from many horizons: Ornette Coleman always, Thelonious Monk, but also Swiss or Ameri­can popular music, songs or television series.\u003c\/p\u003e\n\u003cp\u003eThese numerous pieces of contrasting lengths are organized in mini-sets of 2 to 5 compositions, in order to develop the narrative aspect of the con­cert, thus making them pieces in several move­ments. The assemblies are organized according to tonalities, contrasts of rhythms or colors, their ho­mogeneity or on the contrary, the effect of surprise or humor generated by the juxtaposition.\u003c\/p\u003e\n\u003cp\u003eThe two musicians tried to appropriate these re­prises as much as possible, with the objective of reinventing them and developing a personal and original language and color.\u003c\/p\u003e\n\u003cp\u003eThe concretization of this work was possible thanks to the engagement for four concerts at the ABΠ gallery in Lausanne in the context of an ex­hibition dedicated to the artist, Suzanna Pattoni.\u003c\/p\u003e\n\u003cp\u003eThis recording is thus a faithful reflection of these concerts given in Lausanne in October 2020.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBERTRAND GALLAZ guitar \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in Lausanne in 1957\u003c\/p\u003e\n\u003cp\u003eIn 1983, birth of the band Intraphonic. Several concerts and radios, opening act for Defunkt in Montreux.\u003c\/p\u003e\n\u003cp\u003eIn 1984, he put together the Gallaz-Clerc-Massy trio with Olivier Clerc and Pierre-François Massy, interpreting a repertoire of Ornette Coleman, one of his main sources of inspiration along with James Brown, to whom he paid a tribute by creating the group Soul Syndrom in 1987. Played on Pascal Auberson’s album Ange Rebelle, as well as on the CD “Power Jazz” of the group Urgent Feel, and participated in some of their concerts. Composed the music for the theater show “L’ Arbre Des Tropiques” by Yukio Mishima directed by Eiji Mihara of the Béjart Ballet Lausanne. Played the guitars for the soundtrack of the film “Kadogo L’Enfant Soldat” by Nicolas Wadimoff.\u003c\/p\u003e\n\u003cp\u003eIn 1991, creation of the Bertrand Gallaz Bare Bone Power Trio, and in early 1992 he opened for Ronald Shannon Jackson’s Decoding Society in Switzerland.\u003c\/p\u003e\n\u003cp\u003eIn 1993, Jean-Paul Bourelly asked him to open for his “Blue Wave Bandits”, and the same year saw the birth of the CD “Talk To You In A Minute” with Shannon Jackson as special guest. In the summer of 1993, he played at the Montreux Jazz Festival on the stage of the Miles Davis Hall, and on the big stage of the Willisau Jazz Festival.\u003c\/p\u003e\n\u003cp\u003eIn 1997, released the CD “Sweet \u0026amp; Sour” in solo except for a duet with Jean-Paul Bourelly. He then played in Geneva with Jean-Paul Bourelly’s Boom Bop.\u003c\/p\u003e\n\u003cp\u003eIn 1999, release of the CD “Next Door” in duet with the lap steel player Patrice Dessauges. Played with the band Fool Groove a repertoire entirely dedicated to the mythical funk band of New Orleans, the Meters. Joined the band MIP (Made In Positive) and composed their original repertoire.\u003c\/p\u003e\n\u003cp\u003eIn 2009, played with Shannon Jackson’s Decoding Society in Fort Worth, Texas. Composed the repertoire of the band Phat Strut. Several concerts in Austin, Texas with the singer LZ Love.\u003c\/p\u003e\n\u003cp\u003eIn 2015, beginning of the Gallaz-Massy Chamber Duet.\u003c\/p\u003e\n\u003cp\u003eIn 2017, paid a tribute to Léon Francioli in Biasca (Switzerland), with the quartet Ciao Léon.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiscography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSoul Syndrom Just For The Funk Of It\u003cbr\u003eBertrand Gallaz Talk To You In A Minute\u003cbr\u003eSweet \u0026amp; Sour\u003cbr\u003eNext Door\u003cbr\u003ePascal Auberson Ange Rebelle\u003cbr\u003eUrgent Feel Power Jazz\u003cbr\u003eMIP Made In Positive\u003cbr\u003eFool Groove Fool Groove\u003cbr\u003ePhat Strut Phat Immersion\u003cbr\u003ePhat Strut with LZ Love\u003cbr\u003eLive In Texas\u003cbr\u003eFunky Confessions \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePIERRE-FRANÇOIS MASSY double bass \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in Lausanne in 1955.\u003c\/p\u003e\n\u003cp\u003eStarted playing the double bass in 1974. Classical studies at the Conservatoire de Lausanne: from 1975 to 1985 in the class of Francis Marcellin (1st prize for virtuosity with congratulations), and from 1990 to 1991 in the class of Yoan Goilav (concert license).\u003c\/p\u003e\n\u003cp\u003eSolo double bass with the Orchestre des Rencontres Musicales (Lausanne), and since 1988 with the Geneva Chamber Orchestra.\u003c\/p\u003e\n\u003cp\u003eSubstitutions to the Orchestre de la Suisse Romande and to the Orchestre de Chambre de Lausanne.\u003c\/p\u003e\n\u003cp\u003eConcerts with the Sinfonietta of Lausanne, the Ensemble Contrechamps and the Ensemble Vocal et Instrumen­tal de Lausanne.\u003c\/p\u003e\n\u003cp\u003eGuest soloist with the Lausanne Chamber Orchestra (Divertimento Concertante by Nino Rota) and the Orchestre des Rencontres Musicales (Episodie by Jost Meier).\u003c\/p\u003e\n\u003cp\u003eAccompanied many singers, among them Michel Buzzi, Dominique Scheder, Yvette Théraulaz (numerous con­certs in Europe and Quebec from 1981 to 1984), Michel Bühler, Pascal Auberson.\u003c\/p\u003e\n\u003cp\u003eWas part of the Grand Orchestre de la RTSR during the final of the Eurovision Song Contest, and for several years of the Groupe Instrumental Romand (Jazz-Group of the RTSR).\u003c\/p\u003e\n\u003cp\u003eNumerous jazz concerts in Europe and the USA.\u003c\/p\u003e\n\u003cp\u003eWith François Lindemann, crossed Alvin Queen, Daniel Humair, Butch Morris, quartet with Pierre Favre and Pas­cal Auberson, Piano Seven.\u003c\/p\u003e\n\u003cp\u003eWith Pierre Favre in his European Chambre Ensemble: Roberto Ottaviano, Michel Godard, Vincent Courtois, Ga­briele Mirabass.\u003c\/p\u003e\n\u003cp\u003eWith Michael and Florian Arbenz from Basel: Glenn Ferris, Greg Osby, Wolfgang Puschnig.\u003c\/p\u003e\n\u003cp\u003eBut also Art Lande, Franco Ambrosetti, Jacques Demierre, René Bottlang, Michel Wintsch, Charles Gayle, Ol­ivier Clerc, Léon Francioli, Sylvie Bourban.\u003c\/p\u003e\n\u003cp\u003eRepresented Switzerland in the Big-Band of the European Broadcasting Union in 1986.\u003c\/p\u003e\n\u003cp\u003eFrom 1993 to 2003 leader and composer of the sextet Rosetta with Matthieu Michel, Yves Massy, Daniel Per­rin, Christian Graf and Marcel Papaux.\u003c\/p\u003e\n\u003cp\u003eIn 2000, he received a composition commission for Rosetta from the Pro Helvetia Foundation.\u003c\/p\u003e\n\u003cp\u003eHas been teaching since 1986 at the Ecole de Jazz et de Musique Actuelle (EJMA) in Lausanne.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurrently\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGallaz-Massy Chamber Duet with the guitarist Bertrand Gallaz\u003cbr\u003eDuet with François Lindemann\u003cbr\u003eNu Bass Quintet with François Lindemann\u003cbr\u003eFMOG de Nicola Orioli\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIn project\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQuartet with saxophonist Charles Schneider (Mirko Maio - piano, Olivier Clerc - drums)\u003c\/p\u003e\n\u003cp\u003eSextet with Charles Schneider (Ganesh Geymeier - sax, Lucien Dubuis - clar, Vinz Vonlanthen - guitar, Pierre Favre - drums)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDiscography (selective among 80 recordings)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRosetta Lune rousse\u003cbr\u003eLa ménagerie de poche\u003cbr\u003eEn public\u003cbr\u003ePF Massy Enfin Seul\u003cbr\u003eGraf-Massy-Papaux Stratus sur le plateau\u003cbr\u003eLe Même Trio Etudes pour trio\u003cbr\u003eVotre mépris de la lessive\u003cbr\u003eFrançois Lindemann CM4\u003cbr\u003ePierre Favre European Chamber Ensemble\u003cbr\u003eChristine Python Même si\u003cbr\u003eDragorogg Gospil\u003cbr\u003eSix\u003cbr\u003eCarlos Baumann Schizodie\u003cbr\u003eMichel Wintsch Minimum Wital\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.24heures.ch\/a-ecouter-tori-amos-gallaz-massy-chamber-duet-et-encore-bach-377664621573%20\" target=\"_blank\"\u003e24Heures\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« L’art du duo passe évidemment par la figure obligée du dialogue mais aussi par une forme d’esquive ou d’entremêlement de pistes obstinées qui, sans se toucher, forment un tout plein de rythme et de contraste. Un slalom en parallèle que maîtrisent parfaitement le guitariste Bertrand Gallaz et le contrebassiste Pierre-François Massy. [..] » - Boris Senff, novembre 2021\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.letemps.ch\/culture\/bertrand-gallaz-pierrefrancois-massy-lart-jazz-chambre%20\" target=\"_blank\"\u003eLe Temps\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« [..] Cet enregistrement rare séduit instantanément Patrick Peikert, directeur du label de musique classique suisse, Claves. «Parfois on prend des décisions et on se demande après pourquoi on les a prises. Pierre-François est mon professeur de contrebasse jazz depuis quelques années. Ce matin, je me suis souvenu que Marguerite Dütschler avait fondé le label en 1968 pour permettre à son professeur Jörg-Ewald Dähler d’enregistrer un disque consacré à Bach.» explique au bout du fil celui qui songe que cette sortie pourrait être le début d’une ouverture de son catalogue vers le jazz, «cette scène si importante en Suisse». En attendant, une bonne façon de passer l’hiver reste celle d’écouter en boucle Comme il faut. » - Elisabeth Stoudmann, décembre 2021\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.austa.asn.au\/\" rel=\"noopener\" target=\"_blank\"\u003eAusta \/ Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] I was fascinated by this CD and recommend it to those who not only enjoy a swinging walking bass but are also not afraid of wildly different sound scapes. This is a truly intimate, exposed and beautifully honest album by two highly accomplished musicians whose combined experience straddles both the jazz and classical worlds. [..]” - Marian Heckenberg, April 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3016 \/ 1 \/ Gallaz-Massy Chamber Duet","offer_id":39924538015779,"sku":"3016","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Gallaz-Massy Chamber Duet","offer_id":39415429431331,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"08.10.2021 \/ release \/ Gallaz-Massy Chamber Duet","offer_id":39415429464099,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931301624_booklate_pages.pdf?v=1628593145 \/ Booklet \/ Gallaz-Massy Chamber Duet","offer_id":39415429496867,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/comme-il-faut-live\/1578571869 \/ iTunes \/ Gallaz-Massy Chamber 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Duet","offer_id":39415429890083,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Gallaz-Massy Chamber Duet","offer_id":39415429922851,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Presto Classical HR \/ Gallaz-Massy Chamber Duet","offer_id":39415429955619,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Gallaz-Massy Chamber Duet","offer_id":39415429988387,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Pro Studio Masters \/ Gallaz-Massy Chamber Duet","offer_id":39415430021155,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Gallaz-Massy Chamber Duet","offer_id":39415430053923,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/comme-il-faut-gallaz-massy-chamber-duet\/oh15naupkdnub \/ Qobuz HD \/ Gallaz-Massy Chamber Duet","offer_id":39415430086691,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/gallaz-massy-chamber-duet\/release\/comme-il-faut-live-17139504 \/ 7digitalHD \/ Gallaz-Massy Chamber Duet","offer_id":39415430119459,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ HD-Tracks \/ Gallaz-Massy Chamber Duet","offer_id":39415430152227,"sku":"3016","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931301624_frontcover.jpg?v=1628593486"},{"product_id":"orgelfestival-im-stadtcasino-basel-2020","title":"(2021) Orgelfestival im Stadtcasino Basel, 2020","description":"\u003ch3\u003eOrgan Festival in the Stadtcasino Basel, September 2020\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eIn September 2020, between the two Covid-19 lockdowns, some 30 organists from across the world – from Switzerland to Latvia, Israel, France, China and elsewhere – gathered in the city of Basel to inaugurate the new Metzler organ in the city’s recently renovated concert hall, the Stadtcasino.\u003c\/p\u003e\n\u003cp\u003eThey were joined by the Kammerorchester Basel, the Basel Symphony Orchestra, dancers and assorted instrumental­ists for 20 concerts in all manner of formats – from symphony concerts to children’s fairy tales, jitterbug dancing, Argentinian tangos and Balkan folk music.\u003c\/p\u003e\n\u003cp\u003eThe present album offers a representative overview of the myriad genres and styles that were featured in those two weeks in Basel before the coronavirus once again closed down all concert life.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eChris Walton\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931304120_Orgelfestival_BOOKLET_pages.pdf?v=1631019291\" target=\"_blank\"\u003e\u003cem\u003eRead more in the booklet (and German texts)\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e***\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOrgan Festival at the Stadtcasino Basel\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e4-6 and 18-20 September 2020 \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis selection of live recordings made during the first Organ Festival at the Stadtcasino Basel (OFSB) offers an overview of the festival’s diver­sity. It also documents the first concerts during which the hall’s new organ was presented to the public.\u003c\/p\u003e\n\u003cp\u003eAll the concerts are represented through this selection. Alongside renowned performers, orchestras, choirs and bands, the festival also included young organ students who performed during the Family Afternoon.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBabette Mondry \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931304120_Orgelfestival_BOOKLET_pages.pdf?v=1631019291\" target=\"_blank\"\u003e\u003cem\u003eRead more in the booklet (and German texts)\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eThe concert hall’s new organ at the Stadtcasino Basel\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe new organ built by the internation­ally renowned Swiss organ builders Metzler and Klahre was conceived as a symphonic instru­ment with references to the French symphonic and English Town Hall organ styles. It was integrated into the hall’s existing and listed 1905-appearance in the best craftsmanship tradition and is the world’s first instrument whose pipes are built with sustainable tin certified by the Responsible Minerals Initiative.\u003c\/p\u003e\n\u003cp\u003eAlthough space was very limited in this historic building, a clever sound and spatial concept and Andreas Metzler’s art of intona­tion enabled the construction of a symphonic instrument that offers both richness of colour and great dynamic flexibility in the piano range. It also has enough penetrating power in the fortissimo to face a large orchestra as an equal partner.\u003c\/p\u003e\n\u003cp\u003eIn addition, the instrument is the first concert hall organ to be provided with a special “Wind­dynamische Orgel” divison, with which the sound of a note can be influenced by freely adjustable wind pressure and other configu­rable parameters, even after the key has been pressed. This enables the production of totally new sounds and sound combinations. This should also inspire contemporary composers to create new works.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYou can hear this division on CD 2, Track 2, and on CD 3, Tracks 2 and 7.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe instrument is equipped with flexible electronics. This makes it possible to play any division from any manual in any octave pitch, thus considerably extending the tonal pos­sibilities. From the console positioned on the right side of the organ, both the main organ and the Winddynamische Orgel (with tracker action) can be played; the second console can be freely positioned on the stage and controls the main organ.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThilo Muster (Translation : \u003ca href=\"https:\/\/musitext.ch\/\" target=\"_blank\"\u003eMichelle Bulloch – MUSITEXT\u003c\/a\u003e)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eOrchestras\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/sinfonieorchester-basel\"\u003eSinfonieorchester Basel\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/ivor-bolton\"\u003eIvor Bolton\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 1, Camille Saint-Saëns: Symphony No. 3 in c minor, Op. 78 \"Organ Symphony\"\u003cbr\u003eThomas Trotter, organ\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCD 1, Guillaume Connesson: Concerto da Requiem (World Premiere Recording)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eVincent Dubois, organ\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/kammerorchester-basel\"\u003eKammerorchester Basel\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/pierre-bleuse\"\u003ePierre Bleuse\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 2, Camille Saint-Saëns: Cyprès et Lauriers, Op. 156\u003cbr\u003eMartin Sander, organ\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/der-musikschule-basel-musik-akademie\"\u003eDer Musikschule Basel, Musik Akademie\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/raphael-immoos\"\u003eRaphael Immoos\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 2, Benjamin Britten: Rejoice in the Lamb, Op. 30 \u0026amp; Jubilate Deo\u003cbr\u003eBabette Mondry, organ\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eEnsembles\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/taragot-orgel\"\u003eTaragot \u0026amp; Orgel\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 3 , tracks 7-8, Doina «sus pe culmea dealului» \u0026amp; De Pe Salaj\u003cbr\u003eThilo Muster, organ \/ Samuel Freiburghaus, taragot \/ Nehrun Aliev, percussion\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/orquesta-tipica-silencio\"\u003eOrquesta Tipica SILENCIO\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/roger-helou\"\u003eRoger Hélou\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 3, track 9, Milonga del Angel\u003cbr\u003eRoger Hélou, organ, piano \/ Máxime Point, bandoneon \/ Pablo Murgier, piano, organ \/ Sergio Marrini, violin \/ Wini Holzenkamp, bass\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/nikolais-lindy-dreamband\"\u003eNikolai's Lindy Dreamband\u003c\/a\u003e, \u003ca href=\"https:\/\/www.claves.ch\/collections\/nikolai-gersak\"\u003eNikolai Geršak\u003c\/a\u003e\u003cbr\u003e\u003cem\u003eCD 3, track 10, Spain\u003cbr\u003eNikolai Geršak, organ, piano \/ Benjamin Engel, saxophone \/ Carsten Stamm, trumpet \/ Harald Weisshaupt, drums\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e(\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931304120_Orgelfestival_BOOKLET_pages.pdf?v=1631019291\" target=\"_blank\"\u003eMore distributions and details in the booklet\u003c\/a\u003e)\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.resmusica.com\/2022\/04\/14\/les-riches-heures-du-festival-dorgue-2020-au-stadtcasino-de-bale-claves\" target=\"_blank\"\u003eResMusica\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« En 3 CD, le label Claves regroupe divers moments choisis du Festival d’orgue 2020 au Stadtcasino de Bâle. [..] L’acoustique du Casino de Bâle, généreuse et harmonieusement équilibrée permet à l’orgue de respirer dans un environnement propice à d’autres musiciens, chœurs ou orchestre. Le présent coffret bénéficie d’une prise de son parfaitement ajustée de la part de Jean-Claude Gaberel, spécialiste en la matière. La contribution musicale d’un tel festival est à même de fournir des idées de choix à d’autres manifestations incluant l’orgue symphonique dans ses programmes, au-delà d’un répertoire trop peu ouvert en général. C’est ici un magnifique exemple de ce qui est possible. » - Frédéric Muñoz, avril 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/organ-journal.com\/artikel\/orgelfestival-im-stadtcasino-basel-2020\/%20\" rel=\"noopener\" target=\"_blank\"\u003eOrgan Journal\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« [..] \u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eDie drei CDs präsentieren Ausschnitte aus diesem ersten Festival – und erwecken (dies sei vorausgeschickt) durchaus den Wunsch nach mehr. Dabei wurde weitgehend unbekanntes Repertoire so elegant wie wirkungsvoll kombiniert mit neuen Einspielungen von vertrauter, doch meist eher ungehörter Literatur. [..] Fazit: Nicht nur für Orgelenthusiast:innen ein Fundus. Fortsetzung erbeten! » - Birger Petersen, Februar 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/orgelfestival_basel_2020.htm%20\" target=\"_blank\"\u003eOpus Klassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“In September last year a festival was organized in the Stadtcasino of Basel to add the necessary musical lustre to the festivities surrounding the new organ by Metzler \u0026amp; Klahre. The three CDs that the Swiss music label Claves spontaneously sent me are the result. A local happening that, with the release of this box set, is given an international flavor. [..] The recordings allow you to experience it in every conceivable color; and perhaps for some of you even relive it. It will certainly not have been easy for the Swiss Broadcasting Corporation's 'Tonmeister' Jean-Claude Gaberel to create an expansive sound image in the relatively small space of the historic building, packed with audience, musicians and choirs. But he succeeded in doing so as well.” - Aart van der Wal, September 2021\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3041-43 \/ 3 \/ Various Artists","offer_id":39924538769443,"sku":"3041-43","price":35.0,"currency_code":"CHF","in_stock":true},{"title":"Sinfonieorchester Basel \/ orchestra \/ Various Artists","offer_id":39443113082915,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Various Artists","offer_id":39487862407203,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"19.11.2021 \/ release \/ Various Artists","offer_id":39487818465315,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931304120_Orgelfestival_BOOKLET_pages.pdf?v=1631019291 \/ Booklet \/ Various 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Mora \/ Various Artists","offer_id":39443113705507,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/orgelfestival-im-stadtcasino-basel-2020-various-artists\/sm4a738h44uwa \/ Qobuz HD \/ Various Artists","offer_id":39445314371619,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/various-artists\/release\/orgelfestival-im-stadtcasino-basel-2020-live-17750953 \/ 7digitalHD \/ Various Artists","offer_id":39511243128867,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/61806a1a8444fd282f10bd82 \/ HD-Tracks \/ Various Artists","offer_id":39511243161635,"sku":"3041-43","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931304120_Orgelfestival_frontcover.jpg?v=1631023460"},{"product_id":"le-pays-dou-je-viens-la-chanson-de-fribourg","title":"(2021) Le pays d'où je viens, La Chanson de Fribourg","description":"\u003cp\u003eA legendary Swiss ensemble created in Fribourg in 1952, La Chanson de Fribourg is back on the recording market after an absence of 50 years!\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eLa Chanson de Fribourg presents with originality a sparkling music, born in the heart of a country where singing is almost as natural as breathing.\u003c\/p\u003e\n\u003cp\u003eIts repertoire includes pieces written by composers from Fribourg. Thus, the beautiful traditional melodies of Abbé Joseph Bovet, the original pieces of its founder-director Pierre Kaelin, those of Pierre Huwiler or the arrangements of the current conductor, Jérémie Zwahlen, follow one another. (Patrick Peikert)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003ch3\u003eLa Chanson de Fribourg\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSoprani\u003cbr\u003e\u003c\/strong\u003eNathaly Karlen, Chantal Buchs, Jeanne Seydoux, Françoise Javet, Nicole Pipoz, Pascale Macheret\u003cbr\u003e\u003cstrong\u003eAlti\u003cbr\u003e\u003c\/strong\u003eOdile Thorimbert, Valérie Richoz, Christiane Gaillet, Anne Ruffieux \u003cbr\u003e\u003cstrong\u003eTénors\u003cbr\u003e\u003c\/strong\u003eGuy Chassot, Daniel Javet, Christophe Schaller \u003cbr\u003e\u003cstrong\u003eBasses\u003cbr\u003e\u003c\/strong\u003eClaude Aviolat, Philippe Corpatoz, Pierre Menétrey\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\n\u003cblockquote class=\"twitter-tweet\"\u003e\n\u003cp lang=\"und\" dir=\"ltr\"\u003e\u003ca href=\"https:\/\/t.co\/9wBMRKx0Pa\"\u003ehttps:\/\/t.co\/9wBMRKx0Pa\u003c\/a\u003e \u003ca href=\"https:\/\/t.co\/6E9yxIC9Sh\"\u003epic.twitter.com\/6E9yxIC9Sh\u003c\/a\u003e\u003c\/p\u003e\n— Claves Records (@clavesrecords) \u003ca href=\"https:\/\/twitter.com\/clavesrecords\/status\/1455539308190965761?ref_src=twsrc%5Etfw\"\u003eNovember 2, 2021\u003c\/a\u003e\n\u003c\/blockquote\u003e\n\u003cscript charset=\"utf-8\" src=\"https:\/\/platform.twitter.com\/widgets.js\" async=\"\"\u003e\u003c\/script\u003e\n\u003c\/center\u003e\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.laliberte.ch\/articles\/culture\/musique\/un-disque-pour-maintenir-la-flamme-700145\" rel=\"noopener\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« C’est sous le label suisse de référence dans le domaine classique, Claves, que La Chanson de Fribourg a publié son nouveau disque. Un disque de six titres, avec le drapeau fribourgeois bien identifiable en couverture. La sortie de ce programme original coïncide avec un concert de l’ensemble vocal ce dimanche à Fribourg, dans le quartier de l’Auge. L’histoire de cet enregistrement remonte à l’automne 2020. A la veille de nouvelles interdictions, La Chanson de Fribourg a encore eu le temps de chanter avec soin sous les micros de Joseph Rotzetter, grand spécialiste des voix et du monde choral. « Nous avons profité d’une petite fenêtre entre deux confinements », raconte Jérémie Zwahlen, directeur du choeur, qui a repris le flambeau de Pierre Huwiler. Une contrainte de temps qui a permis de maintenir la flamme du chant en période de pandémie et de faire honneur à un don du médecin Rémy Goumaz, mécène de l’ensemble vocal. Le coup de cœur de Patrick Peikert, producteur de Claves, a fait le reste. Les six chansons sélectionnées sont les perles issues des trois derniers projets de concerts imaginés par La Chanson de Fribourg. [..] » - Elisabeth Haas, décembre 2021\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"1592181624 \/ Digital only \/ La Chanson de Fribourg","offer_id":39539233980451,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ orchestra \/ La Chanson de Fribourg","offer_id":39487834521635,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Jérémie Zwahlen \/ conductor \/ La Chanson de Fribourg","offer_id":39487834554403,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"17.12.2021 \/ release \/ La Chanson de Fribourg","offer_id":39487834587171,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ La Chanson de Fribourg","offer_id":39488741015587,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/id\/1592181624 \/ iTunes \/ La Chanson de Fribourg","offer_id":39490105835555,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4eswsplOMCOy9GsfmRABjw \/ Spotify \/ La Chanson de Fribourg","offer_id":39490178646051,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_nUr3dCcU7IrY_5f539nMGMV05LsH0ASA0 \/ Youtube Music \/ La Chanson de Fribourg","offer_id":39539234013219,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ La Chanson de Fribourg","offer_id":39487834751011,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Deezer \/ La Chanson de Fribourg","offer_id":39487834783779,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/pays-do%C3%B9-viens-Chanson-Fribourg\/dp\/B09KGC9V12\/ref=sr_1_9 \/ AmazonMp3 \/ La Chanson de Fribourg","offer_id":39495203618851,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ La Chanson de Fribourg","offer_id":39487834849315,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=iCK96D1r2OY\u0026list=PLy5IRCYvmbSxDr-4Jh2jL6CInqgSQbZxT \/ Video \/ La Chanson de Fribourg","offer_id":39539234045987,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ La Chanson de Fribourg","offer_id":39487834914851,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ La Chanson de Fribourg","offer_id":39487834947619,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ La Chanson de Fribourg","offer_id":39487834980387,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Presto Classical \/ La Chanson de Fribourg","offer_id":39487835013155,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9258641--le-pays-dou-je-viens-la-chanson-de-fribourg \/ Presto Classical HR \/ La Chanson de Fribourg","offer_id":39539234078755,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ La Chanson de Fribourg","offer_id":39487835078691,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Pro Studio Masters \/ La Chanson de Fribourg","offer_id":39487835111459,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ La Chanson de Fribourg","offer_id":39487835144227,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/6179670d157f7f620e818434 \/ HD-Tracks \/ La Chanson de Fribourg","offer_id":39539234111523,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/le-pays-dou-je-viens-la-chanson-de-fribourg-jeremie-zwahlen-la-chanson-de-fribourg\/bwr9kbz4k8xdb \/ Qobuz HD \/ La Chanson de Fribourg","offer_id":39490105868323,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Youtube \/ La Chanson de Fribourg","offer_id":39487835242531,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/jeremie-zwahlen-and-la-chanson-de-fribourg\/release\/le-pays-do%C3%B9-je-viens-la-chanson-de-fribourg-18345168 \/ 7digitalHD \/ La Chanson de Fribourg","offer_id":39539234144291,"sku":"3022","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931302225_frontcover.jpg?v=1635248730"},{"product_id":"swiss-faces-geneva-brass","title":"(2022) Swiss Faces - Geneva Brass","description":"\u003ch3\u003eSWISS FACES\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eFor this record, we wanted to highlight Swiss cre­ations by recording only original pieces for brass quintet by Swiss composers. So let the composers present their work to us ...\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFracas du Temps\u003cbr\u003e\u003c\/strong\u003e(2017, Klarthe Editions)\u003cbr\u003eCHRISTOPHE STURZENEGGER (*1976)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“This piece is the result of one of the Geneva Brass Festival’s many wonderful collaborations. In 2017, the Geneva Brass met the Fanfare du Loup for a project inspired by the music of Dmitri Shostakovich and Ju­lian Barnes’ book “Fracas du Temps”. This eponymous piece, which I had written for a large ensemble, was then arranged for a brass quintet. In the first move­ment, some of the counterpoints may recall the moods of the Russian composer’s quartets. In the sec­ond movement, a rhythmic quotation from his 7th symphony slips into the dance.” - \u003c\/em\u003eCh. Sturzenegger\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDix miniatures pour quintette de cuivres\u003cbr\u003e\u003c\/strong\u003e(2020, Woodbrass Music, commissioned by the GB)\u003cbr\u003eALEXANDRE MASTRANGELO (*1989)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The 10 miniatures are built around a series of 14 notes. This series is modally varied throughout these short pieces, which reveal very different moods. They lead us through different styles, forms and instru­mentations, somewhat like a postcard slideshow. The instrumental set ranges from a solo instrument to the entire quintet, including a trumpet duet and a horn, trombone and tuba trio. The new sounds thus created are an invitation to the wandering and reflec­tion suggested by these miniatures.” - \u003c\/em\u003eA. Mastrangelo\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eS’isch äbe-ne-mönsch uf Ärde\u003cbr\u003e\u003c\/strong\u003e(2007, Musikverlag Frank)\u003cbr\u003etrad.\/arr. THOMAS RÜEDI (*1969)\u003c\/p\u003e\n\u003cp\u003eThe first traces of this moving Bernese folk song date back to 1741. It tells of the tragic love affair of Vreneli and Hansjoggeli, separated by the Guggis­berg Mountain and then by war. One cannot help seeing it as a Swiss-German version of Romeo and Juliet. The song has become part of the Swiss cul­tural heritage and has been popularised by Stephan Eicher. The Bernese euphonium player Thomas Rüedi wrote this beautiful transcription for brass quintet.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSechs Bagatellen, op.117b\u003cbr\u003e\u003c\/strong\u003e(1989, Pizzicato Verlag)\u003cbr\u003eGION ANTONI DERUNGS (1935-2012)\u003c\/p\u003e\n\u003cp\u003eGion Antoni Derungs’ “Sechs Bagatellen” enrich the brass quintet repertoire with six short, refresh­ing and witty pieces. Their density and well-defined character are reminiscent of György Ligeti’s Six Bagatelles for wind quintet. However, as the Grisons composer left no text related to them, one wonders whether he was aware of this “twin” cycle. The Bag­atelles alternate between lively and calm characters and allow each of the five musicians to express him­self, either with a lyrical phrase or with a virtuoso outburst. Pay attention to the fifth Bagatelle, which highlights the tuba in a movement of wildly uneven bars.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScherzophrénie en Ut\u003cbr\u003e\u003c\/strong\u003e(2019, Edition Peters, commissioned by the GB)\u003cbr\u003eRICHARD DUBUGNON (*1968)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“This one-movement piece was composed in 2019 in Yaddo, U.S.A. for the Geneva Brass. It takes on several different styles or “personalities”, hence the pun in the title. Four distinct characters follow one another. They overlap and intertwine in a virtuoso counterpoint that pushes the performers to the limits of their technical possibilities. While remain­ing expressive and playful throughout, the music is dissonant, rhythmic (jazzy, funky) and openly tonal with harmonies inherited from Richard Strauss.” - \u003c\/em\u003eR. Dubugnon\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLi Plaïsi de Mouodzonaï\u003cbr\u003e\u003c\/strong\u003e(2000, Klarthe Editions)\u003cbr\u003eKURT STURZENEGGER (*1949)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“As its title indicates \u003c\/em\u003e(“The Cowherd’s pleasure” \u003cem\u003ein Leytron dialect), this piece comprising a solo improvi­sation and a rather rustic waltz reflects the extraor­dinary atmosphere I have felt on each of my count­less walks in the Valais mountains. And what could be more appropriate than an accompaniment of brass instruments, so pampered in this beautiful can­ton... where even the “Flying Dutchman” got lost!” - \u003c\/em\u003eK. Sturzenegger\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFaces\u003cbr\u003e\u003c\/strong\u003e(2020, Éditions Marc Reift, dedicated to the GB)\u003cbr\u003eJEAN-FRANÇOIS MICHEL (*1957)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“This piece consists of four movements or “faces”, sculpted like a bust and ending with a more or less expansive chorale. The first movement, “Nostalgia”, depicts the state of languor caused by the inevitable passing of time. The second movement, “Heroism”, makes full use of brass instruments’ virtuosity. In “Astonishment”, the instrumental colours – in search of a sound climate leading to inner peace – are high­lighted. The final movement, “Joie”, describes the en­thusiasm and exhilaration of the quest for plenitude. This can also pass through moments of softness and leads to a grandiose finale.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJ-F. Michel\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eGENEVA BRASS\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe overall ensemble is nothing less than first class. » \u003cem\u003eInternational Trumpet Guild \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eJust like the famous Swiss army knife, the Geneva Brass chamber music ensemble is multi-purpose and multi-talented. Its warm distinctive sound shines while sharply interpreting a Bach fugue, sweetly whisper­ing a Cosma ballad or gently humming a traditional Alphorn melody. The ensemble can be powerful when playing alongside an organ or a big band but can also be soft and tender when accompanying a choir, pan­pipes or even a harp.\u003c\/p\u003e\n\u003cp\u003eThe Geneva-based brass quintet is an ardent supporter of Swiss culture and regularly commissions new pieces to expand its repertoire. It also frequently tours internationally: notably being invited to the Cervantino Festival (Mexico), SliderAsia (Hong Kong), Jeju International Wind Ensemble Festival (South Korea), Lieksa Brass Week (Finland), Brassurround (Spain) and the Eurocuivres Festival (France). At ease in any situation, the quintet has not only performed in some of the world’s most beautiful concert halls, such as Geneva’s Victoria Hall or Tianjin’s Grand Theatre, but also with its feet in the water of Lake Geneva, in South African shanty towns and on the Great Wall of China.\u003c\/p\u003e\n\u003cp\u003eCreated in 2001, the ensemble brings together five talented musicians, who all hold a master’s degree from the Geneva University of Music. It founded and organised ten editions of the internationally renowned Ge­neva Brass festival, from 2010 to 2020, and from 2021 will organise a concert series in the greater Geneva area.\u003c\/p\u003e\n\u003cp\u003eGeneva Brass is supported by the City and State of Geneva.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eMUSICIANS\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eBaptiste Berlaud and Lionel Walter, trumpets\u003cbr\u003eChristophe Sturzenegger, horn and alphorn\u003cbr\u003eDavid Rey, trombone\u003cbr\u003eEric Rey, tuba\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/genevabrass.ch\/\" target=\"_blank\"\u003egenevabrass.ch\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.24heures.ch\/dans-les-griffes-du-funk-des-cuivres-et-du-jazz-363146383544%20\" rel=\"noopener\" target=\"_blank\"\u003e24Heures\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le Geneva Brass est un quintette de cuivres aussi virtuose que décomplexé. L’ensemble rodé aux transcriptions s’offre pourtant un album de musiques quasi exclusivement originales pour célébrer son 20e anniversaire. «Swiss Faces» réunit une jolie collection d’œuvres de compositeurs suisses, dont certaines écrites expressément pour les cinq Genevois. [..] » - Matthieu Chenal, mars 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/genevabrass01.htm%20\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“Geneva Brass presents itself on this album as a top ensemble where versatility is the trump card (in that sense somewhat comparable to that famous Swiss Victorinox pocket knife). The music is enveloped in a warm sound, but, when it suits, it is sharply profiled. [..] Geneva Brass presents itself on this album as a top ensemble where versatility is the trump card (in that sense somewhat comparable to that famous Swiss Victorinox pocket knife). The music is enveloped in a warm sound, but, when it suits, it is sharply profiled.” - Aart van der Wal, June 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.tdg.ch\/culture\" target=\"_blank\"\u003eTribune de Genève\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« À côté de nombreuses transcriptions cousues main, le quintette genevois est un ardent défenseur de la culture helvétique et commande régulièrement de nouvelles pièces originales pour élargir son répertoire, comme c’est très souvent la tradition dans les ensembles de cuivres. À ce propos, le Geneva Brass publiera en février prochain «Swiss Faces», un album chez Claves qui ne contient que des pièces de compositeurs suisses, dont un titre est signé Christophe Sturzenegger, le corniste de l’équipe. » - Matthieu Chenal, décembre 2021\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3025 \/ 1 \/ Geneva Brass","offer_id":39924538245155,"sku":"3025","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Geneva Brass","offer_id":39541733457955,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"04.02.2022 \/ release \/ Geneva Brass","offer_id":39561612951587,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Geneva Brass","offer_id":39541733523491,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931302522_pages.pdf?v=1639997350 \/ Booklet \/ Geneva Brass","offer_id":39570916048931,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/swiss-faces\/1607548882 \/ iTunes \/ Geneva Brass","offer_id":39576443879459,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4Qn3sYACyvPWwbZ7DTBlQz \/ Spotify \/ Geneva Brass","offer_id":39576443912227,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_mXUtdJW-3tUoTAqyDs8A4xLsvDeiPEvr4 \/ Youtube Music \/ Geneva Brass","offer_id":39579862794275,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Geneva Brass","offer_id":39541733687331,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Deezer \/ Geneva Brass","offer_id":39541733720099,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/dp\/B09QXY22Z3\/ref=sr_1_11 \/ AmazonMp3 \/ Geneva Brass","offer_id":39576443944995,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Geneva Brass","offer_id":39541733785635,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Geneva Brass","offer_id":39541733818403,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=5mWKdbXjSJY\u0026list=PLy5IRCYvmbSzvJ-lDtygggmrf0Ra-4838 \/ Video \/ Geneva Brass","offer_id":39579863613475,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Geneva Brass","offer_id":39541733883939,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Geneva Brass","offer_id":39541733916707,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Geneva Brass","offer_id":39541733949475,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Geneva Brass","offer_id":39541733982243,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Presto Classical HR \/ Geneva Brass","offer_id":39541734015011,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Geneva Brass","offer_id":39541734047779,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/118524 \/ Pro Studio Masters \/ Geneva Brass","offer_id":39579862827043,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Geneva Brass","offer_id":39541734113315,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/swiss-faces-geneva-brass\/bgfykpvl3rpea \/ Qobuz HD \/ Geneva Brass","offer_id":39576443977763,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/geneva-brass\/release\/swiss-faces-19712318 \/ 7digitalHD \/ Geneva Brass","offer_id":39576444010531,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/61eee635113bbc5bbe9df4a5 \/ HD-Tracks \/ Geneva Brass","offer_id":39579862859811,"sku":"3025","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931302522_frontcover.jpg?v=1639997570"},{"product_id":"opus-1-feminin-kathrin-schmidlin-piano","title":"(2022) Opus 1 feminin, Kathrin Schmidlin, piano","description":"\u003ch3\u003eOPUS 1 FEMININ\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst works by international women composers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOpus 1: Listen to me, here I am! As a Firstling, I want to go public, I want to be printed, played, understood and appreciated. What came before me no longer counts. I lead a life of my own and stand at the beginning of my further development.\u003c\/p\u003e\n\u003cp\u003eAfter its first performance, Opus 1 attracts more than academic interest. Most of the time, it already has considerable artistic value, like the works by eight female composers from six countries that are brought together here.\u003c\/p\u003e\n\u003cp\u003eWhile there is evidence of early works by almost all composers before their op. 1 - \u003ca href=\"\/collections\/bela-bartok\"\u003eBéla Bartók\u003c\/a\u003e, for example, had written more than 70 juvenile works before his \u003cem\u003eRhapsody op. 1 \u003c\/em\u003e- and these are often researched with scholarly meticulousness, this does not generally apply to women composers.\u003c\/p\u003e\n\u003cp\u003eHowever, it can be proven that \u003ca href=\"\/collections\/clara-schumann\"\u003eClara Schumann-Wieck\u003c\/a\u003e, probably the most famous female composer today, had already written three variation works before her Quatre Polonaises op. 1.\u003c\/p\u003e\n\u003cp\u003eIt is almost impossible to determine which of the less prestigious composers on this CD preceded their op. 1 as actual first works. What is certain, however, is that they are all represented by pieces which, because of their melodic invention and pianistic refinement, deserve to be rescued from oblivion and given a new lease of life.\u003c\/p\u003e\n\u003cp\u003eWith early works of a particularly strong character, \u003ca href=\"\/collections\/alicia-terzian\"\u003eAlicia Terzian\u003c\/a\u003e and \u003ca href=\"\/collections\/vitezslava-kapralova\"\u003eVítězslava Kaprálová\u003c\/a\u003e form a framework anchored in the 20th century for the women musicians from the High and Late Romantic periods who take centre stage: Clara Schumann, \u003ca href=\"\/collections\/luise-adolpha-le-beau\"\u003eLuise Adolpha Le Beau\u003c\/a\u003e, \u003ca href=\"\/collections\/mathilde-berendsen-nathan\"\u003eMathilde Berendsen-Nathan\u003c\/a\u003e, \u003ca href=\"\/collections\/maria-parczewska-mackiewicz\"\u003eMaria Parczewska-Mackiewicz\u003c\/a\u003e, \u003ca href=\"\/collections\/cecile-chaminade\"\u003eCécile Chaminade\u003c\/a\u003e and \u003ca href=\"\/collections\/hilda-kocher-klein\"\u003eHilda Kocher-Klein\u003c\/a\u003e. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305127_BOOKLET_pages.pdf?v=1647872555\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eKATHRIN SCHMIDLIN\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe young Swiss pianist Kathrin Schmidlin, born in 1990, studied with Karl-Andreas Kolly at the Zurich University of the Arts, Wolfgang Manz at the Nuremberg University of Music and Tobias Schabenberger at the Basel Academy of Music.\u003c\/p\u003e\n\u003cp\u003eShe has won several prizes at national and international competitions and is a scholarship holder at the Bachwoche Ansbach. She received important inspiration from Henri Sigfridsson, Aleksandar Madžar, Brigitte Meyer, Konstantin Lifschitz and Hartmut Höll, among others.\u003c\/p\u003e\n\u003cp\u003eHer performances have taken her to Paris, Bayreuth at the \u003cem\u003eSteingräber \u0026amp; Söhne \u003c\/em\u003epiano factory, Gladbeck at the \u003cem\u003eForum of German Music Academies\u003c\/em\u003e, the Basel Theatre, Sils Maria and the \u003cem\u003eMenuhin Festival \u003c\/em\u003ein Gstaad.\u003c\/p\u003e\n\u003cp\u003eKathrin Schmidlin has specialised in the performance of little-known female composers. In 2017, for example, she performed Fanny Hensel’s complete piano cycle \u003cem\u003eDas Jahr \u003c\/em\u003eat the \u003cem\u003eMuseum am Dom \u003c\/em\u003ein Trier. For the 200th anniversary of Clara Schumann’s birth in 2019, she performed her \u003cem\u003ePiano Concerto in A minor \u003c\/em\u003eseveral times as a soloist, and in spring 2021 her debut CD \u003cem\u003eFrauenstimmen \u003c\/em\u003ewas released, which she recorded together with cellist Anna Fortova to mark the 50th anniversary of Swiss women’s suffrage. Her CD with works by female composers has been repeatedly acclaimed by the international specialist press.\u003c\/p\u003e\n\u003cp\u003eSince 2018, Kathrin Schmidlin has been teaching a piano class at the Musikschule Konservatorium Zürich.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eAlbum (online links)\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003ca title=\"Find your prefered music service\" href=\"https:\/\/orcd.co\/opus1-feminin-album\" target=\"_blank\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/Smart_links_album_short_b32e0d0b-01cf-4bed-b4f6-a772eae0d0a8_480x480.jpg?v=1652433522\" alt=\"Find your prefered music service\"\u003e\u003c\/a\u003e\u003c\/div\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.kultur-tipp.ch\/artikel\/artikeldetail\/cd-tipp-klassik-kathrin-schmidlin\/%20\" rel=\"noopener\" target=\"_blank\"\u003eKulturTipp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Die in Basel lebende Pianistin Kathrin Schmidlin hat vor zwei Jahren das eindrückliche Album «Frauenstimmen» vorgelegt. Im Duo mit Cellistin Anna Fortova hat sie damals Werke von Komponistinnen eingespielt, die selten zu hören sind. Nun doppelt Schmidlin solo nach mit einer exquisiten Sammlung. Wieder sind es Kompositionen von Frauen, und zwar alles Erstlingswerke. Zu hören sind die Debüts von bekannten Namen wie Clara Schumann oder Cécile Chaminade, aber auch jene von der Argentinierin Alicia Terzian, der Norwegerin Mathilde Berendsen-Nathan oder der Lettin Maria Parczewska-Mackiewicz. Stilistisch spannt Pianistin Schmidlin damit einen Bogen von der Klassik bis zur Spätromantik. [..] » - Frank von Niederhäusern, November 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/classica.fr\/disques\/\" rel=\"noopener\" target=\"_blank\"\u003eClassica Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« À côté des (assez) connues Clara Schumann et Cécile Chaminade dont on entend ici les Quatre Polonaises et l'Étude printanière, figurent six autres compositrices dont la seule actuellement vivante est l'Argentine Alicia Terzan, née en 1934, avec sa Danse créole. L'originalité de ce récital consiste à ne regrouper que les œuvres publiées sous la mention « Opus1 », nous démontrant le talent prometteur de toutes. [..] Les dates des oeuvres de ces créatrices sont confirmées à l'écoute par l'unité stylistique de ce florilège, très redevable à Mendelssohn, Schumann, Chopin, tout en débordant sur le XXe siècle; le résultat est bien assimilé, très talentueux, et pasticheur: que sont-elles devenues par la suite ? [..] Karin Schmidlin exhume toutes ces pages oubliées avec beaucoup de musicalité. » - Isabelle Werck, février 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.clicmusique.com\/opus-feminin-oeuvres-pour-piano-compositrices-schmidlin-p-108656.html%20\" rel=\"noopener\" target=\"_blank\"\u003eClic Musique\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Poursuivant, après un CD d'œuvres féminines pour piano et violoncelle, sa redécouverte d'œuvres de compositrices, la pianiste suisse Kathrin Shmidlin nous offre ici un « opus 1 féminin », recueil de premières œuvres de huit compositrices de six pays, des XIXème et XXème siècles. [..] Est-ce l'ardeur juvénile commune à toutes ces œuvres ? Cet album qui aurait risqué d'apparaître comme un simple patchwork musical, hétéroclite, donne au contraire le sentiment d'une belle unité, dans une grande invention mélodique, dans une sensibilité romantique qui évoque parfois Schumann ou Chopin. Sentiment renforcé par le jeu fluide, subtil, tout en legato, de Kathrin Scmidlin, jeu très...féminin ! Oui, vraiment, il est temps de redécouvrir ces musiciennes empêchées, oubliées, ou effacées de l'histoire ! » - Marc Galand, septembre 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/disque\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le programme réunit les Opus 1 de huit compositrices d’horizons et de générations diverses. [..] Toutes ces pages témoignent d’une grande inventivité mélodique, qui contribue au charme puissant de ce florilège, et même, étrangement, à une certaine homogénéité de ton. Kathrin Schmidlin, formée à Zürich, Nuremberg et Bâle, et dont le premier disque en duo avec la violoncelliste Anna Fortova était déjà consacré au répertoire féminin (« Frauenstimmen », Claves), séduit par son piano souple et coloré, même si certains aigus sonnent toutefois avec quelque dureté. Des redécouvertes attachantes et bienvenues. » - Jérôme Bastianelli, juin 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.stereo.de\/fonoforum\/rezensionen%20\" target=\"_blank\"\u003eFonoForum\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« [..] Pianistin Kathrin Schmidlin stellt das Opus 1 von bekannten und unbekannten Komponistinnen vorwiegend des 19. Jahrhunderts vor und zeigt die Bandbreite der Möglichkeiten und Klangwelten. » - Dorothee Riemer, November 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/articles\/culture\/musique\/entrees-en-composition-720138\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Les oeuvres de compositrices restent peu connues et jouées. La pianiste suisse Kathrin Schmidlin aborde le défi de mettre en valeur le piano au féminin sous un angle original: elle grave les opus No. 1 de huit femmes qui se sont illustrées à l’époque romantique ou dans un style romantique. [..] Intense! » - Elisabeth Hass, juillet 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/mutheute.com\/studio\/\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Gleich drei Konzepte verschränken sich in diesem Album: Die Entdeckerfreude und Raritätensuche, das Einstehen für Komponistinnen sowie der interessante Ansatz, nur Erstlingswerke einzuspielen – genauer gesagt Stücke, die die Opuszahl 1 tragen. [..] » - Stephan Thomas, Februar 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"http:\/\/www.musicweb-international.com\/classrev\/2022\/Jun\/Opus1-feminin-503051.htm%20\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“[..] Kathrin Schmidlin brings a wonderful sense of character and wonder to these pieces and is to be praised for introducing us to some engaging music and new names. We know much of the music that appeared in the futures of composers like Chaminade or Kaprálová, brief though that future was in the latter case, but it would be nice to have a follow up album with some mature works by these unfamiliar names. I am already hoping that some enterprising pianist takes up the Concertante works by le Beau. Anyone interested in the byways of piano music will find much to enjoy on this adventurous and delightful release.” - Rob Challinor, June 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/opus1feminin.htm%20\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“[..] The Swiss pianist Kathrin Schmidlin (b. 1990) knows exactly how to handle this program. Her piano skills are beyond criticism, she gives these pieces the necessary esprit, has an extremely supple argument in the dances and the little dances and even manages to make a number of them sound even better than they appear from the score. This is not something that happens often. Strong, too, is the chameleonic character her playing conveys, for although the majority of these miniatures exhibit a (strongly) romantic streak, contrasting and individualistic - like the like of Kaprálova's five short pieces - a number of them are.” - Aart van der Wal, June 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.pianonews.de\/\" rel=\"noopener\" target=\"_blank\"\u003ePiano News\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« [..] Daneben findet Kathrin Schmidlin interessante Entdeckungen wie neun kleine Stücke mit dem Titel „Kobolde\" von Hilda KocherKlein oder die ,,Trois Morceaux\" von Maria Parczewska-Mackiewicz. Die Empathie und der Entdeckergeist ist der Aufnahme anzuhören. Eindringlich etwa gleich der Beginn mit den „Danza Criolla\" der im argentinischen Córdoba 1934 geborenen Komponistni Alicia Terzian. Einige der Stücke sind Ersteinspielungen. Ein bunter Reigen von Erstlingswerken, die neugierig machen.» - Anja Renczikowski, November 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.musikzeitung.ch\/de\/rezensionen\/tontraeger\/2022\/09_10\/femmes.html\" rel=\"noopener\" target=\"_blank\"\u003eSchweizer Muzik Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Auf Spurensuche ist auch die junge Pianistin Kathrin Schmidlin, sie machte schon mit ihrer Debut-CD Frauenstimmen auf sich aufmerksam (SMZ 4\/2021). In Zusammenarbeit mit dem Musikforscher Walter Labhart hat sie nun eine CD mit Klavierstücken von acht Komponistinnen herausgebracht, die selbst Kennerinnen und Kennern der Szene weitgehend unbekannt sind. Und sie konzentriert sich auf deren Opus 1, also auf die Erstlingswerke dieser hochbegabten Musikerinnen.\u003c\/span\u003e\u003cspan lang=\"DE-CH\"\u003e \u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eSchmidlin weiss mit ihrem subtilen Anschlag und ihrem wachen Geist die vielen kurzen Stücke lebhaft auszuspielen. Unter ihren Fingern beginnen die Kobolde in den fabelhaften Neun kleinen Stücken von Hilda Kocher-Klein (1894–1975) zu tanzen. Brillant bringt sie die impressionistischen Farben in Cécile Chaminades (1857–1944) bekannter Étude printanière zum Leuchten, um dann im gewichtigen fünfteiligen Opus 1 von Vítězslava Kaprálová (1915–1940) mächtig aufzutrumpfen. Man hört Schmidlin ihre Freude an diesen pianistischen Entdeckungen an.\u003c\/span\u003e» - \u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eSibylle Ehrismann\u003c\/span\u003e, September 2022\u003c\/em\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3051 \/ 1 \/ Kathrin Schmidlin","offer_id":39924530544675,"sku":"3051","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Kathrin Schmidlin","offer_id":39606523592739,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Kathrin Schmidlin","offer_id":39606523625507,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"13.05.2022 \/ release \/ Kathrin Schmidlin","offer_id":39606523658275,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Kathrin Schmidlin","offer_id":39635593527331,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305127_BOOKLET_pages.pdf?v=1647872555 \/ Booklet \/ Kathrin Schmidlin","offer_id":39606523723811,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/opus-1-feminin\/1613578221 \/ iTunes \/ Kathrin Schmidlin","offer_id":39635593560099,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/0qnVnEf544QBgde9qpElQN \/ Spotify \/ Kathrin Schmidlin","offer_id":39606523789347,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lPkolL-SaHM7awX7SjIT8enc3lmRuwmbU \/ Youtube Music \/ Kathrin Schmidlin","offer_id":39635593592867,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Kathrin Schmidlin","offer_id":39606523854883,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.deezer.com\/fr\/album\/301648927 \/ Deezer \/ Kathrin Schmidlin","offer_id":39635593625635,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/music\/player\/albums\/B09V9NWDT6 \/ AmazonMp3 \/ Kathrin Schmidlin","offer_id":39606523920419,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Kathrin Schmidlin","offer_id":39606523953187,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Kathrin Schmidlin","offer_id":39606523985955,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=dw9hr00pBL4\u0026list=PLy5IRCYvmbSwMrKJq2_cUqCN8ei61e0wl \/ Video \/ Kathrin Schmidlin","offer_id":39635593658403,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Kathrin Schmidlin","offer_id":39606524051491,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Kathrin Schmidlin","offer_id":39606524084259,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Kathrin Schmidlin","offer_id":39606524117027,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Kathrin Schmidlin","offer_id":39606524149795,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9320325--opus-1-feminin \/ Presto Classical HR \/ Kathrin Schmidlin","offer_id":39610343817251,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Kathrin Schmidlin","offer_id":39606524215331,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/123830 \/ Pro Studio Masters \/ Kathrin Schmidlin","offer_id":39635593691171,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Kathrin Schmidlin","offer_id":39606524280867,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/opus-1-feminin-kathrin-schmidlin\/fpg1zp8dyv8aa \/ Qobuz HD \/ Kathrin Schmidlin","offer_id":39606524313635,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/kathrin-schmidlin\/release\/opus-1-feminin-20478474 \/ 7digitalHD \/ Kathrin Schmidlin","offer_id":39606524346403,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/622a284048eac85a613e511e \/ HD-Tracks \/ Kathrin Schmidlin","offer_id":39635593723939,"sku":"3051","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931305127_frontcover.jpg?v=1647874075"},{"product_id":"joel-von-lerber-legende","title":"(2022) Joel von Lerber: Légende","description":"\u003ch3\u003eLÉGENDE\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe French instrument maker Sébastien Érard was significantly involved in the modern harp’s development. In 1810, he patented the fully chromatic double-action harp. Thanks to the instrument’s seven pedals and a sophisticated mechanism, it was now possible to change the string lengths and raise each note up to two semitones. This enabled the harpist to play in all keys without retuning the instrument. Composers such as Richard Wagner, Gustav Mahler and Claude Debussy took advantage of these new possibilities and established the harp as an orchestra instrument. In his “Treatise upon Modern Instrumentation and Orchestration” (published in 1844), Hector Berlioz claimed that the harp should never be placed behind the orchestra.\u003c\/p\u003e\n\u003cp\u003eThe harp was also brought to the foreground as a solo instrument in classical music repertoire. The French harpist Henriette Renié (1875 – 1956) played a significant part in this popularity. Thanks to her highly virtuoso playing, her own compositions and arrangements of pieces by other composers, she decisively influenced the music for harp solo at the beginning of the 20th century. She also inspired other composers (including Claude Debussy and Maurice Ravel) to write works for the harp and was a much sought-after teacher with many successful pupils. In 1914, she launched the “Concours Renié”, the first international harp competition. In her own works, Henriette Renié often dealt with fantasy topics. Such is the case in the \u003cem\u003eLégende d’après «Les Elfes» de Leconte de Lisle\u003c\/em\u003e, which she wrote in 1901 after a poem by French author Leconte de Lisle. The text is about a black knight riding at night through the forest in search of his bride. He encounters malevolent elves that try to seduce him. When they fail, they kill the knight’s fiancée. The knight then also dies out of desperation and love. The \u003cem\u003eLégende \u003c\/em\u003epointedly begins with the harp’s lowest note, which keeps on reappearing in the following bars like an urgent reminder. An incisive scale in unison follows it. This is the starting point of a partly descriptive musical programme. The horse’s galloping and the elves’ nimble movements are just as perceptible as the eerie atmosphere of the dark forest, the treachery of the elves and the last breathe of life. In the final bars, the low note is heard once again. It now announces the tragic end like a death knell. In her \u003cem\u003eLégende\u003c\/em\u003e, Henriette Renié greatly expanded the harp’s sound range, masterfully using all the instrument’s possibilities. Her precise performance instructions and the tremendous technical challenges on the performer are striking. Renié’s virtuoso \u003cem\u003eDanse des lutins \u003c\/em\u003e(Dance of the Goblins, composed in 1911) also takes us into a fantasy world: goblins jump back and forth, do somersaults, suddenly stop and then resume their merry dance. In this piece, the harpist must have both nimble fingers and very agile feet to achieve rapid successive harmonic changes with the pedals. The \u003cem\u003eDanse des lutins \u003c\/em\u003eis reminiscent of Franz Liszt’s \u003cem\u003eGnomenreigen \u003c\/em\u003e(Dance of the Gnomes), a composer who much influenced Henriette Renié. She transcribed some of his piano pieces for the harp, including \u003cem\u003eLe Rossignol \u003c\/em\u003e(The Nightingale). Franz Liszt wrote this piece after an eponymous song by the Russian composer Alexander Alyabyev. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931304823_booklet_pages.pdf?v=1648120670\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003ch3\u003eJOEL VON LERBER\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eJoel von Lerber was born in Basel, Switzerland in 1991. He was only six when he took his first harp lessons at the Bern Conservatory with Nathalie Châtelain and in the following years with Simon Bilger. His Bachelor’s degree (with Sarah O’Brien) was followed by a Master of Arts (Performance) with Sarah O’Brien at the Zurich University of the Arts in 2014. Two years later, he obtained a Master of Music with Prof. Maria Graf at the Hanns Eisler School of Music Berlin. In 2019, he took the “Konzertexamen”, equally with Prof. Maria Graf. The exam concert at the Konzerthaus Berlin, which he passed “with distinction”, was also his debut with the Konzerthausorchester Berlin. Joel von Lerber also received artistic stimulation through masterclasses with reputed artists such as Helga Storck, Isabelle Moretti, Jana Boušková, Xavier de Maistre and pianist Pavlin Nechev. In addition, Joel has benefited from various scholarships, including those of the DAAD (German Academic Exchange Service) and the Migros - Kulturprozent.\u003c\/p\u003e\n\u003cp\u003eJoel is a prize-winner of numerous international competitions, including the International Harp Competition of the Franz Josef Reinl Foundation in Munich (2011, 1st Prize), the International Louis Spohr Competition in Kassel (2013, 1st Prize and Audience Award), the Golden Harp Competition in St. Petersburg (2014, 3rd Prize), the Michal Spisak International Music Competition In Poland (2015, 2nd Prize and Special Prize), the International Harp Competition in Mexico (2017, 2nd Prize) and the renowned International Harp Contest in Israel (2018, 2nd Prize and two special prizes for the best interpretation).\u003c\/p\u003e\n\u003cp\u003eJoel von Lerber regularly performs as a soloist in Switzerland and Germany, with ensembles such as the Bern Chamber Orchestra, the Fribourgeois Chamber Orchester, Kammerphilharmonie Graubünden, the Konzerthausorchester Berlin, the Vorpommern Philharmonic Orchestra and the Filmorchester Babelsberg. He has also performed with the State Hermitage Orchestra in St. Petersburg, the Mexico City Symphony Orchestra in Mexico City, the Filharmonia Zabrzanksa in Poland and the Haifa Symphony Orchestra in Israel, as well as with the Brandenburg State Orchestra.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.joelvonlerber.com\/\" target=\"_blank\"\u003ejoelvonlerber.com\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/harp\"\u003eTake a look at our Harp albums\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/opernmagazin.de\/harfenist-joel-von-lerber-seine-neue-cd-legende-erscheint-ende-mai-2022\/\" rel=\"noopener\" target=\"_blank\"\u003eOpern Magazin\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Der Schweizer Harfenist Joel von Lerber widmet sich dem virtuosen Repertoire für die moderne Konzertharfe: Am 27. Mai erscheint sein Album „Légende“ mit einem Programm, das Höhepunkte des romantischen Harfen-Repertoires zu einem stimmigen Porträt sowohl des Instrumentes als auch des Künstlers verbindet. [..] Joel von Lerber gehört zweifelsohne zu den jungen, noch zu entdeckenden Harfenisten. Neben ausgezeichneten Studienabschlüssen in Zürich bei Sarah O’Brien und bei Maria Graf in Berlin war er vielfacher Sieger und Preisträger internationaler Wettbewerbe. » - Maria Kühne, April 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/harpcolumn.com\/blog\/q-and-a-with-joel-von-lerber-2\/\" target=\"_blank\"\u003eHarp Column\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e“Berlin-based harpist Joel von Lerber is releasing his second album, Légende, on May 27 on the Claves Records label. The album will be available on all platforms, including Spotify and Amazon Music, and through Claves Records. We reached out to von Lerber to learn more about his CD.” - Mai 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.aargauerzeitung.ch\/\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eAargauer Zeitung\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« [..] Noch sinfonischer denkt der Basler Joel von Lerber sein Instrument – in nicht unähnlichem Repertoire zieht er alle Register. Allerdings sind es bei ihm vor Originalkompositionen, etwa von Henriette Renié, Elisas Parish Alvars, Wilhelm Posse und anderen, meist vergessenen Komponisten aus dem 19. Jahrhundert. Und auch hier: Elfen und Nachtigallen verführen in märchenhafte Welten. Musikalische Liebesbriefe verschickt Elisabeth Plank mit der CD «Musings» (Nachdenken). [..] » - \u003c\/span\u003eChristian Berzins, Juni 2022\u003c\/em\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.gramophone.co.uk\/review\/joel-von-lerber-l-gende%20\" target=\"_blank\"\u003eGramophone Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“Like a mythical harp-playing bard, Joel von Lerber too is a teller of legends. But such is the Berlin-based Swiss harpist’s sweeping command of colour and line that he has no need for words. The music, almost all of which takes its inspiration from tales or poems, says it all. Von Lerber’s second album and first for Swiss label Claves is also a homage to that great harp virtuoso, composer and pedagogue Henriette Renié. Her darkly dramatic Légende d’après ‘Les elfes’ de Leconte de Lisle, with its echoes of Schubert’s ‘Erlkönig’, and the sprightly Danse des lutins are two of the highlights of the programme, showing off von Lerber’s supple technique and narrative skills to their best advantage. [..]” - William Yeoman, August 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/harplife.jp\/interview\/post-2177\/%20\" rel=\"noopener\" target=\"_blank\"\u003eHarpLife\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e« Harp Life has long been listing Emanuel Ceysson, Remy Van Kesteren, and Alexander Bordachev as male harpists in the post-Maistre era, calling them the \"Next Generation Triumvirate,\" and has featured them in our articles. Joel von Lerber is the fourth man, the dark horse, who has been rapidly following in their footsteps. He lives in Berlin, Germany, one of the capitals of music, and plays a beautiful harp music that belies his massive appearance. We spoke with the man who is rumored to have a \"gap\" in his life. \u003c\/span\u003e[..] » - January 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/kulturfreak.de\/cd-neuveroeffentlichung-am-joel-von-lerber-legende%20\" target=\"_blank\"\u003eKulturFreak\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« Der Schweizer Harfenist Joel von Lerber widmet sich dem virtuosen Repertoire für die moderne Konzertharfe: Am 27. Mai erscheint sein Album „Légende“ mit einem Programm, das Höhepunkte des romantischen Harfen-Repertoires zu einem stimmigen Porträt sowohl des Instrumentes als auch des Künstlers verbindet. [..] » - Mai 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/musicwebinternational.com\/2024\/04\/legende-solo-harp-works-claves\/%20\" rel=\"noopener\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] Throughout the disc the playing of the Swiss-born harpist Joel von Lerber is excellent; he draws out the character of each work (especially important in a programme made up of nine works, the longest of them under thirteen minutes long); his technique seems perfect, his touch sensitive and powerful as needed. The acoustic of Church Oberschönweide in Berlin is wholly sympathetic. All lovers of the harp will surely get much pleasure from this disc.” - Glyn Pursglove, April 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.nmz.de\/kritik\/rezensionen\/cd\/unueberhoerbar-202206\" target=\"_blank\"\u003eNeue Musik Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« [..] Und wer sich die brandneue CD im wahrsten Sinn des Wortes reinzieht, der erlebt Freude pur jenseits von Gezirpe und Gesäusele. Da ist schöne und lebendige und ingelligent zusammengestellte Musik aktiv. » - Wolf Loeckle\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/lerber01.htm%20\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“[..] The latter is crystal clear from this new album, on which the Swiss harpist Joel von Lerber excels in a well-chosen, varied program in which the technical possibilities of playing the harp and the idiomatic characteristics of the nine very different and therefore contrasting pieces are shown off to their best advantage. This was already evident, incidentally, with his CD released in December 2019 on the Costa Records label (including on Spotify). [..]” - Aart van der Wal, June 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.prestomusic.com\/classical\/articles\/4816--interview-joel-von-lerber-on-legende-and-harp-rivalries%20\" target=\"_blank\"\u003ePresto Classical\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“Swiss harpist Joel von Lerber's new album Légende explores a wealth of repertoire written for the harp, the majority of it by harpists. It also captures a snapshot of a fascinating rivalry between two competing manufacturers, both of whom had devised their own original solution to the instrument's limitations and both of whom wanted their new design to be universally adopted. \u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eI spoke to Joel about the music on this album - and ended up diving deep into the history of this most beautiful and charismatic of instruments, and the lengths that the rival instrument-builders went to in pursuit of market dominance! Interview. [..]” - \u003c\/span\u003eDavid Smith, August 2022\u003c\/em\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.musikzeitung.ch\/?s=joel+von+lerber\u0026amp;post_type=post\" rel=\"noopener\" target=\"_blank\"\u003eSchweizer Musik Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Kaum ein Instrument ist derart mit Klischees umstellt wie die Harfe. Joel von Lerber widerlegt sie locker. Den Tücken seines Instruments steht er entspannt gegenüber und vom Harfenklang ist er nach wie vor fasziniert. Er ist einer der wenigen jungen Männer an der Harfe. Joel von Lerber ist in Rüeggisberg bei Bern aufgewachsen, heute lebt er in Berlin. Die Stufen seiner Ausbildung hat er alle mit Auszeichnung gemeistert, und mit 31 Jahren ist seine Karriere als Solist schon beachtlich. Kürzlich hat er, wie er sagt, «erstmals einen Preis bekommen, ohne etwas zu tun», den Premio Rossetti Montano, eine Auszeichnung als international bedeutender Interpret. Interview. [..] » - \u003c\/span\u003ePia Schwab, Mai 2023\u003c\/em\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/lecourrier.ch\/2022\/07\/08\/une-harpe-legendaire\/%20\" target=\"_blank\"\u003eLe Courrier\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Sortie spectaculaire dédiée à la harpe chez Claves, avec cette Légende du harpiste bâlois Joel von Lerber. Le disque tient son titre d’une pièce de la harpiste française Henriette Renié, virtuose, pédagogue et compositrice au rôle pionnier dans la popularisation de l’instrument durant la première moitié du XXe siècle. [..] Légende fait aussi référence à tout un répertoire d’inspiration féerique qui, dans la harpe et sa voix impressionniste, évocatrice, trouve un moyen d’expression privilégié. Les pièces de ce genre présentées ici («Légende» et «Danse des lutins» d’Henriette Renié, «Une châtelaine en sa tour» de Gabriel Fauré, mais aussi le paysage sonore «The Colorado Trail» de Marcel Grandjany) sont magistralement jouées par Joel von Lerber, qui explose la palette de nuances de son instrument. Son jeu est également admirable dans la seconde moitié de cet enregistrement, où il explore le répertoire des autres maîtres, virtuoses légendaires eux aussi, qui ont contribué au prestige de la harpe depuis sa conception moderne par Erard en 1810: Posse, Alvars, Mchedelov, Bochsa. [..] . Joel von Lerber par son jeu spectaculaire, riche en nuances, capable de dialoguer avec le silence dans ses pianissimo et grandiose dans ses forte, accomplit le miracle de lui rendre justice et de nous restituer son agréable capacité à surprendre. » - Gianluigi Bocelli, juillet 2022\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3048 \/ 1 \/ Joel von Lerber","offer_id":39924530413603,"sku":"3048","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Joel von Lerber","offer_id":39608166416419,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Joel von Lerber","offer_id":39608166449187,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"27.05.2022 \/ release \/ Joel von Lerber","offer_id":39608166481955,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Joel von 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Lerber","offer_id":39608166875171,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Joel von Lerber","offer_id":39608166907939,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Joel von Lerber","offer_id":39608166940707,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Joel von Lerber","offer_id":39973030756387,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Presto Classical HR \/ Joel von Lerber","offer_id":39608167006243,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Joel von Lerber","offer_id":39608167039011,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/125745 \/ Pro Studio Masters \/ Joel von Lerber","offer_id":39643869773859,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Joel von Lerber","offer_id":39608167104547,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/legende-joel-von-lerber\/sowujdwxjepib \/ Qobuz HD \/ Joel von Lerber","offer_id":39608167137315,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/joel-von-lerber\/release\/l%C3%A9gende-20791986 \/ 7digitalHD \/ Joel von Lerber","offer_id":39610343784483,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/623b5a6bb31321155492c867 \/ HD-Tracks \/ Joel von Lerber","offer_id":39643869806627,"sku":"3048","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931304820_frontcover.jpg?v=1648121430"},{"product_id":"herzblut-swiss-a-cappella-music","title":"(2022) Herzblut: Swiss a cappella music","description":"\u003ch3\u003eHERZBLUT, SWISS A CAPPELLA MUSIC\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWith its first own recording of a cappella repertoire, the \u003ca href=\"\/collections\/zurcher-sing-akademie\"\u003eZürcher Sing-Akademie\u003c\/a\u003e reveals its musical and emotional identity and opens the door to the unique Swiss musical landscape. HERZBLUT provides an insight into the multifaceted work of Swiss composers, from the Romantic period to the present day.\u003c\/p\u003e\n\u003cp\u003eThe programme presents works deeply rooted in the Swiss cultural heritage. It enables the 32-member vocal ensemble to remarkably deploy its transparent and warm sound.\u003c\/p\u003e\n\u003cp\u003eBut above all, HERZBLUT embarks listeners on a journey into their inner selves, that infinitely rich and fragile world to which little attention is paid in everyday life. Yet it is precisely these delicate sounds that show us who we are and where we come from. We only need to listen.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWORKS\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eES FLIEHT DER SUNNESTRAU\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/kurt-widorski\"\u003eKurt Widorski\u003c\/a\u003e (*1978) \u003c\/em\u003eFirst CD recording\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eCommissioned work for the Zurich Sing-Akademie\u003c\/p\u003e\n\u003cp\u003eKurt Widorski’s work is subtitled “A composed interpretation of three folk songs”. With the \u003cem\u003eGuggisberglied\u003c\/em\u003e, \u003cem\u003eL’Inverno è passato \u003c\/em\u003eand \u003cem\u003eLueget, vo Bärg und Tal\u003c\/em\u003e, he revisits three of the Swiss folk song repertoire’s best-known melodies. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSECHS LIEDER IM VOLKSTON FÜR MÄNNERCHOR OP. 29 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/hans-huber\"\u003eHans Huber\u003c\/a\u003e (1852-1921) \u003c\/em\u003eFirst recording\u003c\/p\u003e\n\u003cp\u003eHans Huber is the renowned Swiss composer of the late Romantic period. His symphonies, concertos, chamber music works and above all, his compositions for choir bear witness to this. In the best Brahmsian tradition, Hans Huber succeeds with his opus 29 in transforming Wilhelm Osterwald’s poems into refined art songs without compromising the light, folk song-like character. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eABEND AM SEE \/ ABSTIEG \/ AVE MARIA \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/richard-flury\"\u003eRichard Flury\u003c\/a\u003e (1896-1967) \u003c\/em\u003eFor female choir - First recordings\u003c\/p\u003e\n\u003cp\u003e“If I take myself too seriously and overestimate my works, they nonetheless disappear into oblivion. But, on the other hand, if I am too modest and not appreciated enough, time will correct the mistake even without my intervention…” Richard Flury, \u003cem\u003eLebenserinnerungen \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIndeed, various written statements bear witness to the esteem in which notable contemporaries held Swiss composer Richard Flury. A unique romantic tonal language and imaginative harmonies characterise his compositions. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLA SERA DA BIAL’AURA \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/helena-winkelman\"\u003eHelena Winkelman\u003c\/a\u003e (*1974) - \u003c\/em\u003eFirst recording\u003c\/p\u003e\n\u003cp\u003eSchaffhausen-born composer and violinist Helena Winkelman has a distinctive personal style. Her colourful music is performed worldwide and fascinates thanks to its clever and open-minded fusion of contemporary sounds with rock, folk music and Asian traditions. Helena Winkelman has lived in Basel since 1998. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVERBUNDENHEIT \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEGREIFEN \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/cyrill-schurch\"\u003eCyrill Schürch\u003c\/a\u003e (*1974) - \u003c\/em\u003eFirst recording\u003c\/p\u003e\n\u003cp\u003e“While searching for texts by authors from the Valais, I was immediately enchanted by the two wonderful poems \u003cem\u003eVerbundenheit \u003c\/em\u003eand \u003cem\u003eBegreifen \u003c\/em\u003eby the young Juliette Mathier. As I read them, the sounds and harmonies of the two settings arose instantly. In \u003cem\u003eVerbundenheit\u003c\/em\u003e, the tension between closeness and distance is also palpable in the music; intense and dense chords alternate with distant-sounding motifs. In contrast, the calm and stillness expressed in \u003cem\u003eBegreifen \u003c\/em\u003ecan also be perceived in the long harmonic lines. This warm and intimate poem submerges us with feelings of security and love”, wrote Cyrill Schürch about his work. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHERBSTSYNKOPEN \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/burkhard-kinzler\"\u003eBurkhard Kinzler\u003c\/a\u003e (*1963) \/ Johannes Brahms (1833-1897) \u003c\/em\u003eFirst CD recording\u003cbr\u003eCommissioned work for the Zurich Sing-Akademie\u003c\/p\u003e\n\u003cp\u003eJohannes Brahms’ \u003cem\u003eFünf Gesänge op. 104\u003c\/em\u003e, on which Burkhard Kinzler’s \u003cem\u003eHerbstsynkopen \u003c\/em\u003eare based, deal with love, lost youth, the transience of nature, and finally, man’s mortality. This cycle is one of Brahms’ distinctly personal works; the composer was “in the autumn of life” in 1888 when he finished these five pieces. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFranziska Brandenberger\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305622_BOOKLET_pages_corrige_760c2404-90e0-411a-9b49-27cf7976ba78.pdf?v=1656679528\" target=\"_blank\"\u003e\u003cem\u003eRead full texts in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e\n\u003ca href=\"\/collections\/zurcher-sing-akademie\"\u003e ZÜRCHER SING-AKADEMIE\u003c\/a\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe Zürcher Sing-Akademie is renowned for its versatility and flexibility, performing at the highest level in both chamber and symphonic settings. The Swiss choir collaborates with many eminent orchestras within Switzerland and internationally, and boasts an extensive symphonic repertoire. The ensemble also frequently presents a cappella programmes and plays a prominent part in the promotion of Swiss composers, both historical and contemporary.\u003c\/p\u003e\n\u003cp\u003eCentral to its ethos is the continued development of the choral landscape: the Zürcher Sing-Akademie frequently commissions new works and has given many première performances. Florian Helgath has been conductor and artistic director of the Zürcher Sing-Akademie since 2017.\u003c\/p\u003e\n\u003cp\u003eSince its formation in 2011, the choir has collaborated with numerous conductors including Bernard Haitink, David Zinman, Daniel Barenboim, Sir Roger Norrington, Pablo Heras-Casado, Neeme Järvi, Giovanni Antonini, Paavo Järvi, and René Jacobs.\u003c\/p\u003e\n\u003cp\u003eConcert tours have taken the Zürcher Sing-Akademie to Germany, Italy, Israel, the Netherlands, Lebanon, Taiwan, China, and as well as many European cities. Particular highlights include concerts at the BBC Proms in London, in the Philharmonie de Paris, Concertgebouw Amsterdam, Philharmonie Köln, and in the National Concert Hall Taipeh.\u003c\/p\u003e\n\u003cp\u003eIn addition to its long association with the Tonhalle-Orchester Zürich, the choir regularly performs with acclaimed ensembles such as the Freiburger Barockorchester, Luzerner Sinfonieorchester, Orchestre de la Suisse Romande, Kammerorchester Basel, Musikkollegium Winterthur, Hofkapelle München, and the baroque orchestra La Scintilla.\u003c\/p\u003e\n\u003cp\u003eMany of the ensembles CD recordings have won acclaim in the form of prestigious awards. The most recent additions to its discography are Beethoven’s “Choral Fantasy” conducted by Pablo Heras-Casado and Weber’s opera “Der Freischütz”, both with the Freiburg Baroque Orchestra, for Harmonia Mundi.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSopran \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlice Borciani, Sonja Bühler, Keiko Enomoto, Jenny Högström, Jessica Jans, Anna Miklashevich, Anne Montandon, Andrea Oberparleiter, Florence Renaut, Cressida Sharp, Gunta Smirnova, Ulla Westvik\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlt \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCeline Bindy, Franziska Brandenberger, Nadia Catania, Franziska Gündert, Elizabeth Irvine, Ursina Patzen, Jennifer Reineke, Jane Tiik, Lisa Weiss, Anne-Kristin Zschunke\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFlorian Feth, Gregory Finch, Christophe Gindraux, Tamás Henter, Matthias Klosinski, Sebastian Lipp, Martin Logar, Tiago Oliveira, Fabian Strotmann, Hitoshi Tamada, Eelke van Koot\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEkkehard Abele, Matija Bizjan, Yves Brühwiler, Fabrice Hayoz, Julián Millán, Gerhard Nennemann, Jan Sauer, Peter Strömberg, Thomas Trolldenier, Eugen Zak\u003c\/p\u003e\n\u003cp\u003eHelena Winkelman, \u003cem\u003eVioline\u003c\/em\u003e\u003cbr\u003eJosuéMeléndez-Pelaez, \u003cem\u003eZink\u003c\/em\u003e\u003cbr\u003eFlorin Grüter, \u003cem\u003eHackbrett\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFlorian Helgath, \u003cem\u003eLeitung\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e\n\u003ca href=\"\/collections\/florian-helgath\"\u003e FLORIAN HELGATH\u003c\/a\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eFlorian Helgath has established himself as one of the leading choral conductors of this generation. He has been Artistic Director of ChorWerk Ruhr since 2011 and was appointed Artistic Director of the Zürcher Sing-Akademie in 2017. With these two ensembles he explores choral music from all eras, ranging from a cappella repertoire to the vast choral works of the symphonic genre.\u003c\/p\u003e\n\u003cp\u003eFlorian Helgath regularly appears as guest conductor with many leading vocal ensembles and has collaborated with renowned orchestras. He has performed in many major concert halls, and at festivals including the Berliner Festspiele, Schwetzinger Festspiele, Audi Sommerkonzerte, Eclat Festival Neue Musik Stuttgart and Thüringer Bachwochen. He has developed a particular connection with the Ruhrtriennale; his projects for this festival include numerous contemporary music theatre productions.\u003c\/p\u003e\n\u003cp\u003eHis discography includes a number of prize-winning recordings: his interpretations have achieved accolades including the ICMA and ECHO Klassik, as well as Grammy nomination.\u003c\/p\u003e\n\u003cp\u003eFlorian Helgath’s formative musical experiences took place in his native town, where he was a member of the Regensburger Domspatzen; he continued his studies at the Hochschule für Musik und Theater in München. Among his most influential teachers were Michael Gläser, Stefan Parkman, and Dan Olof Stenlund, whose guidance was pivotal in shaping his career as a conductor.\u003c\/p\u003e\n\u003cp\u003eHe achieved his first international successes as finalist and prize-winner at competitions including the Eric Ericson Award in Sweden (2006) and the International Competition for Young Choral Conductors in Budapest (2007).\u003c\/p\u003e\n\u003cp\u003eIn October 2020 Florian Helgath was appointed Professor of the University of Music and Dance in Cologne, where he teaches choral conducting in Bachelor and Master programmes.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305622_BOOKLET_pages_corrige_760c2404-90e0-411a-9b49-27cf7976ba78.pdf?v=1656679528\" target=\"_blank\"\u003e\u003cem\u003e\u0026gt;\u0026gt; Read more texts in the booklet \u0026lt;\u0026lt;\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eChoose your favorite music service\u003c\/h3\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003ca href=\"https:\/\/orcd.co\/album-herzblut-swiss-a-cappella-music\" target=\"_blank\"\u003e\u003cimg style=\"float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/smart_links_album_b95d3d76-c1f0-4f20-b4f1-153b21758c7d_480x480.jpg?v=1666859879\"\u003e\u003c\/a\u003e\u003c\/div\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.srf.ch\/audio\/ch-musik\/ein-frischer-blick-in-die-geschichte-der-schweizer-chormusik?id=9ecf306b-b202-4885-a716-8cb9e6f91edc\" target=\"_blank\"\u003eSRF\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« Schweizer Chormusik, gesungen von einem Schweizer Profichor? Das gabs bisher auf Tonträger nur vereinzelt. Denn es gibt in der Schweiz nur wenige Profichöre. Und die überlassen die Musik aus der Schweiz meist den Laienchören. Gegenbeispiel: Die neue CD der Zürcher Sing-Akademie – ein Ohrenöffner! » - August 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.rtr.ch\/cultura\/musica\/artg-musical-herzblut-chant-cun-zuercher-singakademie\" target=\"_blank\"\u003eRTR\u003c\/a\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Per l'emprima giada ha la Zürcher Singakademie realisà in agen portatun cun chant a cappella. Cun quest disc cumpact mussa la formaziun d'auta qualitad sia identitad musicala ed emoziunala ed avra la porta ad ina cuntrada da musica svizra singulara. Cun «Herzblut», uschia il titel dal disc cumpact dat il chor invista en la lavur cumpositorica da cumponistas e cumponists svizzers, da la romantica fin il temp actual. [..] » - November 2022\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3056 \/ 1 \/ Florian Helgath","offer_id":39924530642979,"sku":"3056","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Florian Helgath","offer_id":39662316617763,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Zürcher Sing-Akademie \/ choir \/ Florian Helgath","offer_id":39662316650531,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Florian Helgath \/ conductor \/ Florian Helgath","offer_id":39662316683299,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"28.10.2022 \/ release \/ Florian Helgath","offer_id":39810816213027,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Florian Helgath","offer_id":39849844244515,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305622_BOOKLET_pages_corrige_760c2404-90e0-411a-9b49-27cf7976ba78.pdf?v=1656679528 \/ Booklet \/ Florian Helgath","offer_id":39662316781603,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/id\/1633136240 \/ iTunes \/ Florian Helgath","offer_id":39662316814371,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/5ITn10Doi0T4LdxXdPt0EE \/ Spotify \/ Florian Helgath","offer_id":39662316847139,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_n85ITga7bcIxIPyazoM-BN8O2Fun0J7lU \/ Youtube Music \/ Florian Helgath","offer_id":39849844277283,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Florian Helgath","offer_id":39849844310051,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Deezer \/ Florian Helgath","offer_id":39662316945443,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/music\/player\/albums\/B0B5VXZRZV \/ AmazonMp3 \/ Florian Helgath","offer_id":39662316978211,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Florian Helgath","offer_id":39662317010979,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Florian Helgath","offer_id":39662317043747,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=AWsfbv88-a0\u0026list=PLy5IRCYvmbSzlIC8PH5fg6JP0uMlHYp_l \/ Video \/ Florian Helgath","offer_id":39849844834339,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Florian Helgath","offer_id":39662317109283,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.tidal.com\/album\/236635741 \/ Tidal \/ Florian Helgath","offer_id":39849844342819,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Florian Helgath","offer_id":39662317174819,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Florian Helgath","offer_id":39662317207587,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9363956--herzblut-swiss-a-cappella-music \/ Presto Classical HR \/ Florian Helgath","offer_id":39810816245795,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Florian Helgath","offer_id":39662317273123,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/138856 \/ Pro Studio Masters \/ Florian Helgath","offer_id":39849844375587,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Florian Helgath","offer_id":39662317338659,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/herzblut-swiss-a-cappella-music-florian-helgath-zurcher-sing-akademie\/ulrcmv8pmoelb \/ Qobuz HD \/ Florian Helgath","offer_id":39849844408355,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Florian Helgath","offer_id":39662317404195,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/62c59e76eb0f047de7a7b2e3 \/ HD-Tracks \/ Florian Helgath","offer_id":39849844441123,"sku":"3056","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931305622_frontcover.jpg?v=1657195752"},{"product_id":"the-bright-day-is-done","title":"(2022) The bright day is done","description":"\u003cp\u003e\u003cem\u003e\u0026gt;\u0026gt; \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305325_pages.pdf?v=1661331190\" target=\"_blank\"\u003eTextes en Français dans le livret\u003c\/a\u003e \u0026lt;\u0026lt;\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“I’ve just listened to the entire recording of the Ros Tapestry Suite”, she said, “without looking at the booklet. And one of the pieces that stood out to me was “Midday” by Gerald Barry. I started thinking about creating a programme based around different times of the day.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe speaker was Ciara Higgins, artistic director of the Dublin International Chamber Music Festival, it was late March 2021. Within a short space of time, we had put together a programme and in June 2021 I performed the recital online at Farmleigh House in Dublin’s Phoenix Park.\u003c\/p\u003e\n\u003cp\u003eFrom this recital came the idea for the present CD recording, with the programme more or less unchanged; the Liszt work was added afterwards.\u003c\/p\u003e\n\u003cp\u003eThe concepts of morning and evening, of night and day, of sleep and wakening, are ones that are universal to all humankind. I have long been fascinated by the cyclical nature of the day and night, and in particular I am in awe of the healing and restorative properties of sleep,\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Sleep that knits up the ravell’d sleeve of care \/ The death of each day’s life, sore labour’s bath...”, \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ein the inimitable words of the Bard; and in fact the title of the disc also comes from Shakespeare, from his tragedy \u003cem\u003eAntony and Cleopatra\u003c\/em\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Finish, good lady; the bright day is done, and we are for the dark.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAnd so the idea of putting together a programme of solo piano works inspired by this theme appealed to me immediately. It allows for a programme of pieces which is diverse in its range of composers, periods and moods, and in which the pieces can be enjoyed individually or as a complete journey.\u003c\/p\u003e\n\u003cp\u003eThe choice of works is quite personal and is reflective of my own existing repertoire, as well as some works I chose to learn especially for the project. The programme does not seek to be in any way comprehensive – and indeed if one were to focus on night time alone, there would be enough nocturnal repertoire to stretch across many CDs. Repertoire focussed on earlier times of the day is more scant, but it was a joy to discover Cécile Chaminade’s simple and fresh \u003cem\u003eAubade \u003c\/em\u003eor \u003cem\u003eDawn Song, \u003c\/em\u003eguiding us gently into the light of the day.\u003c\/p\u003e\n\u003cp\u003eWe then hear the first of two pieces composed by Amy Beach at the MacDowell artists’ retreat in New Hampshire in 1921. Both pieces, \u003cem\u003eA Hermit Thrush at Morn \u003c\/em\u003eand \u003cem\u003eA Hermit Thrush at Eve, \u003c\/em\u003eshowcase the eponymous North American bird whose song has been described as the finest sound in nature\u003cem\u003e; \u003c\/em\u003ecertainly, Beach’s accurate and beautifully choreographed evocations do nothing to dispel this theory. Similarly gentle but tinged with sadness is Leopold Godowsky’s florid 1927 transcription for solo piano of \u003cem\u003eMorning Greeting, \u003c\/em\u003ethe eighth song from Schubert’s song cycle \u003cem\u003eDie schöne Müllerin \/ The Fair Maid of the Mill. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAs we move towards the middle of day, pieces by two very different Irish composers are juxtaposed. Gerald Barry’s contribution to the Ros Tapestry Suite, to which he appended the title \u003cem\u003eMidday, \u003c\/em\u003eseeks to conjure the tense and expectant atmosphere on the south Wexford coast as the Irish people awaited the arrival of the Normans in 1169. The piece is made up of small musical gestures repeated again and again to hypnotic effect. This leads seamlessly into \u003cem\u003eMidi \u003c\/em\u003eby the doyen of Irish composers and inventor of the Nocturne, John Field, a lively and charming Rondo whose ending is crowned by the tolling of the twelve bells of midday.\u003c\/p\u003e\n\u003cp\u003eWe slip into the evening with Amy Beach’s second Hermit Thrush piece, which is followed by another piece from the \u003cem\u003eRos Tapestry Suite, \u003c\/em\u003eEric Sweeney’s evocation of the waves crashing into the ancient lighthouse at Hook Head on Ireland’s south-east coast and the nearby monks chanting \u003cem\u003eUbi Caritas\u003c\/em\u003e. We then hear the most substantial piece on the programme, Franz Liszt’s \u003cem\u003eHarmonies of the Evening, \u003c\/em\u003ethe eleventh of his \u003cem\u003eTranscendental Etudes, \u003c\/em\u003ewhose atmospheric opening soon gives way to a predictably Lisztian dramatic climax before returning to its initial calm.\u003c\/p\u003e\n\u003cp\u003eThe listener is then transported to the sultry climes of Andalucia for Debussy’s \u003cem\u003eEvening in Granada \u003c\/em\u003ewith its hypnotic habañera rhythms.\u003c\/p\u003e\n\u003cp\u003eAs night sets in we find ourselves in deepest Hungary. Béla Bartók conjures up a magical world of birds, frogs and insects in the \u003cem\u003eNight's Music \u003c\/em\u003efrom his \u003cem\u003eOut of Doors \u003c\/em\u003eSuite, also managing to fit in a wedding song and a song of mourning. Clara Schumann’s \u003cem\u003eNotturno, \u003c\/em\u003ecomposed when she was just 17, is one of her most beautiful compositions, yearning and resigned. Her husband’s fantasy-piece \u003cem\u003eIn the Night, \u003c\/em\u003ecomposed three years later, could not be more contrasting – turbulent, troubled and passionate, maybe suggesting a sleepless night. As an encore to calm us down and to soothe our souls, Chopin’s glorious \u003cem\u003eF sharp major Nocturne \u003c\/em\u003e– a piece that I have performed perhaps more than any other as an encore throughout my career – should hopefully hit the spot.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFinghin Collins\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eFINGHIN COLLINS, PIANO\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e“Of Finghin Collins as soloist, little needs to be said that has not been said before: he is exceptionally fluent, exceptionally intelligent, exceptionally sensitive, responding to every possible nuance that Stanford prescribes.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePiers Burton-Page, International Record Review \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOne of Ireland’s most successful musicians, Finghin Collins was born in Dublin in 1977 and, following initial lessons with his sister Mary, studied piano at the Royal Irish Academy of Music with John O’Conor and at the Geneva Conservatoire with Dominique Merlet. Winner of the RTÉ Musician of the Future Competition in 1994 and the Classical Category at the National Entertainment Awards in Ireland in 1998, he went on to take first prize at the Clara Haskil Competition in Switzerland in 1999. Since then he has continued to enjoy a flourishing international career that takes him all over Europe and the United States, as well to the Far East and Australia.\u003c\/p\u003e\n\u003cp\u003eCollins has performed with such orchestras as the Chicago Symphony Orchestra, Houston Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Budapest Festival Orchestra, Orchestra of the Eighteenth Century, Orchestre de la Suisse Romande, Gulbenkian Orchestra, Seoul Philharmonic Orchestra, BBC Symphony Orchestra, BBC Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, Bournemouth Symphony Orchestra and the City of Birmingham Symphony Orchestra, garnering consistent praise from critics and public alike. Conductors with whom he has collaborated include Frans Brüggen, Myung-Whun Chung, Christoph Eschenbach, Hans Graf, Emmanuel Krivine, Nicholas McGegan, Gianandrea Noseda, Sakari Oramo, Tadaaki Otaka, Heinrich Schiff, Vassily Sinaisky, Leonard Slatkin and Gábor Tákacs-Nagy. He has also given solo recitals in many of the world’s most prestigious halls and participates frequently in chamber music festivals with a variety of colleagues of international standing.\u003c\/p\u003e\n\u003cp\u003eSince live concerts recommenced during the summer of 2021, Collins has continued to perform a wide range of solo and concerto repertoire as well as chamber music in Ireland, the UK, France, Germany, Switzerland and the Netherlands. These include performances at the Wigmore Hall, London, Zermatt \u0026amp; Verbier Festivals in Switzerland, Piano aux Jacobins in France and the world premiere of a new concerto by Jane O’Leary with the National Symphony Orchestra in Galway and Dublin.\u003c\/p\u003e\n\u003cp\u003eOver the past two decades Collins has developed a close relationship with Claves Records in Switzerland, recording \u003ca href=\"https:\/\/www.claves.ch\/collections\/finghin-collins\" target=\"_blank\"\u003etwo double CDs of Schumann’s piano music\u003c\/a\u003e (which won numerous awards including \u003cem\u003eGramophone’s \u003c\/em\u003eEditor’s Choice in 2006), followed by a recording of works for piano and orchestra by \u003ca href=\"https:\/\/www.claves.ch\/collections\/finghin-collins\/products\/stanford-music-for-piano-orchestra\" target=\"_blank\"\u003eCharles V. Stanford\u003c\/a\u003e with the RTÉ NSO \/ Kenneth Montgomery (Editor’s Choice, May 2011). In May 2013 RTÉ lyric fm launched his recording of four Mozart piano concertos directed from the keyboard with the RTÉ National Symphony Orchestra. \u003ca href=\"https:\/\/www.claves.ch\/collections\/finghin-collins\/products\/chopin-recital-finghin-collins-piano\" target=\"_blank\"\u003eA Chopin recital CD\u003c\/a\u003e was released in 2017, a co-production between RTÉ lyric fm and Claves Records, while in spring 2020 Claves released a recording of the \u003ca href=\"https:\/\/www.claves.ch\/collections\/finghin-collins\/products\/mozart-piano-quartets\" target=\"_blank\"\u003eMozart Piano Quartets\u003c\/a\u003e with Rosanne Philippens (violin), Máté Szücs (viola) and István Várdai (cello).\u003c\/p\u003e\n\u003cp\u003eFinghin Collins makes a significant contribution to the musical landscape of his native Ireland, where he resides. Since 2013, he has been Artistic Director of Music for Galway, which among many other projects was tasked with presenting the major classical programme of Galway 2020, European Capital of Culture. The centrepiece of that programme, the cello festival CELLISSIMO, was delivered successfully online in March 2021. He is also the founding Artistic Director, since 2006, of the New Ross Piano Festival in Wexford as well as the founding co-Artistic Director, since 2019, of the International Master Course at the National Concert Hall in Dublin.\u003c\/p\u003e\n\u003cp\u003eCollins was a member of the jury of the \u003ca href=\"https:\/\/www.claves.ch\/collections\/concours-clara-haskil\" target=\"_blank\"\u003eClara Haskil Competition in Switzerland\u003c\/a\u003e in 2021 and the Dublin International Piano Competition in 2022. He will chair the jury of the Clara Haskil Competition in 2023 and 2025.\u003c\/p\u003e\n\u003cp\u003eIn 2017, the National University of Ireland conferred on him an honorary Degree of Doctor of Music.\u003c\/p\u003e\n\u003cp\u003eFind out more at \u003ca href=\"http:\/\/www.finghincollins.com\" target=\"_blank\"\u003efinghincollins.com\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u0026gt;\u0026gt; \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305325_pages.pdf?v=1661331190\" target=\"_blank\"\u003eTextes en Français dans le livret\u003c\/a\u003e \u0026lt;\u0026lt;\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/classica.fr\/%20\" target=\"_blank\"\u003eClassica Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Finghin Collins propose un récital de treize pièces évocatrices, allant de l’aube à la nuit. Compositeurs et compositrices s’y côtoient fraternellement, plus ou moins connus, unis par leur aptitude à savourer l’instant, depuis l’Aubade de Cécile Chaminade à la Musique nocturne de Bartók. [..] Ce projet poétique est servi par les doigts d’un artiste accompli, sensible et néanmoins pourvu d’un réel tempérament. » - Isabelle Werck, avril 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/disque\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« [..] Le musicien clôt cette journée en musique par le Nocturne op. 15 no 2 de Chopin, passage obligé d’un tel programme, dont nous retiendrons surtout quelques belles découvertes. » - Bertrand Boissard, décembre 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.irishtimes.com\/culture\/music\/review\/2022\/11\/18\/finghin-collins-the-bright-day-is-done-review-atmospheric-performances-but-lacking-fluidity\/%20\" target=\"_blank\"\u003eIrish Times\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“[..] Finghin Collins’s new album is a personal selection of 13 piano pieces, opening with Cécile Chaminade’s short Aubade (rather too stiff in this performance), and embracing Amy Beach’s attractive pair of pieces featuring the morning and evening song of the hermit thrush, both communicated through atmospheric performances. [..]” - Michael Dervan, November 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/news\/culture\/musique\/la-journee-musicale-de-finghin-collins-666839%20\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« L’aube, le matin, le temps de midi, le soir, puis la nuit… Les moments de la journée ont inspiré les compositeurs, de l’époque romantique à aujourd’hui. C’est ce fil universel que tire le pianiste Finghin Collins, dans un récital discographique qui illustre l’inspiration d’une dizaine de femmes et d’hommes, qui se sont servi du piano solo pour transcrire leurs sensations, du réveil confiant au soleil de plomb, de la mélancolie du couchant aux mystères nocturnes… [..] Chaque pièce rend compte de l’univers personnel et intime d’un compositeur, et est parfaitement juste et inspirée. » - Elisabeth Haas, novembre 2012\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.musicwebinternational.com\/2023\/01\/the-bright-day-is-done-claves\/\" rel=\"noopener\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] This is a wonderfully well thought out and executed recital and has an interesting mix of the familiar and unfamiliar – I was especially happy to make the acquaintance of Clara Schumann’s magical little nocturne – and Finghin Collins is a thoughtful and skilful story teller and guide.” - Rob Challinor, January 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/chaminade01.htm%20\" rel=\"noopener\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] But then that is the only criticism I can think of (and which of course you do not have to share), because the piano playing of the Irishman Finghin Collins (he won first prize at the Clara Haskil International Piano Competition in Vevey, Switzerland, in 1999) is flawless, while he has given shape to these so different atmospheres in an almost ideal manner.” - Aart van der Wal, October 2022\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3053 \/ 1 \/ Finghin Collins","offer_id":39924530610211,"sku":"3053","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Finghin Collins","offer_id":39721408856099,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Finghin Collins","offer_id":39721408888867,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"11.11.2022 \/ release \/ Finghin Collins","offer_id":39721408921635,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Finghin Collins","offer_id":39865212436515,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305325_pages.pdf?v=1661331190 \/ Booklet \/ Finghin 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Collins","offer_id":39721409151011,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/music\/player\/albums\/B0BD83S587 \/ AmazonMp3 \/ Finghin Collins","offer_id":39780713594915,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Finghin Collins","offer_id":39721409216547,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Finghin Collins","offer_id":39721409249315,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=_meKDlN5rjA\u0026list=PLy5IRCYvmbSzYdfZzBysnuwHiEOFdBznk \/ Video \/ Finghin Collins","offer_id":39926485254179,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Finghin Collins","offer_id":39721409314851,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Finghin Collins","offer_id":39721409347619,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Finghin Collins","offer_id":39721409380387,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Finghin Collins","offer_id":39721409413155,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9372727--the-bright-day-is-done \/ Presto Classical HR \/ Finghin Collins","offer_id":39780713627683,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Finghin Collins","offer_id":39721409478691,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/147947 \/ Pro Studio Masters \/ Finghin Collins","offer_id":39865212534819,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Finghin Collins","offer_id":39721409544227,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/the-bright-day-is-done-finghin-collins\/ubc8t259kpjac \/ Qobuz HD \/ Finghin Collins","offer_id":39780713660451,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/uk.7digital.com\/artist\/finghin-collins \/ 7digitalHD \/ Finghin Collins","offer_id":39865212567587,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/63167793771ba5428674c5b1 \/ HD-Tracks \/ Finghin Collins","offer_id":39865212600355,"sku":"3053","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931305325_frontcover.jpg?v=1661331510"},{"product_id":"roots-teo-gheorghiu","title":"(2022) Roots, Teo Gheorghiu","description":"\u003ch3\u003eTHE STORY\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eHaving lived a life in the present and immediate future, the loss of my father in 2018 was a big bang that opened up a new horizon: the past.\u003c\/p\u003e\n\u003cp\u003eWhere have I come from?\u003c\/p\u003e\n\u003cp\u003eDuring the communist regime under Ceausescu in the 80s, my Romanian parents left everything behind to start a new life abroad. Having been born in Switzerland and raised in London, my only connection to Romania was through music: Dinu Lipatti, Radu Lupu, Maria Tănase, Taraful Haiducilor, and many others making me vibrate with feeling.\u003c\/p\u003e\n\u003cp\u003eMeanwhile, I find myself writing this in Sândominic where my grandfather grew up. This village lies in the heart of Harghita, a region in Romania populated by a proud Hungarian community going by the name of Szekely. Rolling hills recall Swiss sceneries, the summer season making a paradise bursting with colours, tastes, light, and plenty.\u003c\/p\u003e\n\u003cp\u003eAfter spending many decades in Canada and Switzerland, my father had retraced his steps to the summers of his childhood and spent more and more time in Sândominic, where he connected with distant relatives who had welcomed him like a close friend. Ever since he had been laid to rest there next to his grandmother in late summer 2018, I have felt a deep compulsion to visit him and continue his reconnection with our roots.\u003c\/p\u003e\n\u003cp\u003eThis impulse led me East; crossing Germany, Austria, Hungary, and most of Romania on my road bike. Much like my dad, once I hit the road it’s all gas, no brakes, and after twelve intense days, my pilgrimage came to an end - to find a new beginning, a new understanding, and a new sense of belonging with the past nourishing the present.\u003c\/p\u003e\n\u003cp\u003ePedalling to my roots was at once cathartic and wholesome, and this album is powered by this inspiration.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: #ffffff; color: #404040;\"\u003e\u003cem\u003eGipsy dresses swirl with extravagant flair coursing through the veins, God\u003c\/em\u003e’\u003cem\u003es tears left in his wake\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eTHE MUSIC\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e«The opening of this album reflects my initiation to Romania and its musical landscape. It was as a teenager that I first experienced George Enescu’s «Romanian Rhapsody No. 1», at the Enescu Festival in Bucharest no less - an unforgettable whirlwind of joyous tunes arranged in perfect chaos, bouncing off a kaleidoscope of folk colours. Discovering the solo piano version by the composer himself years later, I dived straight in and realised I was missing a third hand. Enescu had squeezed almost all the parts of a symphony orchestra into the ‘reduced’ score and the challenge was to arrange it in a way to make it humanly playable on the piano.»\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e«Romanian Rhapsody No. 1» \u003c\/em\u003e(1901) was inspired by six folkloric dance tunes that George Enescu (1881-1955) grew up with, having had his first contact with music at the age of three hearing local people performing folk music. Multi-talented Enescu was to become one of the greatest violinists of all time, and even had ambitions to become a painter. Without doubt he preferred to compose, ‘for it is the endless, ever new, the future, the expectation of unknown sensations and finally the feeling that you have caught the intangible.’ It was at the young age of nineteen that Enescu finished composing what remains one of his most celebrated works.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cspan style=\"color: #404040;\"\u003eThere is sadness even in joy. This feeling is inspired by our valleys and hills, by the special colour of our sky, by the thoughts that weigh down and at the same time give birth to a longing that cannot be well understood. Yearning seems to me the only original characteristic of Romanian songs in a music rich in Russian and Hungarian motifs.„\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: #404040;\"\u003e- George Enescu\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eSharing the same birth year as Enescu, Bela Bartók (1881-1945) was born in Nagyszentmiklós, a Hungarian town that later became part of Romania and was renamed Sânnicolau Mare. He grew up to become a pianist, an influential composer, and the very first ethnomusicologist, with much of his inspiration coming from his explorations of national folk music. This included Hungarian folk but also other ethnic rhythms that he discovered while travelling through his native Transylvania and beyond. Bartók began to dispense with the rules and conventions of western classical music to be influenced by direct revelations of nature.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: #404040;\"\u003e“My main idea, which dominates me entirely, is the brotherhood of man  over and above all conflicts, this is why I am open to influence by any fresh  and healthy outside sources, be they Romanian or other.„\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: #404040;\"\u003e- Bela Bartók\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003e«Allegro Barbaro» \u003c\/em\u003e(1911) is typical of Bartók’s style, combining Hungarian and Romanian tonalities. Allegedly written as a reaction to a Parisian critics’ jibe about Hungarian artists’ ‘barbaric’ output, Allegro Barbaro exists on the edge of freedom and wild force. For his \u003cem\u003e«Romanian Folk Dances» \u003c\/em\u003e(1917), Bartók used six original tunes which he collected from different regions of Transylvania. Originally performed on violin or shepherd flute, each tune represents a different dance form evoking scenes from joyful peasant dances and earthy celebrations to feelings of weightlessness and yearning. The driving rhythms of \u003cem\u003e«Romanian Dance No. 1» \u003c\/em\u003e(1910) date from the beginning of Bartók‘s interest in folk music, after his first trip collecting Romanian tunes in the summer of 1909.\u003c\/p\u003e\n\u003cp\u003e«Having grown up going to concerts in the Tonhalle Zürich with my father, it was always a special occasion when he came to watch me play once I was giving concerts there myself. On the last such occasion, I ended the solo recital with Modest Mussorgsky’s «Pictures at an Exhibition». No other work marked my musical journey so far like this unique and unconventional universe. It proved to be the perfect platform for an enduring exploration of new perspectives, sincerity, and most of all, being fearless in extremes of expression.»\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e«Pictures at an Exhibition» \u003c\/em\u003e(1874) remains Modest Mussorgsky’s (1839-1881) most important contribution to piano literature, a remarkable turnaround considering the work was never performed publicly in his lifetime. Prior to its creation, the composer had been a cosmopolitan, but was to experience a transformation, noting, ‘now I have undergone a sort of rebirth: I have been brought near to everything Russian.’ Infused by slavic folk songs, liturgical music, and fairy tales, Mussorgsky draws from the culture of his fellow countrymen, painting through sounds the realities of everyday life, death, children and animals in a dialogue that is direct and unrestricted by traditional rules and conventions.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: #404040;\"\u003e“No one has ever appealed to the best in us in a deeper and more tender expression.  Mussorgsky is unique and will remain so, for his art is free from artifice and arid formulas. Never was refined sensitivity interpreted by such simple means. It is like the art of a wild creature who discovers music in each of his emotions.„\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"color: #404040;\"\u003e- Claude Debussy\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e«To conclude the album, «Gurdjieff - ‘Enter the realm’» takes a plunge, expressing all that is outside of our grasp. In a collaboration with esteemed colleague and cherished friend, Fabian Russ, we synthesise George Gurdjieff’s philosophical teachings which strive to unite the esoteric wisdoms of the east with the scientific thinking of the west.»\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eMuch like his contemporary, Bela Bartók, George Gurdjieff (1866-1949) travelled extensively collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann recorded and turned into piano pieces. Later in life, Gurdjieff founded an Institute for the Harmonious Development of Man. His educational work addressed all areas of human existence and included physical work, readings and ritual dances.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTeo Gheorghiu\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003ca href=\"\/collections\/teo-gheorghiu\"\u003eTEO GHEORGHIU\u003c\/a\u003e\u003c\/h3\u003e\n\u003cp\u003eBorn in 1992 to Romanian parents, Swiss-Canadian pianist Teo Gheorghiu made his concert debut in his hometown at the Tonhalle in 2004. Since then, he has performed throughout the world including in Paris, Tokyo, St. Petersburg, Madrid, New York and at all of London’s major venues.\u003c\/p\u003e\n\u003cp\u003eHe has worked with leading orchestras including the Tonhalle Orchestra, Royal Philharmonic Orchestra, Tokyo Symphony Orchestra, Musikkollegium Winterthur and the Pittsburgh Symphony Orchestra. During his career so far he has enjoyed collaborations with esteemed conductors such as Sir Neville Marriner, John Nelson, Vasily Petrenko, Roberto Gonzalez-Monjas, Andrei Feher, Matthias Pintscher, Samy Moussa and Alexander Shelley.\u003c\/p\u003e\n\u003cp\u003eTeo has won 1\u003csup\u003est \u003c\/sup\u003eprize in the San Marino and Franz Liszt International Piano Competitions. In 2010 he became the youngest recipient of the coveted Beethovenring at the Beethovenfest Bonn and was awarded the ‘Best Canadian Artist’ at the 2017 edition of Concours Musicale International de Montréal.\u003c\/p\u003e\n\u003cp\u003eTeo has studied and spent most of his life in London and it is there that he spent 5 years refining his voice under the guidance of his inspirational teacher and mentor, the late Hamish Milne. Since then he has made his own way in exploring varied repertoires and new ways to reflect life into music. As well as being an avid cyclist, Teo's other passions lie in playing football, travelling, and making new discoveries in the world of folk music.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/teogheorghiu.net\/\" target=\"_blank\"\u003e\u003cem\u003eteogheorghiu.net\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e***\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eFABIAN RUSS\u003c\/h3\u003e\n\u003cp\u003eFabian Russ is an Orchestronik practitioner. His main focus is based on working with samples and the interweaving of electronics and classical music for solo instruments up to large symphony orchestras specialised in live 3D audio listening rooms or for headphones in various format constellations. He works among others with Albrecht Mayer, Andreas Scholl, Midori Seiler and Grammy-winning 3D audio pioneer Tom Ammermann. Fabian Russ is part of a longer collaboration with Grammy winner Lasse Järvi for the development of new hybrid soundtrack formats. Using his signature style, Russ joins Järvi in providing musical accompaniment to FX’s (Disney Network) 5-part documentary ‘Dear Mama’ about rap legend Tupac, alongside Academy Award winner Atticus Ross.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"https:\/\/www.fabianruss.de\/orchestronik\" target=\"_blank\"\u003efabianruss.de\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.bluewin.ch\/fr\/entertainment\/musique\/teo-gheorghiu-jarreterai-la-musique-quand-mon-coeur-sarretera-1542238.html%20\" target=\"_blank\"\u003eBluewin\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le pianiste établi à Fribourg sort un nouveau disque intitulé «Roots». Un album très intime où le musicien explore ses origines et son histoire, aussi bien sur le plan personnel que musical. Portrait. » - Valérie Passello, décembre 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDiapason Magazine\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Teo Gheorghiu explore ses « Racines » dans un programme étonnant où Bartok et Enesco croisent les Tableaux d’une exposition de Moussorgski » - Bertrand Boissard, décembre 2022\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.irishtimes.com\/culture\/music\/review\/2022\/12\/02\/teo-gheorghiu-roots-fresh-explorations-of-personal-histories\/%20\" target=\"_blank\"\u003eIrish Times\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“The pianist offers thoughtful interpretations of pieces from Romania and beyond. [..] Influenced by many but still unique, Teo Gheorghiu takes listeners on exploration of his roots in his new album” - Michael Dervan, December 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.kultur-tipp.ch\/hoeren\/cd-tipps\" rel=\"noopener\" target=\"_blank\"\u003eKulturTipp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e« Pianist Teo Gheorghiu ist in Zürich und London aufgewachsen. Das Schweizer Publikum lernte ihn als Wunderkind Vitus in Fredi M. Murers gleichnamigem Spielfilm (2005) kennen. Längst macht der heute 30-Jährige international Karriere als Konzertpianist. Sein neues Album widmet er seinem rumänischen Vater. Gheorghiu hat seine Wurzeln schon mit dem Rennrad erkundet, nun tut er es auf dem Piano. [..] » - Frank von Niederhäusern, Oktober 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.letemps.ch\/culture\/musiques\/aux-racines-pianiste-teo-gheorghiu-roumaines-musicales\" rel=\"noopener\" target=\"_blank\"\u003eLe Temps\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le pianiste prodige et adepte du vélo sort un nouveau disque, «Roots», chez Claves. Il évoque son parcours, et la mémoire d’un pays oublié, qu’il a fini par retrouver » - Juliette de Banes Gardonne, février 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/mutheute.com\/studio\/%20\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« [..] Sein Spiel besticht durch unfehlbare Virtuosität, aber auch durch ein ebenso grossartiges Einfühlungsvermögen in die folkloristischen Elemente dieser Tänze. Zum krönenden Abschluss dann echt Russisches: die «Bilder einer Ausstellung». Interessant, wie er die jeweiligen «Promenades» sehr persönlich gestaltet. Über weite Strecken ein in sich gekehrtes Klavierspiel, Virtuosität wird nie Selbstzweck, und die Entfesselung der Leidenschaften hält sich hier in vermutlich bewusst gesetzten Grenzen. Das alles ist rundum beeindruckend: Hier ist ein grossartig begabter Pianist am Werk. [..] » - Werner Pfister, Juli 2023 \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.prestomusic.com\/classical\/products\/9377020--roots%20\" rel=\"noopener\" target=\"_blank\"\u003ePresto Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“The Swiss-Canadian pianist recital of works inspired by the folk-music of Central and Eastern Europe kicks off with Enescu's Romanian Rhapsody No. 1, which he first heard as a teenager in Bucharest and which he describes as 'an unforgettable whirlwind of joyous tunes arranged in perfect chaos'. It's followed by Bartók's Allegro barbaro and Romanian Folk Dances, Mussorgsky's Pictures at the Exhibition, and Gurdjieff's Enter the realm (arranged by Fabian Russ).” - December 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/suplimentuldecultura.ro\/39650\/rubato-58%20\" rel=\"noopener\" target=\"_blank\"\u003eSuplimentuldecultura.ro\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"Rădăcini is an expression of my Romanian blood, reflecting my story as a man and a musician,\" said Swiss-Canadian pianist Teo Gheorghiu, in the last interview of 2022, at Tempo Rubato, in SdC. A record revelation.” – December 2022\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3052 \/ 1 \/ Teo Gheorghiu","offer_id":39924530577443,"sku":"3052","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Teo Gheorghiu","offer_id":39780604772387,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Teo Gheorghiu","offer_id":39780604805155,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"09.12.2022 \/ release \/ Teo Gheorghiu","offer_id":39780604837923,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Teo Gheorghiu","offer_id":39883528175651,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/orcd.co\/album-roots \/ smart_links \/ Teo Gheorghiu","offer_id":39883528208419,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931305226_booklet_pages.pdf?v=1663918445 \/ Booklet \/ Teo Gheorghiu","offer_id":39787074912291,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/roots\/1647074180 \/ iTunes \/ Teo Gheorghiu","offer_id":39795587743779,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2hYQR3WnOVwNNdmahtfl9y \/ Spotify \/ Teo Gheorghiu","offer_id":39795590430755,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_mN3pO3V5drzwGCG4eKuR4iWntRDEbHiRY \/ Youtube Music \/ Teo Gheorghiu","offer_id":39890058936355,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Teo Gheorghiu","offer_id":39780605034531,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Deezer \/ Teo Gheorghiu","offer_id":39780605067299,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/music\/player\/albums\/B0BGJL9MBG \/ AmazonMp3 \/ Teo Gheorghiu","offer_id":39795587776547,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Teo Gheorghiu","offer_id":39780605132835,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Teo Gheorghiu","offer_id":39780605198371,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=WcPj_lPM2RY\u0026list=PLy5IRCYvmbSywpIjrfSQUSDyPFYBOgIIF \/ Video \/ Teo Gheorghiu","offer_id":39890058969123,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Teo Gheorghiu","offer_id":39780605263907,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Teo Gheorghiu","offer_id":39780605296675,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Teo Gheorghiu","offer_id":39780605329443,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Teo Gheorghiu","offer_id":39780605362211,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9377020--roots \/ Presto Classical HR \/ Teo Gheorghiu","offer_id":39890059001891,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Teo Gheorghiu","offer_id":39780605427747,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/151200 \/ Pro Studio Masters \/ Teo Gheorghiu","offer_id":39890059034659,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Teo Gheorghiu","offer_id":39780605493283,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/roots-teo-gheorghiu\/j5b2oe8tqqrya \/ Qobuz HD \/ Teo Gheorghiu","offer_id":39795587809315,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Teo Gheorghiu","offer_id":39780605558819,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/63330fea174bb5103125f4bd \/ HD-Tracks \/ Teo Gheorghiu","offer_id":39890059067427,"sku":"3052","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931305226_frontcover.jpg?v=1663918410"},{"product_id":"festival-4-saisons-lausanne-8-ans-dhistoire-2014-2022","title":"(2023) Festival 4 saisons, Lausanne - 8 ans d'histoire: 2014-2022","description":"\u003ch3\u003eINTRODUCTION\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e8 Years of History\u003c\/em\u003e is a witness to the first eight years of the 4 Seasons Festival. A classical music festival for and by young people, this is the challenge that was launched in 2014 by Oleg Gafner. Taking place 4 times a year, the Lausanne festival has distinguished itself by its programming with singular ideas and its choice of young local performers.\u003cbr\u003e\u003cbr\u003eAfter having marked the 4 years of the festival with a book retracing its first steps, it is now the music that takes over the text to inlay its notes in the history of the festival. Whether it is the presence of musicians Aurore Grosclaude, Clara Schlotz or Mila Gafner who symbolizes the launching concert of the festival, Guy-Baptiste Jaccottet who signs not only his presence as a musician, but also as a composer, or Ionah Maiatsky who is a regularly invited artist, this CD is composed of works and performers who shape the identity of the 4 seasons festival.\u003cbr\u003e\u003cbr\u003eWhatever its format, the 4 seasons festival has always honored classical music. But to honor it, its ease of access is essential. Since its beginnings, the festival has relied on the total gratuity of its events: entrance, food and drinks have always been offered. In addition to the desire to share this love for classical music, the desire to open up and broaden this world, which may seem restricted, has been a sine qua non of the festival. In addition to the fact that it is free, the emphasis on youth, both among the artists and the organizers, is at the heart of its identity. These last years, especially with the pandemic that we have just gone through, have demonstrated a committed and innovative youth.\u003cbr\u003e\u003cbr\u003eDuring these eight years, the festival has been able to take up many challenges. We could mention long term projects like the publication of its book or the production of this CD. But it is undoubtedly in the face of̀ the COVID-19 pandemic that the festival has been able to bounce back and innovate the most in order to keep in touch with its audience. During the containment, concerts that should have been cancelled by the audience ban were still able to exist. Thanks to the live broadcast, a room empty of listeners but filled with the musical presence of the performers and the technical team, the festival was able to maintain its concerts and even its traditional meals, delivering them directly to the listeners, one hour before the broadcast. During Advent 2020, an ensemble travelled around the canton of Vaud in a van to play for our seniors in retirement homes.\u003cbr\u003e\u003cbr\u003eThus, the 4 Seasons Festival is also an evolution through the city of Lausanne. The first five editions took place in the Maison de Quartier de la Pontaise, then moved to the Opéra de Lausanne, before landing at the Salle Paderewski of the Casino de Montbenon. For this recording, it was important to return to the places that saw the birth of this musical epic, while taking up the challenge of the festival: a live recording, made by Radio Télévision Suisse. Two takes at the most, without splicing or retouching. [..]\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306728_booklet_pages_e31317d9-5e47-4461-ab9f-bbe983f781c3.pdf?v=1679052549\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTranslated from French by www.DeepL.com\/Translator (free version)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eGUY-BAPTISTE JACCOTTET, harmonium \u0026amp; composition\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eFascinated by the organ in all its facets, Guy-Baptiste Jaccottet (1998) studies in the class of Benjamin Righetti (HEMU-Lausanne) and at the same time works on improvisation with Paul Goussot (CRR Rueil-Malmaison).\u003cbr\u003e\u003cbr\u003eDeeply attracted by the creation, the spectacle and the cinema, he is responsible for the organ of the Barnabé Theater in Servion. From 2019 to 2021, he is assistant organist at the church of Saint-François in Lausanne and in 2020 takes up his functions as titular organist at the Temple of La Tour-de-Peilz and as organ teacher at the Conservatoire de Montreux-Vevey-Riviera (CMVR). In 2022, he was appointed professor of organ at the Conservatoire de Lausanne.\u003cbr\u003e\u003cbr\u003eAs a soloist, cinematographer or in an ensemble, Guy-Baptiste gives about forty concerts per year, notably in privileged and prestigious settings (Verbier Festival, Festival internazionale di musica organistica di Magadino, Festival Toulouse les Orgues, Festival l'orgue fait son cinéma in Geneva, Bach Festival in Lausanne, Davos Festival). Anxious to defend a wide and varied repertoire and to reach an ever more diverse audience, he regularly produces videos on his YouTube channel. In 2022, he recorded a first album at the Abbey of Payerne, in duo with the flutist Charlotte Schneider.\u003cbr\u003e\u003cbr\u003eHis music was recognized in 2016 by the First Prize and the Audience Prize at the New Music for Recorder composition competition. Winner of the pedagogical composition competition of the association Kinder an die Orgel, he published in 2022 the 3 volumes of his \"Carnaval des Zoorganistes\", intended for budding organists.\u003cbr\u003e\u003cbr\u003eFond of novelty, but respectful of tradition, he received in 2019 the Grant for talent and creativity from the Casino Barrière Foundation.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306728_booklet_pages_e31317d9-5e47-4461-ab9f-bbe983f781c3.pdf?v=1679052549\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eRead other bios in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTranslated from French by www.DeepL.com\/Translator (free version)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBiographies:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDuo Guy-Baptiste Jaccottet\u003c\/strong\u003e (harmonium) \u003cstrong\u003eet Tjasha Gafner\u003c\/strong\u003e (harp)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrio 42'\u003c\/strong\u003e\u003cbr\u003eElena Moruzzi (violin)\u003cbr\u003eMila Gafner (alto)\u003cbr\u003eClara Schlotz (cello)\u003cbr\u003e\u003cbr\u003eIonah Maiatsky (piano)\u003cbr\u003eAurore Grosclaude (piano)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eFestival 4 Saisons Lausanne\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003ePermanent festival team\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOleg Gafner (direction)\u003cbr\u003eMarilou Müller (publics)\u003cbr\u003eChloé Voirol (bénévoles)\u003cbr\u003eJade Voirol (production)\u003cbr\u003eAdèle Chavanne (programmation)\u003cbr\u003eHermance Chanel (finances)\u003cbr\u003eLola Hofer (administration)\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.austa.asn.au\/stringendo\/\" target=\"_blank\"\u003eAusta \/ Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\" [..] The combination of instruments works very well and the performance by Duo Guy-Baptiste Jaccottet and Tjasha Gafner is most enjoyable.\" - Andrew Lorenz, April 2024\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3067 \/ 1 \/ Festival 4 saisons Lausanne","offer_id":39924530774051,"sku":"3067","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Festival 4 saisons Lausanne","offer_id":39910702776355,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Festival 4 saisons Lausanne","offer_id":39910702809123,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Festival 4 saisons Lausanne","offer_id":39910702841891,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Festival 4 saisons 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4 saisons Lausanne","offer_id":39910703366179,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Festival 4 saisons Lausanne","offer_id":39910703398947,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Festival 4 saisons Lausanne","offer_id":39910703431715,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9450115--festival-4-saisons-lausanne-8-ans-dhistoire-2014-2022 \/ Presto Classical HR \/ Festival 4 saisons Lausanne","offer_id":39957688975395,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Festival 4 saisons Lausanne","offer_id":39910703497251,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Pro Studio Masters \/ Festival 4 saisons Lausanne","offer_id":39910703530019,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Festival 4 saisons Lausanne","offer_id":39910703562787,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/festival-4-saisons-lausanne-8-ans-dhistoire-2014-2022-various-artists\/iymho5uq8gzrc \/ Qobuz HD \/ Festival 4 saisons Lausanne","offer_id":39914921295907,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Festival 4 saisons Lausanne","offer_id":39910703628323,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/63caad64a0dc8a4ad669e2dd \/ HD-Tracks \/ Festival 4 saisons Lausanne","offer_id":39957689008163,"sku":"3067","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931306728_frontcover.jpg?v=1673613191"},{"product_id":"numinosum-works-by-bach-busoni-liszt-franck-messiaen","title":"(2023) Numinosum: Works by Bach-Busoni, Liszt, Franck \u0026 Messiaen","description":"\u003ch3\u003eNuminosum\u003c\/h3\u003e\n\u003cblockquote\u003e\n\u003cp\u003eIt is important to have a secret, a premonition of things unknown. It fills life with something impersonal, a \u003cem\u003enuminosum. - \u003c\/em\u003eC. G. Jung, \u003cem\u003eMemories, Dreams, Reflections\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis album features works by composers for whom the conception and creation of music was intimately bound up with a religious attitude towards the world. Before the birth of aesthetics in the 18th century, the symbolic or “external” meanings of music resided in the music itself; neither its expressiveness nor its purpose as an integral part of social and religious rituals were separated from a larger context of moral and spiritual considerations. In this sense, although their tonal languages and forms differ greatly, later composers such as Liszt, Franck and Messiaen followed the spirit of Bach, reflecting a musical philosophy in which musical means and theological ends were deeply intertwined, if not one and the same.\u003c\/p\u003e\n\u003cp\u003eWhat impact does a greater awareness of the symbolic realities of religious thought, which inspired the music in the first place, have on how we — the interpreter and the listener — hear the music, and what meanings we find within it? In the accompanying essay on the following pages, I offer some observations about the program and about art more generally from a philosophical and metaphysical perspective. I propose that the experience of art — which, like the religious experience, is an encounter with the world and the inexplicable — has the potential of challenging the boundaries between self and other.\u003c\/p\u003e\n\u003cp\u003eIn those instances where the pull towards something other is of such magnitude that it renders the self utterly powerless and will-less, we are in the presence of the \u003cem\u003enuminosum\u003c\/em\u003e. The numinous quality resides in the phenomenon itself and is a dynamic force that takes hold of and acts upon the subject. The word derives from the Latin \u003cem\u003enumen\u003c\/em\u003e, meaning ‘divine power’ or ‘spirit’, and was coined by Rudolf Otto in his book \u003cem\u003eDas Heilige, \u003c\/em\u003ewhich explores the non-rational elements underpinning personal belief, and the role that spontaneous, immediate experiences play in this respect. In its adjective form, the numinous evokes the words luminous and ominous; it hints at both emanating light and at the overwhelming sense of the unknown.\u003c\/p\u003e\n\u003cp\u003eThe recording of the album took place in the winter of 2020 in a church on the remote Lofoten Islands in Northern Norway. During the so-called \u003cem\u003emørketid — \u003c\/em\u003eliterally “dark-time” or dark season — the light which illuminates the skies from below the horizon for only a few hours a day holds a greater meaning. This atmosphere was, I believe, very appropriate to this particular music, and certainly had an impact on the sessions. In the North, the sense that light acquires its significance from its absence or negation is more visceral. If darkness is the great unknown, something without properties and beyond measurement, its meta-physical presence is often what inspires the more immediate qualities of experience. And as illumination stands forth in contrast with the obscure, it is also within the unknown that possibility and becoming lie.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJoachim Carr\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eJoachim Carr\u003c\/h3\u003e\n\u003cp\u003eThe Norwegian pianist \u003ca href=\"\/collections\/joachim-carr\"\u003eJoachim Carr\u003c\/a\u003e has over the past few years established himself as one of the most exciting musicians to emerge from Scandinavia.\u003c\/p\u003e\n\u003cp\u003eHe is the winner of several international prizes, including the First Prize, the Audience Award as well as the Orchestra Prize of the Bergen Philharmonic at the 14th International Edvard Grieg Piano Competition in 2014. The previous year, he had received the \u003cem\u003ecoup de coeur \u003c\/em\u003ePrize for his recital at the 25th Concours Clara Haskil. Following his debut recital at the Oslo University Aula in 2015 – a long- standing tradition in Norwegian musical life – he received the Robert Levin Prize. For several years, he has also been a recipient of the Norwegian Government Grant for Artists.\u003c\/p\u003e\n\u003cp\u003eA versatile chamber musician, he won several prizes in duo and trio formations, most notably the First Prizes at the 10th Concours International de Musique de Chambre de Lyon and at the Boris Pergamenschikow Prize for contemporary chamber music in Berlin. His chamber music partners have included Antje Weithaas, Radovan Vlatkovic, Lars Anders Tomter, Bruno Philippe, Hayoung Choi, Ingrid Fliter, Bertrand Chamayou and the Doric String Quartet.\u003c\/p\u003e\n\u003cp\u003eAs a recitalist and in various chamber music formations he has performed at the Klavierfestival Ruhr, Zermatt Festival, Bergen International Festival, Lofoten Piano Festival, Rosendal Chamber Music Festival, Bach Festival Moscow, PODIUM Festival Esslingen, Festspiele Mecklenburg-Vorpommern and Salzburger Kammermusikfestival.\u003c\/p\u003e\n\u003cp\u003eWith concerto repertoire, he has appeared with the Royal Stockholm Philharmonic, the Lithuanian State Symphony Orchestra, the Trondheim Symphony Orchestra, the Arctic Philharmonic and the Norwegian Radio Orchestra, collaborating with conductors such as Alexander Vedernikov, Gintaras Rinkevicius, Miguel Harth-Bedoya, Arvid Engegård, Eivind Aadland and Bjarte Engeset. At the closing concert of the Bergen International Festival in 2017, he had the honour of performing the Grieg Concerto with the Bergen Philharmonic under John Storgårds.\u003c\/p\u003e\n\u003cp\u003eBorn 1988 in Bergen, Carr received important musical impulses in his youth from pianists Jan Henrik Kayser, Håvard Gimse and Leif Ove Andsnes. After studies at the Barratt Due Institute of Music in Oslo with Czech pedagogue Jiri Hlinka, he moved to Berlin and continued his postgraduate studies with Eldar Nebolsin at the Hochschule für Musik “Hanns Eisler”. In later years he has received invaluable advice from Ferenc Rados and Rita Wagner.\u003c\/p\u003e\n\u003cp\u003eHis debut album for Claves Records, released in 2014, and featuring early works by Schumann, Brahms and Berg was highly praised by critics, receiving the \u003cem\u003e5 Diapason \u003c\/em\u003eaccolade by the French magazine. He has since recorded for Naxos (works by Liszt and Halfdan Cleve); and for Avi- music (Live Recordings, Klavierfestival Ruhr).\u003c\/p\u003e\n\u003cp\u003eApart from performing the classical repertoire, with a special emphasis on the Romantic and early 20th century epochs, he is committed to including his own improvisations into concert programs. He regularly cooperates with jazz and folk musicians, and is also a member of the Glorvigen Tango Quartet.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eOn the sensory and metaphysical realities of music\u003c\/h3\u003e\n\u003cp\u003eAn essay in three parts (ENG) by \u003ca href=\"\/collections\/joachim-carr\"\u003eJoachim Carr\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener noreferrer\" href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306025_BOOKLET_pages.pdf?v=1681389845#page=14\" target=\"_blank\"\u003e\u003cimg style=\"display: block; margin-left: auto; margin-right: auto;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/Essay_preview_480x480.jpg?v=1681392978\" alt=\"\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener noreferrer\" href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931306025_BOOKLET_pages.pdf?v=1681389845#page=14\" target=\"_blank\"\u003e\u003cem\u003eRead it in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"http:\/\/www.artalinna.com\/2023\/08\/08\/piano-mystique\/%20\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eArtalinna\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« La couleur sonore, ce gris perle avec nuages que Busoni a inventé dans son piano pour y faire entrer l’orgue intime de Ich ru zu dir, Herr Jesu Christ par lequel Joachim Carr ouvre ce qui semble son second disque solo est la même que celle choisie par César Franck, cet autre organiste, pour Prélude, Choral et Fugue qui referme l’album. \u003c\/em\u003e\u003cem\u003eUn cercle parfait, de la mystique de clavier pur, dont les deux Légendes de Liszt seront les ancrages romantiques, récits sacrés beaux comme des Piero della Francesca que le jeune pianiste norvégien joue large et profond, les gorgeant de timbres plus que d’effets. [..] Et Franck ? Sans traîner, en clavier immatériel, dans une lumière irréelle, vous entendrez le Prélude, Choral et Fugue différemment, si fluide, si serein, si détaché, reflet sonore des séances d’enregistrement sises dans une église sur une île perdue au nord de la Norvège, lorsque le soleil n’y paraît quasiment pas, avec pour seule lumière dans la ténèbre cet admirable Steinway dont j’aurais bien voulu connaître ne serait-ce que le numéro. » - Jean-Charles Hoffelé, août 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.classical-music.com\/\" target=\"_blank\"\u003eBBC Music Magazine\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"A neal idea to have a programme that explores how composers across the ages expressed their religious philosophy through music. The variety works well, and Carr conjures an admirable sense of awe and reflexion. [..]\" - JP, August 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/classica.fr\/disques\/toutes-nos-critiques\/\" target=\"_blank\"\u003eClassica\u003c\/a\u003e\u003cem\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] Prélude, choral et fugue ne cherche pas à imiter les registrations de l’orgue. À la fois coulant et tourmenté, le triptyque semble tout entier tourné vers la transfiguration finale, mue par une irrépressible poussée anagogique. Et quelle sonorité !\" - Jérémie Bigori, octobre 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.gramophone.co.uk\/review\/joachim-carr-numinosum%20\" target=\"_blank\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eGramophone\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“The latest Claves release from Joachim Carr is titled ‘Numinosum’, a word drawn from Jungian psychology to describe a sort of involuntary mystical or religious experience. The programme suggests that the 35-year-old Norwegian pianist is a musician with a strong spiritual bent and his booklet essay of no fewer than 17 pages seems to indicate that this spirituality flourishes within a rigorous intellectual framework. Busoni’s transcriptions of four Bach chorale preludes serve as headings to chapters variously consisting of Liszt, Franck and Messiaen. [..] This is an unusually thoughtful recording which will doubtless reward repeated listening.” - Patrick Rucker, November 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/lecourrier.ch\/2024\/02\/01\/lumiere-intime-du-divin\/\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLe Courrier\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"Le jeune pianiste Joachim Carr a enregistré Numinosum, son deuxième album soliste, dans une église tout au nord de la Norvège. [..] Prenez Joachim Carr, un jeune pianiste qui commence à se frayer un joli chemin et s’assurer une certaine notoriété sur la scène scandinave. Mettez-le dans une église tout au nord de la Norvège, pendant l’hiver, lorsqu’il n’y a que quelques heures de crépuscule pour toute lumière dans une journée. Voilà les conditions dans lesquelles il a décidé d’enregistrer ce Numinosum, son deuxième album soliste sorti chez Claves. Il y explore le divin immanent à la musique, la recherche intérieure de contact avec la lumière du sublime, et la sublimatio et alienatio mystiques qui en dérivent quand cela se produit. [..] Carr réussit un petit miracle d’interprétation, en les magnifiant par un son perlé, léger, liquide et puissamment évocateur, tantôt intime et évanescent, tantôt assertif.\" - Gianluigi Bocelli, février 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/numinosum.htm%20\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOpusKlassiek\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"[..] So Carr, who on this beautifully recorded CD has filled a mixed programme that from beginning to end is a fascinating exploration of music that sounds familiar to most of us, but has been given a distinctly individualistic character by this Norwegian pianist. And I am not so much referring to the richness of sound that he manages to conjure out of the perfectly intoned and tuned Steinway D, but more to the equally rich detail in articulation, phrasing and voicing, the minuscule accelerations and decelerations masterfully applied with which he further infuses this music with the elixir of life. No less impressive is the way he builds up these pieces, giving the architectural an important role in these mostly miniatures. Then there is Carr's eminent touch and tonal shaping, as is already promptly evident in the very beginning of this fabulous recital, Busoni's arrangement of Bach's chorale prelude 'Ich ruf' zu dir, Herr Jesu Christ': the unrolled carpet of sound soon develops into a breathtaking beauty. [..]\" - Aart van der Wal, June 2023\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3060 \/ 1 \/ Joachim Carr","offer_id":39973017452579,"sku":"3060","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Joachim Carr","offer_id":39973017485347,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Joachim Carr","offer_id":39973017518115,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Joachim Carr","offer_id":39973017550883,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Joachim Carr","offer_id":39973017583651,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"07.07.2023 \/ release \/ Joachim Carr","offer_id":39973017616419,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Joachim 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HR \/ Joachim Carr","offer_id":40081169023011,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Joachim Carr","offer_id":39973018206243,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/181133 \/ Pro Studio Masters \/ Joachim Carr","offer_id":40081727750179,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Joachim Carr","offer_id":39973018271779,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/numinosum-works-by-bach-busoni-liszt-franck-messiaen-joachim-carr\/geet8m4jlwlxb \/ Qobuz HD \/ Joachim Carr","offer_id":40024728436771,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Joachim Carr","offer_id":39973018337315,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/6438feea68752c5ebf0be928 \/ HD-Tracks \/ Joachim Carr","offer_id":40081727782947,"sku":"3060","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/7619931306025_frontcover.jpg?v=1681390028"},{"product_id":"werden-works-by-mozart-beethoven-tarrodi","title":"(2023) «Werden» works by Mozart - Beethoven - Tarrodi","description":"\u003ch3\u003eROBERTO GONZÁLEZ-MONJAS ON MOZART’S SPLENDID SYMPHONY NO. 39\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Even if you don’t have to understand music completely, it’s fascinating to unlock the secrets behind musical masterpieces.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe theme of our 22\/23 season, “Werden” (Becoming), is taken directly from Mozart’s splendid Symphony No. 39. This work is associated with concepts such as freemasonry, virtuosity, nature, mystery and enlightenment. But why? Can music really express these ideas, or do we merely randomly associate romantic meanings with it? How can we interpret a manuscript – hastily written in ink on parchment by candlelight in 1788? I warmly invite you to engage with the hidden aspects of this fascinating work.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003e\u003cem\u003eRoberto González-Monjas\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eANDREA TARRODI ON FRAGMENTS OF ENLIGHTENMENT\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eI was commissioned to compose “Fragments of Enlightenment” by the Musikkollegium Winterthur and its Chief Conductor Roberto González-Monjas. It is inspired by Mozart’s Symphony No. 39, and there are quotes and fragments from his work throughout the piece. When composing, I thought of someone who is struggling inwardly, constantly striving for light and serenity – values for which Mozart’s music often stands. It is for the listener to decide whether he or she finds these at the end of the piece.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrea Tarrodi \u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWOLFGANG AMADEUS MOZART SYMPHONY NO. 39 IN E-FLAT MAJOR\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/wolfgang-amadeus-mozart\"\u003eMozart\u003c\/a\u003e’s symphony in E-flat major begins with a grand gesture. At the same time, it opens the mythical “triad” of last symphonies that Mozart penned at seemingly superhuman speed in the summer of 1788. Three times, at the beginning of the long introduction, our attention is aroused – with pathos, pearly descending scales and dotted rhythms in accordance with the ceremonial of the French overture. Timpani and trumpets reinforce the sublime tone which, however, does not remain without strong contrasts over the course of the symphony. The perpetuum mobile finale à la Haydn, in particular, comes to such a sudden halt that, in the words of Hans Georg Nägeli, “the unprepared listener has no idea what is happening to him” . According to musicologist Peter Gülke, this abrupt end to the work could perhaps also be understood as a provisional conclusion in the midst of the symphonic triad.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTiziana Gohl \u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWOLFGANG AMADEUS MOZART MAURERISCHE TRAUERMUSIK\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eAs a result of Joseph II’s relaxation of censorship, masonic lodges with a need for ritual, sacred music mushroomed in Vienna in the 1780s. Since joining the “Zur Wohltätigkeit” lodge at the end of 1784, \u003ca href=\"\/collections\/wolfgang-amadeus-mozart\"\u003eWolfgang Amadeus Mozart\u003c\/a\u003e had composed numerous works connected with freemasonry. The genesis of the “Masonic Funeral Music” and the reason for its creation are not without controversy. An initial setting, dated by Mozart to July 1785, may have served as the accompaniment for the ritual elevation of an initiate to the rank of master. For a later version, which was probably performed at the funeral service of two important lodge brothers in December of the same year, Mozart gave the piece greater depth by adding two basset horns and an octave bassoon. Set in C minor, the traditional key of mourning, the melancholy movement begins with the lamentation of the plaintive minor second in the oboes. For the consoling middle section in E-flat major, Mozart used a cantus firmus – a set melody – taken from the Good Friday liturgy, just as Johann Michael Haydn had done for his Requiem, which Mozart knew and appreciated.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeverin Kolb \u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eLUDWIG VAN BEETHOVEN OVERTURE DIE WEIHE DES HAUSES\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eOctober 3, 1822, marked a memorable new beginning: after a period of rebuilding, Vienna’s Theater in der Josefstadt was due to reopen. The overture for the festivities was composed and conducted by \u003ca href=\"\/collections\/ludwig-van-beethoven\"\u003eLudwig van Beethoven\u003c\/a\u003e, notwithstanding his advanced hearing affliction – the only theatre to have been “consecrated” by the composer himself, performing a work of his own composition. The introduction of this “occasional piece” already strikes a majestic tone, before a trumpet fanfare resounds for the transition into the main movement. A solemn fugato, paired with the instruction “Allegro con brio” – significant for Beethoven – creates an especially festive atmosphere. The radiant coda in C major elevates this key to veritably panegyric heights. The fact that Beethoven later included the overture in the concert programme for the première of his Ninth Symphony, together with excerpts from the \u003cem\u003eMissa solemnis\u003c\/em\u003e, illustrates its significance for his orchestral music. Contemporaries considered it “indisputably among Beethoven’s most accomplished works” .\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTiziana Gohl\u003cbr\u003eTranslations: Toby Alleyne-Gee\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eROBERTO GONZÁLEZ-MONJAS\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003c\/a\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e is an extremely sought-after conductor and violinist who has rapidly established an international reputation. He is Chief Conductor of the Musikkollegium Winterthur as well as Chief Conductor and Artistic Adviser of the Dalasinfoniettan. He is also Principal Guest Conductor of the Belgian National Orchestra, and is designate Music Director of the Galicia Symphony Orchestra in Spain, starting in September 2023. As a committed educator, Roberto González-Monjas founded the Iberacademy together with conductor Alejandro Posada in 2013.\u003c\/p\u003e\n\u003cp\u003eThe institution aims to create an efficient and sustainable model of musical education in Latin America that focuses on disadvantaged sections of the population – as well as promoting highly talented young musicians. Roberto González-Monjas was recently appointed Chief Conductor of the Mozarteumorchester Salzburg, where his tenure will begin in September 2024. González- Monjas is also Professor of Violin at the Guildhall School of Music \u0026amp; Drama and is a regular mentor and conductor of the Guildhall School Chamber and Symphony Orchestra at London’s Barbican Hall.\u003c\/p\u003e\n\u003cp\u003eRoberto González-Monjas was previously Concertmaster of the Orchestra dell’Accademia Nazionale di Santa Cecilia for six years and First Concertmaster of the Musikkollegium Winterthur until the end of the 2020\/21 season.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.robertogonzalezmonjas.com\/\" target=\"_blank\"\u003e\u003cem\u003erobertogonzalezmonjas.com\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eMUSIKKOLLEGIUM WINTERTHUR\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e was founded in 1629 and thus boasts one of the longest-standing traditions among Europe’s musical institutions.\u003c\/p\u003e\n\u003cp\u003eWinterthur occupies a prominent position in Europe’s cultural landscape. This is due not only to its art collections, but also to its orchestra – the Musikkollegium Winterthur – which has been under the direction of Chief Conductor Roberto González-Monjas since 2021\/22. The history of the Musikkollegium Winterthur, which stretches back to 1629, is still very much alive: today, the dedication of Winterthur’s bourgeois families of the 17th century is maintained by the numerous members of the orchestra association. The early 20th century was a particularly formative period, with patron of the arts Werner Reinhart and conductor Hermann Scherchen transforming Winterthur into a centre of European musical life. Igor Stravinsky, Richard Strauss and Anton Webern all frequented the city, as did Clara Haskil and Wilhelm Furtwängler.\u003c\/p\u003e\n\u003cp\u003eThis is a legacy that comes with obligations: no other classical symphony orchestra in Switzerland devotes itself to contemporary music with as much natural confidence as the Musikkollegium Winterthur. World premières also feature on the programme – most recently of works by composers such as Richard Dubugnon, Helena Winkelman and David Philip Hefti. The orchestra’s remaining repertoire focuses on the classical and early romantic periods. However, the agile ensemble also likes to shed fresh light on great symphonic works, such as those by Brahms, who is the subject of a recent CD recording. The orchestra can also be regularly experienced in opera and ballet productions. With more than 40 concerts per season, a versatile musical education programme and interdisciplinary formats, the Musikkollegium Winterthur is an outstanding ensemble.\u003c\/p\u003e\n\u003cp\u003eMany have contributed to the high quality of the orchestra’s performances: former chief conductors such as Franz Welser-Möst, Heinrich Schiff or Thomas Zehetmair, long-standing guest conductors such as Heinz Holliger, Reinhard Goebel and Michael Sanderling, but also internationally sought-after soloists, who always enjoy returning to the Musikkollegium Winterthur. Andreas Ottensamer, Barbara Hannigan, Sir András Schiff, Ian Bostridge and Carolin Widmann, among others, regularly give guest performances in Winterthur.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.musikkollegium.ch\/\" target=\"_blank\"\u003e\u003cem\u003emusikkollegium.ch\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.luzernerzeitung.ch\/kultur\" target=\"_blank\"\u003eLuzerner Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Dank González-Monjas erlebt das Musikkollegium Winterthur einen Höhenflug.\" - Michael Graber, Dezember 2024\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/mutheute.com\/studio\/\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« Werden – Sein – Vergehen: ein Triptychon à la Segantini mit Mozarts letzten drei Sinfonien schwebt den Winterthurern vor, flankiert von zeitgenössischer Musik und weiteren Werken aus Mozarts Zeit, die zeitlich oder thematisch passen. Die Nummer 39 segelt damit unter «Werden», und der Chef am Pult, Roberto Gonzáles-Monjas, deutet sie als menschliches Streben zu Licht und Aufklärung, Selbstbestimmtheit und Erleuchtung, und unterstreicht das mit viel Brio, Streicherglanz und vorwärtsdrängender Gestik. [..] » - Reinmar Wagner, Dezember 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.pizzicato.lu\/spannendes-entsteht\/%20\" target=\"_blank\"\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003ePizzicato\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“Roberto González-Monjas opens the exciting program with five striking chord strokes. Beethoven’s overture ‘The Consecration of the House’ musically points to something new. This music sounds solemn, self-confident – in the age of enlightenment, of revolutions, old customs are cut off. [..] With this album, an exciting trilogy is indeed in the making.” - Guy Engels, July 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/tarrodi01.htm%20\" target=\"_blank\"\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOpusKlassiek\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"[..] In this new album too, the orchestra displays its great qualities through a playing culture that offers a fine blend of tradition (without ever becoming the Mozartian style of a Bruno Walter) and history (contrast, rhythmic profile, short phrases). The clarinettist's (non-prescribed) ornamentation in the repetition of the trio is very seductive. The fact that Beethoven's ‘Die Weihe des Hauses’ overture, uninspired and clearly a makeshift work cobbled together in a hurry, is made of thick wooden planks, can't do this orchestra and its conductor any harm either. [..]\" - \u003c\/span\u003e\u003cspan style=\"mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003eAart van der Wal, June 2023\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3076 \/ 1 \/ Roberto González Monjas","offer_id":40037663735843,"sku":"3076","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"Musikkollegium Winterthur \/ orchestra \/ Roberto González Monjas","offer_id":40037663768611,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Roberto González Monjas","offer_id":40037663801379,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Roberto González Monjas","offer_id":40037663834147,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Roberto González-Monjas \/ conductor \/ Roberto González 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Monjas","offer_id":40037664555043,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/werden-works-by-mozart-beethoven-tarrodi-roberto-gonzalez-monjas-musikkollegium-winterthur\/ojyslx5ohn0eb \/ Qobuz HD \/ Roberto González Monjas","offer_id":40051313934371,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Roberto González Monjas","offer_id":40037664620579,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/6462baabb374942f464136d8 \/ HD-Tracks \/ Roberto González Monjas","offer_id":40076785418275,"sku":"3076","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931307626_Winterthur_frontcover.jpg?v=1683553054"},{"product_id":"clair-obscur-oeuvres-du-16e-et-du-17e-siecle-pour-flute-et-orgue","title":"(2023) Clair Obscur: Oeuvres du 16e et du 17e siècle pour flûte et orgue","description":"\u003ch3\u003e\n\u003cstrong\u003eCLAIR\u003c\/strong\u003eOBSCUR\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDuo Æoline\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/charlotte-schneider\"\u003eCharlotte Schneider\u003c\/a\u003e and \u003ca href=\"\/collections\/guy-baptiste-jaccottet\"\u003eGuy-Baptiste Jaccottet\u003c\/a\u003e have been exploring since 2017 the multiple sounds offered by their combined instruments. These curious and playful musicians explore a repertoire stretching from the 16th to the 18th century, transcribing and arranging pieces for their duo. As a result, their music lies at the crossroads of historically informed performance practice and the concrete reality of instruments and places.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"http:\/\/www.guyjaccottet.com\" target=\"_blank\"\u003eguyjaccottet.com\u003c\/a\u003e  \/ \u003ca href=\"http:\/\/www.schneidercharlotte.com\" target=\"_blank\"\u003eschneidercharlotte.com\u003c\/a\u003e  \u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eIntroduction\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eLove at first sight for the building, the history, the acoustics and the outstanding organ of the Payerne Abbey: following a first concert programme in 2021, the desire to record in this magnificent setting immediately became obvious.\u003c\/p\u003e\n\u003cp\u003eThe abbey’s Ahrend organ – a true musical jewel in the centre of this Romanesque masterpiece – is the programme’s cornerstone. The different pieces have been chosen to highlight the instrument’s multiple facets, from the depth and serenity of the \u003cem\u003ePrincipal \u003c\/em\u003eto the elegant clarity of the \u003cem\u003eRipieno\u003c\/em\u003e. The immense richness of its meantone temperament with split sharps and its keyboard descending to F (12’) allow the performer to make the most of a huge palette of sound and harmonic colours.\u003c\/p\u003e\n\u003cp\u003eApart from the solo works, each piece is arranged to suit the specificities of the different flutes and the organ. In the sonatas, for example, specific passages had to be octavated or rewritten for the recorder, and the continuo was arranged so that the whole instrument could be heard. The gaillardes written for solo keyboard have been set for organ and flute, and Palestrina’s madrigals are broadly performed on the keyboard to avoid certain voice crossings that the organ cannot render correctly.\u003c\/p\u003e\n\u003cp\u003eThis constant arrangement and transcription process is part of our work as a duo. We endeavour to remain as faithful as possible to the text while considering the needs of our instruments at an individual and joint level.\u003c\/p\u003e\n\u003cp\u003eIn this duo programme, the works are played in pairs.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eWorks\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDario Castello, \u003cem\u003eSonata Seconda \u0026amp; Sonata prima \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDario Castello’s two sonatas for violin and bass are commonly played on the recorder. Although a few passages are outside the recorder’s range and require small arrangements, the bulk of the piece can be perfectly played on this instrument. These sonatas rich in emotions project us directly into a world of contrasts, from an exalted virtuosity to the moving intimacy of a few bars. They perfectly represent the transition to the beginning of the Baroque era.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGiovanni Pierluigi da Palestrina \/ Francesco Rognoni, \u003cem\u003ePulchra es amica mea \u0026amp; Io son ferito ahi lasso \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese diminutions plunge us directly into the very end of the Renaissance. The virtuosity and boldness of Rognoni’s ornaments overlap the eloquent counterpoint of two Palestrina madrigals. The encounter of these two generations opens up an immense dynamic range. The traverso’s flexibility melts into the organ’s gravity. Rognoni adorns the upper voice (\u003cem\u003ecantus\u003c\/em\u003e) in a particularly virtuoso manner, without assigning these diminutions to a specific instrument. The organ, for its part, takes up the five voices of Palestrina’s original madrigal, including the \u003cem\u003ecantus\u003c\/em\u003e, and thus doubles the traverso without its ornaments.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam Byrd, \u003cem\u003eThe Galliarde to the Third Pavian \u0026amp; The Galliarde to the Fifte Pavian \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe two galliardes are taken from \u003cem\u003eMy Lady Newells Booke\u003c\/em\u003e, a keyboard collection composed by William Byrd. Although these pieces were initially intended to be played after a pavane, they are taken here out of their context and rewritten for organ and recorder. Perfectly English and in a different style from the pre-Baroque sonatas, these short dances set a brighter tone and enable other facets of each instrument to be highlighted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJacob Van Eyck, \u003cem\u003eWat zalmen op den Avond doen \u003c\/em\u003e[What shall we do this evening?] \u003cem\u003e\u0026amp; Doen Daphne d’over schoone Maeght \u003c\/em\u003e[When Daphne, the most beautiful maid] \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese two suites of variations, composed by the famous Dutch flautist, organist and carillonneur Jacob Van Eyck, are excerpts from his book \u003cem\u003eDer Fluyten-Lusthof \u003c\/em\u003e(The Garden of Flute Pleasures). In this collection, the composer developed variations on popular and religious tunes from different countries.\u003c\/p\u003e\n\u003cp\u003eThe theme of Daphne is reflective and introverted, yet it allows a touch of madness to creep into the development of its diminutions.\u003c\/p\u003e\n\u003cp\u003eThe tune \u003cem\u003eWat zalmen\u003c\/em\u003e, on the other hand, presents a lightness and carelessness that becomes cheeky and mischievous in the various games of binary and ternary rhythms.\u003c\/p\u003e\n\u003cp\u003eThe choice of recorders used for these pieces is motivated by the generous acoustics of the venue and the search for lower, more intimate sounds, especially with the tenor recorder.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichelangelo Rossi, \u003cem\u003eToccata Seconda \u0026amp; Toccata Settima \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Toccatas by Michelangelo Rossi, known as \u003cem\u003eMichel Angelo del Violino\u003c\/em\u003e, indeed count among the most extraordinary works (in the primary sense of the term) in the pre-Baroque keyboard repertoire. The incredible freedom of his language and the sometimes very violinistic turnings of his writing give his toccatas a unique identity and energy.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eToccata Seconda \u003c\/em\u003eand \u003cem\u003eToccata Settima \u003c\/em\u003eare among those that sound at their best on the organ. The association of these works with the instrument of the Payerne Abbey – inspired by the organ of the \u003cem\u003eBasilica of San Petronio \u003c\/em\u003ein Bologna – seemed an obvious choice. They illustrate the multiple sound combinations offered by the Payerne organ’s 11 registers. The pieces are inspired by Vincenzo Colombo’s manuscript, which lists all the possible stop combinations for the organ he built in Valvasone in 1532.\u003c\/p\u003e\n\u003cp\u003eRossi echoes Castello here, rushing the listener from one feeling to another with a great deal of virtuosity and harmonic twists, ranging between joy, doubt and enthusiasm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohann Heinrich Schmelzer, \u003cem\u003eSonata Cu Cu \u0026amp; Sonata Seconda \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJohann Heinrich Schmelzer dedicates his sonatas to the violin. While the facsimile of the \u003cem\u003eSonata Seconda \u003c\/em\u003eis easily accessible and readable, the same cannot be said for the \u003cem\u003eSonata Cu Cu\u003c\/em\u003e. Indeed, the various editions available contain several inconsistencies, probably due to copying errors. A microfilm from the \u003cem\u003eSchola Cantorum Basiliensis \u003c\/em\u003elibrary provided us with a period manuscript – probably the only one currently available. Therefore, we have explored various possibilities for correcting these passages to offer a coherent and respectful version with this recording.\u003c\/p\u003e\n\u003cp\u003eWe also tried out different types of recorders before deciding on this atypical sopranino by transposing the sonata a fourth above the original key.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohann Caspar Kerll, \u003cem\u003eCapriccio sopra il Kuku \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCompared to Schmelzer’s \u003cem\u003eSonata Cucu\u003c\/em\u003e, the \u003cem\u003eCapriccio sopra il Kuku \u003c\/em\u003efeatures the delightful \u003cem\u003eFlauto in ottava \u003c\/em\u003eon the Ahrend organ. This alone fills the Abbey Church with multiple echoes, joyfully setting the whole building in resonance. Schmelzer and Kerll both found themselves at the Emperor’s Court in Vienna, and one can bet that they heard each other’s music. In any case, the following decades perpetuated this game and gave rise to numerous musical aviaries and zoo pieces of all kinds throughout Europe.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTranslated from the French by Michelle Bulloch - MUSITEXT\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/3065_Duo_BOOKLET_pages.pdf?v=1686057794\" target=\"_blank\"\u003e\u003cem\u003eRead more in the booklet\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eGuy-Baptiste Jaccottet, organ\u003c\/h3\u003e\n\u003cp\u003eFascinated by organ in all its ways of expression, \u003ca href=\"\/collections\/guy-baptiste-jaccottet\"\u003eGuy-Baptiste Jaccottet\u003c\/a\u003e (1998) studies repertoire in the class of Benjamin Righetti (HEMU-Lausanne) and improvisation in the class of Paul Goussot (CRR Rueil-Malmaison). Deeply attracted to improvisation, theater and cinema, he is titular organist at the Théâtre Barnabé. From 2019 to 2021, he is assistant organist at the Saint-François Church in Lausanne. In 2020, he took up his duties as titular organist at the Temple de La Tour-de-Peilz and as organ teacher at the Conservatoire de Montreux-Vevey-Riviera.\u003cbr\u003e\u003cbr\u003eAs a concert organist, a cinema organist or in chamber music, he gives about thirty concerts a year, notably in prestigious places (Verbier Festival, Festival internazionale di musica organistica di Magadino, Festival l’orgue fait son cinéma Geneva, Festival Bach de Lausanne, Davos Festival). Always keen to defend a wide and varied repertoire, he regularly produces videos on his YouTube channel. His music was also recognized in 2016 with the First Prize and the Audience Prize of the international composition competition Musique Nouvelle pour Flûte-à-bec as well as the publication of his pedagogical works by the association Kinder an die Orgel (2022 release).\u003cbr\u003e\u003cbr\u003eEager for novelty, but respectful of the traditions, he received in 2019 the scholarship for talent and creativity from the Fondation Casino Barrière.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSource: \u003ca href=\"https:\/\/en.guyjaccottet.com\/\" target=\"_blank\"\u003een.guyjaccottet.com\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eCharlotte Schneider, flute\u003c\/h3\u003e\n\u003cp\u003eThe Swiss recorder and flute player \u003ca href=\"\/collections\/charlotte-schneider\"\u003eCharlotte Schneider\u003c\/a\u003e (1997) is active as a soloist and chamber musician in Switzerland and in Europe.\u003cbr\u003e\u003cbr\u003eShe is currently pursuing a master’s degree in performance on the baroque flute with Marc Hantaï at the Schola Cantorum Basiliensis, where in 2019 she received her Bachelor’s degree on the recorder in the class of Conrad Steinmann, and in 2021, her master’s degree in pedagogy in the class of Han Tol with honours.\u003cbr\u003e\u003cbr\u003eCharlotte has been awarded several prizes in national and international competitions such as the \"MOECK\/SRP International Solo Recorder Competition London 2021\" (1st Prize), the \"Schweizerischer Jugendmusikwettbewerb\" or the \"International Van Wassenaer Competition\". She has performed at numerous festivals, including Festival for Early Music Utrecht \/ MA Festival Brugge (Fringe), Entre ciel \u0026amp; garrigue (Lussan, FR).\u003cbr\u003e\u003cbr\u003eFascinated by chamber music and scenic arts, Charlotte plays regularly with companies and ensembles as Hortus Amoris (early music), Duo Aeoline (recorder\/flute and organ), Duo sol\u0026amp;luna (recorder\/flute and keyboard instruments), Echo Temporis Consort (Renaissance recorder consort), Ensemble Phaedrus (Renaissance flute consort), Compagnie l’Avant-Scène Opéra, Compagnie Théâtre Entracte. She is the founder and director of the association for early music Barocc’opéra in her hometown (Neuchâtel).\u003cbr\u003e\u003cbr\u003eDuring Worshops and Masterclasses she has the occasion to work with many differents musicians as for example Michael Form, Pedro Sousa Silva, Han Tol,  Maurice Steger, Peter van Heyghen, Jovanka Marville, Katharina Bopp, Susanna Borsch, Jörg-Andreas Bötticher, Emmanuel Pahud, Elsa Frank, Sylvain Sartre,...\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSource: \u003ca href=\"https:\/\/www.schneidercharlotte.com\/english\" target=\"_blank\"\u003eschneidercharlotte.com\/english \u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/castello01.htm%20\" rel=\"noopener\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“Top! The combination of (recorder) flute(s) and organ, as is the case with, for instance, voice and\/or trumpet and organ. These combinations offer so many possibilities in terms of sound development that it is not only pleasing to the ear, but also a fascinating experience for the musicians themselves. Wonderful to work on them together! \u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThis new album from the Swiss music label Claves offers an excellent opportunity to get to know this beautiful music from the sixteenth and seventeenth centuries in a special way. Music that this duo, consisting of the (recorder) flautist Charlotte Schneider and the organist Guy-Baptiste Jacottet (together they form the Duo Aeoline) seems to have been written for. They may be arrangements, but they are of the very tasteful kind and, moreover, from a purely instrumental point of view, they certainly offer added value. [..]” - \u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eAart van der Wal, June 2023\u003c\/span\u003e\u003c\/em\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/tribune.orgue.ch\/\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eLa Tribune de l'Orgue\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Les deux musiciens romands naviguent sous le pavillon « Duo Aeoline » et le voyage est tout à fait remarquable. Les flûtes sont d'une expressivité et d'une virtuosité admirable, et les accompagnements de l'orgue italien Ahrend de l'abbatiale de Payerne d'un soin extrême et d'une présence qui pourrait être un exemple de ce que peut être le bel usage d'un orgue à un seul clavier pour la basse continue. Œuvres des 16ème et 17ème siècles : on pourrait dire « peu importe», tant le charme des interprétations ravit l'auditeur; plusieurs pièces d'orgue solo (notamment deux toccate de Michelangelo Rossi) sont extrêmement bien jouées. » - Guy Bovet, juin 2024\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3065 \/ 1 \/ Duo Æoline","offer_id":40062461542435,"sku":"3065","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Duo Æoline","offer_id":40062461575203,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Duo Æoline","offer_id":40062461607971,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Duo Æoline","offer_id":40062461640739,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Duo Æoline","offer_id":40062461673507,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"30.06.2023 \/ release 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Æoline","offer_id":40076786401315,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Duo Æoline","offer_id":40062462427171,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ HD-Tracks \/ Duo Æoline","offer_id":40062462459939,"sku":"3065","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/3065_frontcover.jpg?v=1686045729"},{"product_id":"american-and-english-orchestral-music","title":"(2024) American and  English Orchestral Music","description":"\u003ch3\u003eABOUT THIS ALBUM\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eGeorge Bernard Shaw once said that “England and America are two countries separated by the same language!” As an American living in London when these recordings were made, I can attest to that sentiment! Perhaps my own grappling with the ever witty Bernard Shaw is found on this set of recordings, with pieces from the UK and the USA that span nearly 122 years of musical history. While many of the musical materials used by these 5 composers are similar, with an emphasis on folk music, classical idioms, and a generally warm and Romantic sensibility, they could not be more different from each other.\u003c\/p\u003e\n\u003cp\u003eEthel Smyth and Edward Elgar were born just one year apart, and Smyth’s \u003cem\u003eSerenade \u003c\/em\u003eand Elgar’s \u003cem\u003eChanson de Matin \u003c\/em\u003eand \u003cem\u003eChanson de Nuit \u003c\/em\u003ewere written in the same year (1889). They are early works, long before either of them had achieved notable success. Of course, Elgar would go on to become one of our most beloved composers, while Smyth’s music has only recently emerged from almost total obscurity. Smyth truly was one of the most interesting people who ever lived, with interests ranging from a career as a composer, as a prolific writer, to her social activism as a Suffragette in the UK. This activism was perhaps her most lasting legacy, with her \u003cem\u003eMarch of the Women \u003c\/em\u003eserving as the unofficial anthem of the Suffragette movement. There is not space here to detail Smyth’s political exploits, but they make for entertaining and inspiring reading. In the musical context, I have loved Smyth’s work since I encountered it for the first time nearly 10 years ago. Smyth studied for a brief period with Johannes Brahms, and Brahms apparently had some level of respect for Smyth’s music, quite high praise for someone with attitudes towards women like Brahms notoriously had. Her music, especially these two early works, shows this Brahmsian influence clearly. Smyth was a musical polyglot however, and one can hear allusions to the music of Wagner as well. Perhaps coming from outside of the so-called War of the Romantics allowed Smyth to pick and choose what she liked from each camp and to incorporate it into her own music. With all of this said, what I love about Smyth’s music, is that like all great composers, Smyth takes in all of these influences, and then creates something uniquely her own. The simple grace of her \u003cem\u003eString Quintet \u003c\/em\u003eis irresistible with its kind hearted melodies. On the other hand, I am always awed by the emotional variety of her \u003cem\u003eSerenade\u003c\/em\u003e, from its deeply Brahmsian D Major first movement to its raucous last movement. For those encountering Smyth’s music for the first time, I think these two early examples of her work are a perfect introduction. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIt is one of my special passions to combine works of composers who are quite well-known with those who are less familiar to the general audience. It is an honor and privilege to be releasing the first commercial recording of Ethel Smyth’s \u003cem\u003eString Quintet \u003c\/em\u003eas arranged for string orchestra by the composer, only the second recording of her \u003cem\u003eSerenade\u003c\/em\u003e, and the first commercial recording of William Grant Still’s \u003cem\u003eMother and Child \u003c\/em\u003efor string orchestra. I hope that this exploration of the unfamiliar and the familiar together will prove as rewarding to you as it was to myself and to the musicians of the Lausanne Chamber Orchestra, who were faithful and enthusiastic partners throughout the recording process.\u003c\/p\u003e\n\u003cp\u003eI would like to add special thanks and appreciation here to the late John Heiss, a professor at the New England Conservatory of Music, and one of my great inspirations in taking on the challenge of recording \u003cem\u003eThree Places in New England\u003c\/em\u003e, as well as my parents, who were playing Ives’ music for me even before I was born, instilling in me a lifelong love for this American Maverick.\u003c\/p\u003e\n\u003cp\u003eI would like to dedicate this recording to my wife Bernice, who always helps me explore the unexplored.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJoshua Weilerstein\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309125_booklet_pages.pdf?v=1699360161\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eJOSHUA WEILERSTEIN Conductor\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/joshua-weilerstein\"\u003eJoshua Weilerstein\u003c\/a\u003e enjoys a flourishing guest conducting career across the globe and has forged close relationships with many of the world’s finest orchestras, including the London Philharmonic, New York Philharmonic, San Francisco Symphony, Deutsche Kammerphilharmonie Bremen, Oslo Philharmonic, and the Royal Liverpool Philharmonic, amongst many others. He is praised for his expressive and dynamic presence on the podium and for his “intense, eloquently moving and spectacularly knife-edge” performances. With a repertoire that spans from the Renaissance era to the music of today, he combines a deep love for canonical masterpieces alongside a passionate commitment to uncovering the works of under-represented composers such as Pavel Haas, William Grant Still, William Levi Dawson and Ethel Smyth. He is also a tireless advocate for the music of today. In 2023, Weilerstein begins his tenure as Chief Conductor of Denmark’s Aalborg Symphony Orchestra. Weilerstein was Artistic Director of the Orchestre de Chambre de Lausanne between 2015-2021 where he and the orchestra released multiple highly regarded recordings.\u003c\/p\u003e\n\u003cp\u003eBorn into a musical family, Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Boston Youth Philharmonic Orchestra, where the orchestra performed for thousands of young people who had never heard a live orchestra. This experience sparked a desire in Weilerstein to pursue a career in classical music. In 2009, Weilerstein won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in Copenhagen, and he was subsequently appointed as Assistant Conductor of the New York Philharmonic from 2012-2015.\u003c\/p\u003e\n\u003cp\u003eIn 2017, inspired by the musical evangelism practised by Leonard Bernstein, Weilerstein launched a classical music podcast called “Sticky Notes.” The show, for both music lovers and newcomers alike, has become wildly successful with more than 4.5 million downloads in 175 countries.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003e\u003cstrong\u003eORCHESTRE DE CHAMBRE DE LAUSANNE \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eRenaud Capuçon, Artistic Director \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFounded in 1942 by Victor Desarzens, the \u003ca href=\"\/collections\/orchestre-de-chambre-de-lausanne\"\u003eOrchestre de Chambre de Lausanne\u003c\/a\u003e (OCL) is today one of the most sought-after chamber orchestras in Europe. After six years under the artistic direction of the American conductor Joshua Weilerstein, the OCL is now led by the renowned French violinist Renaud Capuçon. The orchestra of around 40 musicians has a vast repertoire, from the earliest baroque to contemporary premieres.\u003c\/p\u003e\n\u003cp\u003eThe OCL very quickly became a presence in the most prestigious festivals and concert halls. It has participated in the Festival of Aix-en-Provence since the second festival and has been a regular guest at the Enescu Festival in Bucharest. Its tours in Germany and the USA have met with tremendous success, as have its concerts at the Théâtre des Champs-Elysées in Paris, at the BBC Proms in London, the Konzerthaus in Vienna or the Berlin Philharmonie. During season 2023-2024, the OCL will tour to Madrid, Barcelona and, for the first time, to the Philharmonie de Paris.\u003c\/p\u003e\n\u003cp\u003eAll through its history, the OCL has performed with top level soloists such as Clara Haskil, Alfred Cortot, Walter Gieseking, Edwin Fischer, Murray Perahia, Radu Lupu, Marta Argerich, Nikolai Lugansky, Daniel Barenboim, Arthur Grumiaux, Frank Peter Zimmermann, Paul Tortelier, Truls Mørk, Jean-Pierre Rampal or Emmanuel Pahud. The OCL has also been able to attract the most interesting conductors of their times, such as Paul Hindemith, Günter Wand, Christoph Eschenbach, Ton Koopman, Jeffrey Tate, Bertrand de Billy, Simone Young or Daniel Harding. [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe quality of the OCL is of course connected to prestigious guest soloists and conductors, but it is above all due to an identity forged through the years by a small number of artistic directors. The founder Victor Desarzens (1942-1973) was followed by Armin Jordan (1973-1985), then Lawrence Foster (1985-1990), Jesús López Cobos (1990-2000) and Christian Zacharias (2000-2013). From 2015 to 2020, Joshua Weilerstein continued the work of his predecessors while at the same time positioning the OCL for the 21st century with bold programming and imaginative use of new media. In autumn 2021, Renaud Capuçon became the orchestra’s artistic director. The tremendous musical experience of the renowned French violinist and conductor, as well as his dynamism and his artistic profile have allowed the orchestra to further consolidate its international reputation, resulting in prestigious invitations across Europe as well as collaborations with renowned conductors and soloists such as Daniel Harding, Barbara Hannigan, Maria Joao Pires and Martha Argerich.\u003c\/p\u003e\n\u003cp\u003eSeason 2023-2024 - \u003ca href=\"https:\/\/www.ocl.ch\" target=\"_blank\"\u003ewww.ocl.ch\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309125_booklet_pages.pdf?v=1699360161\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/articles\/culture\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« On pourrait presque dire que, c'est une musique idiomatique pour lui. Joshua Weilerstein, Américain vivant à Londres, dirige un répertoire anglo-saxon qu'il connaît bien à la tête de la phalange dont il a été le chef, l'Orchestre de chambre de Lausanne. Deux œuvres d'une compositrice britannique (et suffragette!), Ethel Smyth, forment le coeur de ce double disque: la Suite pour cordes et la Serenade. La compositrice a été adoubée par Brahms lui-même mais a bien sûr développé son langage propre. Joshua Weilerstein n'oublie pas les valeurs sûres, Charles Ives, qui mêle dans Three Places in New England mélodies populaires et recherches formelles novatrices pour déjouer la tonalité, et Edward Elgar (Chanson de matin et de nuit), mais fait encore découvrir une oeuvre rare, la lumineuse intimité de Mother and Child de William Grant Still. » – Elisabeth Hass, Février 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.tdg.ch\/culture\" rel=\"noopener\" target=\"_blank\"\u003eTribune de Genève\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le dernier projet discographique de Joshua Weilerstein à la tête de l'OCL peut sembler décousu, mais illustre bien les apports du chef newyorkais lors de son mandat à Lausanne entre 2015 et 2021: une ouverture à la musique américaine et à des compositrices qui méritent une écoute attentive. Dans ce double album enregistré durant la pandémie, on parcourt cent vingt-deux années de musique anglaise et américaine à cheval entre les XIX\u003csup\u003eè\u003c\/sup\u003e et XXI\u003csup\u003eè\u003c\/sup\u003e siècles, du romantisme généreux d'Edward Elgar et Ethel Smyth au néoclassicisme mutin de Caroline Shaw, en passant par un pionnier afro-américain de la musique classique, William Grant Still. Mais le plat de résistance est fourni par une interprétation virtuose et jubilatoire de «Three Places in New England» de Charles Ives, irréductiblement déroutant et folklorisant. » - MCH, mars 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.classical-music.com\/reviews\/orchestral\/american-and-english-orchestral-music\" rel=\"noopener\" target=\"_blank\"\u003eBBC Music Magazine\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] In Weilerstein’s hands, Ives’s sharply impressionistic Three Places in New England proves of no matter: the performance begins by being pedantic, unatmospheric, and oddly balanced, and improves only slightly. Conductor and orchestra appear more at home with the orthodox 19th-century European padding of Smyth’s breezily confident works: a first recording of the Suite for Strings, arranged from her String Quintet and a Brahmsian Serenade that needs livelier material and judicious weeding. Of the shorter pieces filling out the album, the orchestral expansion of Caroline Shaw’s 2011 string quartet piece Entr’acte, with its hesitating and haunting repetitions and pizzicato flings, is easily the most enjoyable. Still’s Mother and Child of 1943 is nobly designed if overladen with syrup. Elgar’s ‘Chanson de nuit’ and ‘Chanson de matin’, tacked on like encores at the end, add little to the proceedings except the comfort of familiarity.” - Geoff Brown, January 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/classica.fr\/disques\/toutes-nos-critiques\/\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eClassica Magazine\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le programme choisi par Joshua Weilerstein regroupe des oeuvres de différents styles, d'Angleterre et d'Amérique, deux pays «séparés par la même langue» comme le disait avec humour Bernard Shaw. C'est ainsi que les Three Places in New England (Trois lieux de Nouvelle-Angleterre) de Charles Ives voisinent avec des pages postromantiques d'Elgar ou de la féministe anglaise Ethel Smyth. Brillantes et surprenantes sont les fanfares de Ives, qui vont jusqu'à superposer cinq airs différents, alternant avec une lente écriture fleuve, étouffant les appels, ménageant de furieux crescendos. La Suite pour cordes d'Ethel Smyth, interprétée avec coeur, pourrait être comparée aux oeuvres analogues de Grieg, Dvorak ou Tchaïkovski quant à la grâce des thèmes, ou le camaïeu des timbres. Sa Sérénade évoque Brahms, en plus gai, avec un délectable sens du rebond et des bois solistes. Dans son projet, Joshua Weilerstein cherche aussi à associer les compositeurs connus à ceux ou celles qui attendent justice. Il présente ainsi !'Afro-Américain William Grant Still (1895-1978), qui laisse un Mother and Child pour cordes aussi fin qu'émouvant, et Caroline Shaw, née en 1982, dont le nom commence à circuler: son Entracte passe du tonal à l'estompage de la tonalité, comme des allers-retours à travers un miroir. Deux oeuvres de jeunesse d'Elgar, Chanson du matin et Chanson de nuit, tendres et lyriques, complètent ce programme éclectique et rassembleur, très bien défendu. » - Isabelle Werck, mars 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.classiquenews.com\/critique-cd-evenement-american-and-english-orchestral-music-ethel-smith-elgar-ives-orchestre-de-chambre-de-lausanne-joshua-weilerstein-direction-2-cd-claves\/\" target=\"_blank\"\u003eClassiqueNews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le programme des 2 cd résume le geste complet, audacieux du chef Joshua Weilerstein : servir les plus connus (Ives et Elgar) aux côtés d’oubliées telles Ethel Smith contemporaine du second ; illustrer avec fougue et subtilité, les tempéraments des compositeurs et compositrices majoritairement anglosaxons (américains et britanniques). » - Lucas Irom, novembre 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.diapasonmag.fr\/critiques\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Le titre parle de lui-même : Joshua Weilerstein et ses musiciens de Lausanne confrontent vieille et nouvelle Angleterre. C'est Charles Ives qui ouvre le bal américain, avec ses Three Places in New England (1911-1914). Blocs colorés d'où surgissent des touches solistes (The St. Gaudens' in Boston Common), esthétique volontiers populaire dans laquelle se télescopent chants patriotiques et rythmes singuliers (Putnam's Camp, Redding, Connecticut), cantiques d’église flottant aux bois et aux cuivres sur nappes de cordes chromatiques (The Housatonic at Stockbridge) : la pensée est diverse, la musique jubilatoire. [..] » - Anne Ibos-Augé, avril 2024\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/musicwebinternational.com\/2024\/02\/american-and-english-orchestral-music-claves\/\" rel=\"noopener\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“A fascinating juxtaposition of the familiar and the unfamiliar.\"\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\"This is a beautifully presented two CD set from the Swiss label Claves. The young American conductor Joshua Weilerstein has put together an intriguing programme that places the Americans Ives, Grant Still and Shaw alongside the English Elgar and Smyth.” - Paul RW Jackson, February 2024\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/mutheute.com\/studio\/%20\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e«[..] Auf der neuen CD des Lausanner Orchesters bei Claves mit Musik aus den USA und Grossbritannien finden sich auch zwei Serenaden der englischen Komponistin Ethel Smyth. Die erste, für Streicher, ist das Orchesterarrangements ihres ersten Streichquintetts, das sie noch unter dem Eindruck ihrer Lehrjahre bei Johannes Brahms schrieb. Auch die farbigere D-Dur-Serenade ist ein Frühwerk der britischen Komponistin, in dem sie reizvoll und gekonnt die romantische Tonsprache ausprobiert, was das Lausanner Orchester ebenso reizvoll klanglich umsetzt. [..] - Reinmar Wagner, April 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/scenesmagazine.com\/\" target=\"_blank\"\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eScènes Magazine\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Joshua Weilerstein, titulaire de l’OCL de 2015 à 2021, signe un double album à la tête de la phalange lausannoise qui met en lumière Ethel Smyth (1858-1944), compositrice britannique et activiste politique du mouvement des suffragettes [..] » - Bernard Halter, avril 2024\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3091\/92 \/ 2 \/ Joshua Weilerstein","offer_id":40162824028195,"sku":"3091\/92","price":24.0,"currency_code":"CHF","in_stock":true},{"title":"Orchestre de Chambre de Lausanne \/ orchestra \/ Joshua 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I have made every decision deliberately and with a lot of thought. I would like to thank Patrick Peikert, director of Claves Records, for this experience. To have the chance to record a solo CD is an incredible opportunity, which I am endlessly grateful for.\u003c\/p\u003e\n\u003cp\u003eThe program I selected, is dedicated to my love for the british viola repertoire. I really wanted the CD to sound as cohesive as possible, whilst it explores all different emotional and timbral ranges. Clarke, Britten and Bowen are three exceptional examples of that.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eViola sonata \u003c\/em\u003eby Rebecca Clarke was written in 1919 for a competition in which she tied for first place with Ernest Bloch. Bloch was finally declared the winner. It is speculated that the reason for it was the disbelief that a woman could write such an astounding piece of music. Of course, now we consider her sonata for viola and piano to be a staple piece in the viola repertoire. It has been recorded and performed by world-renowned, incredible violists and it is definitely a pressure for anyone wishing to showcase their interpretation of it. I certainly do feel it, however I am also excited to have had the opportunity. I have been performing it for a few years and so the piece has grown up and evolved with me. It has become my favorite sonata to play and now I am happy to have an immortalized version of it.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eLachrymae, Reflections on a song by John Dowland \u003c\/em\u003ewas composed by Britten in 1950. It is a piece I have listened to for many years. However I never thought I could it justice. It is exceptionally written and it has so much to say in the span of 15 minutes!\u003c\/p\u003e\n\u003cp\u003eOriginally, the piece was written for William Primrose. It is known that the violist didn’t completely under­stand or appreciate this piece, and has been quoted to say that the “drama and fantasy” was not enough.\u003c\/p\u003e\n\u003cp\u003eIt is in fact important to note that during the 20th century, the significance of the interpretation of different works had exponentially increased. Perhaps Primrose was looking for a broader palette, to paint with bigger and bolder strokes.\u003c\/p\u003e\n\u003cp\u003eI find this piece to provide the perfect canvas for just that. Each variation can be its own little universe. Whilst rehearsing with the pianist Irene Puccia, we tried to focus primarily on showcasing as many different characters and almost creating a poetic, story-like quality to the piece.\u003c\/p\u003e\n\u003cp\u003eThe final piece, the \u003cem\u003ePhantasy in F major for viola and piano\u003c\/em\u003e, was written by York Bowen in 1918. It was originally performed by world-renowned violist of the 20th century, Lionel Tertis. The piece, like almost all of Bowen’s viola music was written for Tertis and it really shows what an amazing virtuoso the performer must have been in his prime. This piece also has a certain Brahmsian quality. I worked with the pianist Alla Belova to bring fiery and expressive sound to the surface. It ended up creating the perfect balance of tranquility and passion. I conclude with this piece, because I believe it created an amazing end to this musical story. Being written almost exactly the same time as the \u003cem\u003eviola sonata \u003c\/em\u003eby Clarke, it can brings back similar themes and hopefully serve as an invitation to relisten.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003ca href=\"\/collections\/izabel-markova\"\u003eIzabel Markova\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/izabel-markova\"\u003e \u003c\/a\u003e\u003cbr\u003e\u003ca rel=\"noopener noreferrer\" href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931307329_pages.pdf?v=1699882901\" target=\"_blank\"\u003eRead more and bios in the booklet\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIZABEL MARKOVA \u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIzabel Markova is born in 1997 in Sofia, Bulgaria in a non-musical family. She starts playing the piano at the age of 3 and then proceeds to enter the National School of Music “Lyubomir Pipkov” with the viola at the age of 11 without any experience in playing the violin in advance. She graduates in 2015 taking the two last academic years at once and gets accepted in Haute Ecole Musique de Lausanne, in Switzerland. In 2022 she graduated as a Master soloist student in the viola class of Professor Alexander Zemtsov. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIzabel is a laureate from international competitions for piano, viola and composition including the International String Competition, Serbia, Dobrin Petkov, Bulgaria, Artistes en Herbe, Luxemburg, First and EMCY Prize from the International Competition Young Virtuosos, Bulgaria and Special Prize of Blatow Foundation from the International Anton Rubinstein Competition, Düsseldorf. Izabel has performed as a soloist with renowned orchestras in Bulgaria and Switzerland such as Classic FM, Bulgarian Radio Orchestra etc. She is one of the youngest Bulgarian violists to perform with orchestra in the prestigious Bulgaria Hall at the age of 17 and also in 2013. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eShe is currently working in Zurich Opernhaus, Bron Chamber Orchestra, Orchestre de Chambre de Lausanne, Gstaad Menuhin Festival Orchestra, Luxembourg Philharmonic orchestra and is a guest principal viola in Camerata Venia, Camerata Nordica, United Strings of Europe. She has taken part in master classes with eminent musicians as Ivry Gitlis, Leonid Kerbel, Mark Messenger, Gerard Caussé, Dora Schwarberg, Maxim Vengerov. \u003c\/span\u003eBoris Garlitsky, Antje Weithaas and others.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.classical-music.com\/reviews\/chamber\/british-music-for-viola-piano\" target=\"_blank\"\u003eBBC Music Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Both Markova and her pianist here, the Italian Irene Puccia, excel in the mercurial Vivace middle movement, etching out subtle gradations of mischief and caprice while avoiding the impression that the writing is merely virtuosic. And in the broad rhapsodic sweep of the Adagio finale, Markova summons an almost cello-like richness of tone from her instrument, yet with all the dynamic nuance needed to lend expressivity to Clarke’s richly expansive paragraphs. Even more precise detailing is needed in Britten’s Lachrymae, and the refined poetry Markova brings to the quieter-voiced pizzicato, multi-stopped and sul ponticello ‘reflections’ is particularly impressive. The eventual emergence of the Dowland melody on which Lachrymae is based is seamlessly managed, the tune itself delivered with a moving dignity. York Bowen’s Phantasy, contemporaneous with Clarke’s Sonata, exudes a marked Brahmsian influence. Markova relishes this, phrasing with a rich-toned generosity which suits the music’s temper and a controlled fieriness at its peroration. Markova was just 25 years old when this debut recording was made, and on its evidence she is an artist we’ll be hearing considerably more of in the future.” - Terry Blain, January 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/amadeusmagazine.it\/news\/\" target=\"_blank\"\u003eAmadeus\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Il duo Markova Puccia (violista bulgara e pianista siciliana) restituisce questa musica con la giusta eleganza, ma anche con rara intensità. Le musiciste sanno poi cambiare colore nelle più malinconiche e neo-rinascimentali Lachrymae di Britten. Questo viaggio sfaccettato nella musica inglese di inizio ‘900 si chiude con la sfolgorante Phantasy op. 54 di York Bowen (al pianoforte un’altra ottima pianista, Alla Belova), compositore dalla mano felicissima, semi-ignorato nell’epoca delle avanguardie ma oggi rivalutato. » - Luca Ciammarughi, November 2023\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/musicwebinternational.com\/2024\/03\/clarke-britten-bowen-british-music-for-viola-and-piano-claves\/\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“An international version of some very British”\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“The main work in this interesting recital is the first, Rebecca Clarke’s Sonata. I had been hearing about this piece for a long time without actually hearing it, so I was pleased to have it for review here. [..] The players here are an international team: the violist Izabel Markova is Bulgarian, Irene Puccia, the pianist in the Clarke and the Britten is Italian, and Alla Belova, the pianist in the Bowen is Russian. However, they are now all based in Lausanne, where this recording was made. It is always encouraging to find players from outside Britain taking up our composers and I enjoyed these performances, which are full of fire and spirit. The recording is excellent. There are other recordings of all these works, but not in this combination, so viola fanciers need not hesitate.” - Stephen Barber, March 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.resmusica.com\/2024\/06\/11\/alto-so-british-en-compagnie-dizabel-markova-claves\/%20\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eResMusica\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« La jeune altiste Izabel Markova consacre son premier disque à un très beau programme dédié à trois chefs-d'oeuvre de la musique anglaise signés Clarke, Britten et Bowen. [..] \u003c\/em\u003e\u003cem\u003eIzabel Markova et sa partenaire Irene Puccia délivrent une interprétation puissante et contrastée de cette partition prenante, notamment dans un Adagio rêveur s'enfonçant peu à peu dans le tragique, et une fantaisie finale pleine de passion. [..] Avec cet album, Izabel Markova nous révèle tout le potentiel de son talent. » - Jean-Marc Petit, juin 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/mutheute.com\/meilenstein\/\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] Auch hier findet Izabel Markova, 1997 in Sofia geboren, in Lausanne ausgebildet, den passenden Ton. Sie verfügt über einen prächtigen Bratschen- Klang, den sie sehr variantenreich einsetzt, von fast neutralunterkühlten, dunkel glühenden bis hin zu strahlend brillanten Farben. Mit zwei verschiedenen Pianistinnen teilt sie sich das Album, beide – Irene Puccia und Alla Belova – erweisen sich als ebenbürtige Partnerinnen am Klavier.\" - Reiner Wagner, März 2025\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3073 \/ 1 \/ Izabel Markova","offer_id":40167527088163,"sku":"3073","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Izabel Markova","offer_id":40167527120931,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Izabel Markova","offer_id":40167527153699,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Izabel Markova","offer_id":40167527186467,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Izabel Markova","offer_id":40167527219235,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"22.12.2023 \/ release \/ Izabel 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Markova","offer_id":40206784790563,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ HD-Tracks \/ Izabel Markova","offer_id":40167528005667,"sku":"3073","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931307329_frontcover.jpg?v=1699883480"},{"product_id":"bloch-dohnanyi-bruch-tim-posner-berner-symphonieorchester-katharina-mullner","title":"(2024) Bloch, Dohnányi, Bruch: Tim Posner, Berner Symphonieorchester, Katharina Müllner","description":"\u003cp\u003e\u0026gt;\u0026gt; Winner Thierry Scherz Prize \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\" target=\"_blank\"\u003eSommets musicaux de Gstaad\u003c\/a\u003e 2023 \u0026lt;\u0026lt;\u003c\/p\u003e\n\u003ch3\u003eTHE WARMTH AND POWER OF THE CELLO\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eLike many musicians, \u003ca href=\"\/collections\/tim-posner\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eTim Posner\u003c\/a\u003e was born into a musical environment. His father is was a violist, and his mother, a cellist, “quite naturally” became his first teacher. Apart from a passing desire to embark on a career as an opera singer – which even led him to play the shepherd boy in Tosca at the Royal Opera House, Covent Garden! – the prospect of a life dedicated to the cello became clear from the age of thirteen, fuelled in particular by his early discovery of the infinite field of chamber music. After studying at the Junior Department of the Royal Academy of Music, Tim Posner crossed the Channel at eighteen to join Leonid Gorokhov’s (winner of the First Prize at the Geneva competition in 1986) prestigious class at the Hochschule für Musik in Hanover at the age of eighteen. In addition, he regularly benefits from Steven Isserlis’ wisdom during masterclasses, which proved to be a decisive source of inspiration. He has since enjoyed a flourishing career, dividing his time between engagements as a soloist and chamber musician. In 2010, he founded the Teyber Trio with Tim Crawford and Timothy Ridout, with whom he is still active. He has also recently been appointed principal cello of Amsterdam Sinfonietta.\u003c\/p\u003e\n\u003cp\u003eFollowing Tim Posner’s recording debut of a \u003cem\u003eConcertante \u003c\/em\u003eby the English romantic composer Cipriani Potter (with the BBC National Orchestra of Wales), this is his first major recording. Ernest Bloch’s \u003cem\u003eSchelomo \u003c\/em\u003ewas the piece that stood out and around which the whole programme was built. “It’s a work that I’ve loved since childhood, and that I’ve always wanted to play, but as it requires a large-scale orchestra, the occasion never arose, so it’s a fantastic opportunity to finally be able to fulfill this dream here alongside Katharina Müllner and the Berner Symphonieorchester. Max Bruch’s \u003cem\u003eKol Nidrei\u003c\/em\u003e, another work with Hebrew resonance, was a natural choice. To follow in the footsteps of these two composers, we could have added Erich Wolfgang Korngold’s \u003cem\u003eConcerto\u003c\/em\u003e, the work of a magnificent musician who had to flee Europe because of his Jewish origins. However, I preferred to opt for contrast and originality by following the suggestion of a friend who introduced me to Ernö Dohnányi’s underplayed \u003cem\u003eKonzertstück\u003c\/em\u003e. This jubilant work could not offer a more striking counterpoint to the tragedy of \u003cem\u003eSchelomo\u003c\/em\u003e.”\u003c\/p\u003e\n\u003cp\u003eErnest Bloch, a composer and violinist born in Geneva, studied with his compatriot Emile Jaques-Dalcroze, Eugène Ysaÿe in Brussels and Claude Debussy in Paris. After moving to the United States in 1916, he became the first head of the Cleveland Conservatory four years later before taking over as director of the San Francisco Conservatory. His music is strongly influenced by his Jewish culture, which he considered the only source for “producing alive and meaningful music”. \u003cem\u003eSchelomo \u003c\/em\u003eis one of the emblematic works of this legacy. The work was composed in the early months of the composer’s new American life. Bloch says he originally conceived the idea of translating passages from Ecclesiastes in which a preacher likened to Solomon (Schelomo) would develop a meditation on the theme “all is vanity”. With his poor command of Hebrew and his dissatisfaction with adaptations of the poem in Western languages, the composer finally decided to entrust the preacher’s voice to the warm, low tones of the cello. This piece of great instrumental and expressive density was first presented to the public on 3 May 1917 in New York by Hans Kindler and the Philharmonic Orchestra conducted by the composer, who also gave his \u003cem\u003e“Israel” Symphony \u003c\/em\u003eduring the same concert. [..] - \u003cem\u003eAntonin Scherrer\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931307923_booklet_pages.pdf?v=1706788397\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eTIM POSNER\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eWinner of the Thierry Scherz Prize at \u003ca href=\"\/collections\/sommets-musicaux-de-gstaad\" target=\"_blank\"\u003eSommets musicaux de Gstaad\u003c\/a\u003e 2023, \u003ca href=\"\/collections\/tim-posner\"\u003eTim Posner\u003c\/a\u003e is also the first British cellist to have been awarded a prize at the International Karl Davidov Competition. Born in 1995, Tim has performed as soloist with orchestras including the NDR Radiophilharmonie, Royal Philharmonic Orchestra and the London Mozart Players with conductors such as Andrew Manze.\u003c\/p\u003e\n\u003cp\u003eTim recently made his debut concerto CD with the Bern Symphony Orchestra, recording works by Bloch, Bruch and Dohnanyi.Other recent highlights include a recording of chamber music by Boccherini with Steven Isserlis, a recording of Cipriani Potter’s Concertante with the BBC National Orchestra of Wales, the IMS Open Chamber Music tour and a recital debut in the Concertgebouw.\u003c\/p\u003e\n\u003cp\u003eAs a chamber musician, Tim plays in various ensembles and in 2010 founded The Teyber Trio with violinist, Tim Crawford and violist, Timothy Ridout, with whom he continues to perform internationally. He has performed at chamber music festivals including the Classiche Forme, Hindsgavl, IMS Prussia Cove (Open Chamber Music), Molyvos International Music Festival, Kronberg Chamber Music Connects the World, Musikdorf Ernen and Cheltenham festivals. As a chamber musician he has collaborated with musicians such as Steven Isserlis, Sir Andras Schiff, Gidon Kremer, Lars Vogt, Emmanuel Pahud and Beatrice Rana.\u003c\/p\u003e\n\u003cp\u003eTim is principal cellist of Amsterdam Sinfonietta.\u003c\/p\u003e\n\u003cp\u003eBorn in 1995, he began playing the cello at the age of eight, studying with his mother, Julia Desbruslais and subsequently with Robert Max. He then studied in the ‘Solo Class’ of Prof. Leonid Gorokhov at the Hochschule für Musik in Hanover. He draws great inspiration from masterclasses with Steven Isserlis at Prussia Cove.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eKATHARINA MÜLLNER\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/katharina-mullner\" target=\"_blank\"\u003eKatharina Müllner\u003c\/a\u003e studied conducting, music education and psychology \/ philosophy in her hometown of Vienna.\u003c\/p\u003e\n\u003cp\u003eAfter graduating, she joined Landestheater Linz as an accompanist with conducting commitments, and conducted productions such as Die Entführung aus dem Serail and Il matrimonio segreto, as well as operettas and concerts for young audiences. She also appeared at Chemnitz Theatre with Die Zauberflöte and at Aachen Theatre with Roméo et Juliette.\u003c\/p\u003e\n\u003cp\u003eIn 2020\/21 Katharina Müllner gave successful debuts at Theater St. Gallen with a new production of Die Zauberflöte, at Vienna Volksoper with Suppès Der Teufel auf Erden and Britten’s Death in Venice. Other conducting engagements took her to Deutsche Oper am Rhein, Kammeroper Wien, Robert Schumann Philharmonie Chemnitz and Wuppertal Symph-ony Orchestra. At German National Theatre in Weimar she conducted the premiere of Carmen.\u003c\/p\u003e\n\u003cp\u003e2022\/23 brought Katharina back to Deutsche Oper am Rhein for the new production Krabat as well as to Theater St. Gallen for the revival of Die Zauberflöte. Theater Essen invited her for Carmen and she stood in at short notice for Così fan tutte (directed by Kirill Serebrennikov) at Komische Oper Berlin. She received invitations from the Wuppertal Symphony Orchestra, Coburg Philharmonic Orchestra, Brandenburg Symphony Orchestra and SWR Symphony Orchestra Stuttgart.\u003c\/p\u003e\n\u003cp\u003eIn 2023\/24 Katharina Müllner will conduct the premiere of the ballet Der 35. Mai oder Konrad reitet in die Südsee by Raphaël Coumes-Marquet and Gordon Kampe at Semperoper Dresden. She will also return to the Deutsche Oper am Rhein for the premiere of A Kiss to the World by Dominique Dumais as well as the revival of Krabat. In addition to her opera engagements, she is scheduled for symphonic performances with Staatsphilharmonie Nürnberg, Stadttheater Klagenfurt and Düsseldorfer Symphoniker, among others.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.katharinamuellner.com\" target=\"_blank\"\u003ewww.katharinamuellner.com\u003c\/a\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eBERN SYMPHONY ORCHESTRA\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThe Bern Symphony Orchestra (\u003ca href=\"\/collections\/berner-symphonieorchester\" target=\"_blank\"\u003eBerner Symphonieorchester\u003c\/a\u003e) looks back on 145 years of tradition as the orchestra of the Swiss capital. Founded in 1877 as the “Bernischer Orchesterverein”, the BSO is one of the largest and most important orchestras in Switzerland with around 100 musicians from over 20 different nations. Since 2011, it has been operating as a part of the city’s opera, theatre, and ballet performing arts organization, know as “Bühnen Bern”, while maintaining its artistic independence. The BSO performs more than 50 concerts per season in addition to the musical theatre performances at Bühnen Bern, which have been under the musical direction of Nicholas Carter since 2021.\u003c\/p\u003e\n\u003cp\u003eThe principal conductors of the Bern Symphony Orchestra were, most recently, Conductor Emeritus Mario Venzago for more than a decade, and before him Andrey Boreyko, Dmitrij Kitajenko, Charles Dutoit and Paul Klecki, among others. Renowned guest conductors such as Sir Neville Marriner, Eliahu Inbal, Susanna Mälkki, Jaap van Zweden, Santtu-Matias Rouvali, Simone Young, Klaus Mäkelä, Mirga Gražinytė-Tyla and James Conlon have left their mark on the orchestra. The BSO currently operates without a principal conductor and works with a large number of renowned guest conductors.\u003c\/p\u003e\n\u003cp\u003eWorld-class soloists such as Sol Gabetta, Hilary Hahn, Jean-Yves Thibaudet, Daniel Barenboim, Frank-Peter Zimmermann, Martha Argerich, Pierre-Laurent Aimard, Emmanuel Pahud and Fazil Say, as well as young classical stars such as Kian Soltani, Regula Mühlemann, Vilde Frang, and Alexandre Kantorow, contribute to spreading the reputation of the Bern Symphony Orchestra far beyond the country’s borders. This leads to regular invitations at home and abroad.\u003c\/p\u003e\n\u003cp\u003eIn addition to the symphonic repertoire there is also focus on the promotion of contemporary composers. The orchestra reaches a wide audience with diverse formats such as family and toddler’s concerts, as well as concerts in the region. A special highlight of each season is the open-air concert on the Bundesplatz and the crossover concerts with popular music artists in “Über ds Chrüz”.\u003c\/p\u003e\n\u003cp\u003eThe management structure of the orchestra is strongly democratic. Program planning and artist invitations are the responsibility of the concert commission, which consists of elected members of the orchestra.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.classical-music.com\/reviews\/\" target=\"_blank\"\u003eBBC Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This \"rhapsodie Hebraïque\", as Bloch termed it, is paired with a tender and again sensitive playing of Bruch’s Kol Nidrei, the Protestant composer’s interpretation of the historic invocation to forgive sins on the eve of Yom Kippur, commissioned by the Liverpool Jewish Society in 1880. It’s lyrical, rich and expressive, and done with a tenderness, but never sentimentality, that gives it the intended meaning. The final piece on this recording turns to (marginally) more upbeat matters with Dohnányi’s Konzertstück, its initial lightness given flight from the beginning by Posner and the Bern Symphony. The finale is spun out on an ethereally tensioned thread of distant timpani, oscillating cello and the Bern strings. Very much recommended.\" - Sarah Urwin Jones, May 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/classica.fr\" target=\"_blank\"\u003eClassica Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Pièce virtuose un rien bavarde alla Richard Strauss, le Konzertstück (1904) d'Ernö Dohnanyi voisine avec le Schelomo (1916) d'Ernest Bloch, sous-titré « Rhapsodie hébraïque». La culture juive a également inspiré Max Bruch pour son Kol Nidrei (1880) qui a la particularité d'avoir incité Schönberg à composer sa pièce homonyme en réaction à une « sentimentalité» que le Viennois réprouvait. Tim Posner tient le pari de restituer son programme avec une sobriété expressive, une clarté de diction et une noblesse de ton susceptibles d'en rendre le propos plus universel. La tendresse orante de Kol Nidrei ne s'encombre ici d'aucune lourdeur, pas plus que l'intense méditation de Salomon ne tourne à la déclamation expressionniste. Sans égaler l'intensité émotionnelle des Casals, Tortelier, Starker, Navarra, Fournier, Nelsova, Rostropovitch ou Du Pré, le violoncelliste solo de l'Amsterdam Sinfonietta propose néanmoins une alternative légitime. Dans le Konzertstück où la concurrence se fait moins rude - quoique Starker.. - , Posner déroule avec la même légèreté de touche une lecture au lyrisme élégant.\" - Gérard Belvire, June 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.colinscolumn.com\/tim-posner-records-bloch-bruch-and-dohnanyi-for-claves-with-the-berne-symphony-orchestra-katharina-mullner\/%20\" target=\"_blank\"\u003eCollins Column\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Tim Posner, already a prize-winner, needs only two things to make a notable impression – his cello and his musicianship, and here both are in tip-top order. In this performance, the expression of Ernest Bloch’s Schelomo comes from within – immediately given Posner’s arresting plangent tone and throughout with his unforced intense phrasing, judiciously detailed by the Berne Symphony Orchestra and Katharina Müllner, who know exactly where the climax is – arrived at with certainty and fired-up with cinematic relish. In Max Bruch’s exquisite if soulful Kol Nidrei, Posner is tender and intimate, subtly beguiling too, and leaves no doubt as to the cellist’s sensitivity. Ernö Dohnányi’s Konzertstück may prove to be the revelation of this release, a gorgeously lyrical opus, lightly Brahmsian, vernal, which Posner plays with much affection and invests numerous varied hues and intensities into the expressive and captivating twenty-five-minute whole, complemented by fine woodwind and horn solos. Excellent and well-balanced sound on Claves CD 3079. I look forward to hearing Tim Posner again.\" April 2024\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.gramophone.co.uk\/reviews\/review?slug=bloch-schelomo-bruch-kol-nidrei-dohnanyi-konzertstuck\" target=\"_blank\"\u003eGramophone Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“[..] These are loving performances from Posner. He has tremendous tonal beauty across his cello’s range, making it sing with hugely attractive mellow, melancholic passion. Katharina Müllner and the Berner Symphoniker are equally warmly expressive. [..]” - \u003c\/span\u003eCharlotte Gardner, June 2024\u003c\/em\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.crescendo-magazine.be\/le-violoncelle-noble-et-genereux-de-langlais-tim-posner\/%20\" target=\"_blank\"\u003eCrescendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Avec cet album riche en univers lyriques, Tim Posner signe bien plus qu’une carte de visite : il fait la démonstration d’un talent déjà affirmé. L’Orchestre symphonique de Berne, en belle forme, est mené par la baguette attentive de Katharina Müllner (°1992), qui a étudié la direction d’orchestre, mais aussi la philosophie et la psychologie, à Vienne, sa ville natale. Cette jeune cheffe, autre belle découverte de l’album, s’est déjà vu confier des opéras de Mozart, Suppé, Britten ou Bizet sur des scènes suisses, autrichiennes et allemandes. Sa carrière, comme celle de Tim Posner, est à suivre.\" - Jean Lacroix, May 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.diapasonmag.fr\/critiques\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Composé par un Dohnanyi de vingt six ans, le plus rare Konzertstück (1903-1904) est le joyau de l’album. Janos Starker (avec Susskind chez Emi puis Schwarz pour Delos\/ Naxos) ou Raphael Wallfisch (avec Mackerras pour Chandos) en ont laissé d’ardents témoignages. Cette nouvelle version pourrait bien s’imposer comme une référence moderne, tant elle exprime avec soin le lyrisme généreux d’une partition plus viennoise que hongroise. La construction rigoureuse, déguisée sous des atours rhapsodiques, est parfaitement comprise par le soliste comme par la cheffe Katharina Müller. Le phrasé impeccable de Posner y installe des moments d’une rare élégance.\" - Michel Stockhem, May 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.kultur-tipp.ch\/artikel\/artikeldetail\/default-0db736d85282819ee5939b56d40f30b6%20\" target=\"_blank\"\u003eKulturTipp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Belebte Brocken Mit Tim Posner (28) und Katharina Müllner (31) treten hier zwei aufstrebende Musikschaffende ins Rampenlicht. Der britische Cellist und die Wiener Dirigentin beleben mit dem Berner Symphonieorchester drei wuchtige kompositorische Brocken der Spätromantik: Ernest Blochs «Schelomo» und Max Bruchs «Kol Nidrei» stellen sie das kaum bekannte «Konzertstück op. 12» des Ungarn Ernö Dohnányi gegenüber. Faszinierend.\" - Frank von Niederhäusern, February 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/musicwebinternational.com\/2024\/05\/bloch-bruch-dohnanyi-cello-orchestra-claves\/%20\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The three works each have other recordings. Consider two discs on Hyperion. Natalie Clein plays the Bloch and Bruch pieces, and Bloch’s two other cello works (review). Volume 1 of the Romantic Cello Concerto series, with Alban Gerhardt as the soloist, includes Dohnányi’s Konzertstück and pieces by Enescu and D’Albert(review). But I suspect this issue might be a unique programme, and its main purpose is to announce its soloist. Comparisons are less meaningful when each performance here is good, to say the least. The recording is good, while it slightly favours the cello in the balance. (Those who ask for a “concert hall balance” on disc like this have not spent much time listening live to cello concertos in a large hall.) The notes, far from extensive, say something about Dohnányi the composer but nothing about his composition. They are useful for the Bruch and Bloch pieces.\" - Roy Westbrook, May 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This unusual programme works very well indeed, and with superb performances all round, it is an admirable addition to the cello catalogue. Tim Posner is certainly a name to look out for and I am sure he will appear again, hopefully with an equally imaginative approach to the choice of music.\" - \u003ca rel=\"noopener\" href=\"https:\/\/musicwebinternational.com\/2024\/03\/bloch-bruch-dohnanyi-works-for-cello-orchestra-claves\/\" target=\"_blank\"\u003ePrevious review by Dominy Clements\u003c\/a\u003e, March 2024\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/mutheute.com\/\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Es ist nicht selbstverständlich, dass sich ein junger Solist und ein traditionsreiches Orchester lückenlos übereinstimmend in die Tonsprache von drei grundverschiedenen Komponis ten einfühlen, verdienen der Cellist Tim Posner und das Berner Sinfonieorchester unter der Leitung von Katharina Müllner in drei konzertanten Werken von Ernest Bloch, Max Bruch und Ernö Dohnányi grosse Beachtung. Knüpften der ungarische Komponist in seinem spätromantischen Konzertstück op. 12 und Max Bruch in «Kol Nidrei, Adagio für Violoncell mit Orchester und Harfe nach hebräischen Melodien» unüberhörbar an ihr Vorbild Brahms an, ging Ernest Bloch in «Schelomo (Solomon) Rhapsodie hébraïque» (1916) eigene Wege. Er drückte die weisen Gedanken und Klagen des Königs Salomo in der Cellostimme unter Anlehnung an die Betonungen in der hebräischen Sprache aus. Am speziellen Klangkolorit verschiedener Kulturen interessiert, schrieb Bruch sein auf einem aramäischen Gebet basierendes und von vielen jüdischen Komponisten bearbeitetes Erfolgsstück «Kol Nidrei» für die Liverpool Jewish Society, die offenbar nicht von seinen antisemitischen Äusserungen wusste. Das zu den bekanntesten Synagogalmelodien zählende Gebet interpretieren Tim Posner und die Berner Sinfoniker mit der erforderlichen Inbrunst.\" - Walter Labhart, October 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/bloch05.htm%20\" target=\"_blank\"\u003eOpus Klassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is Posner's debut album, on which - it is by no means a given - he could count on the Berne Symphonieorchester, well-equipped for this programme, led by an inspired Katharina Müllner. And Posner? He might yet grow into a Truls Mørk, and by the sound of it, he is already well on his way... The Konzertstück (its playing time is around half an hour) makes this release highly recommended!\" - Aart van der Wal, March 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/scenesmagazine.com\/\" target=\"_blank\"\u003eScènes Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Le Prix Thierry Scherz 2023 voit son disque enrichir le catalogue Claves, lequel se dote chaque année de quelque quinze nouveaux titres. L’héroïsme de la maison suisse parvient à tenir la dragée haute aux majors du disques. Avec ses moyens et son ingéniosité entrepreneuriale et éditoriale, Claves alimente un secteur malmené économiquement avec des parutions originales et en mettant en évidence des artistes dignes d’intérêt, à l’instar des jeunes lauréats des Sommets musicaux. A cette enseigne, le violoncelliste Tim Posner signe aux côtés du Berner Symphonieorchester emmené par Katharina Müllner un enregistrement consignant des pages célèbres de Bloch (Schelomo) et Bruch (Kol Nidrei) que complètent celles plus rares du Konzertstück, op.12 d’Ernö Dohnányi. Pas encore trentenaire, le jeune musicien qui peut se targuer d’avoir joué avec Sir András Schiff, Gidon Kremer, Lars Vogt et Emmanuel Pahud, et qui a suscité enthousiasme et admiration dans nos alpes suisses aussi bien à Gstaad qu’au Festival d’Ernen, s’imprègne du caractère rhapsodique mâtiné d’orientalisme et de postromantisme de Bloch. Il en restitue l’esprit avec générosité, qualité qu’il convoque également dans les pages romantiques de Bruch et du hongrois Dohnányi.\" - Bernard Halter, April 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/theartsdesk.com\/users\/grahamrickson\" target=\"_blank\"\u003eThe ArtDesk Classical\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The final work is a rarity, Dohnányi’s large-scale Konzertstück playing out like an extended single-movement cello concerto lasting 25 minutes. It’s music on the cusp (Dohnányi completed it in 1904), showing the influence of Brahms and Mahler, the cello writing lyrical and idiomatic. The first section’s whimsical slow waltz theme is an earworm, followed by a probing adagio and a brief scherzo section. The opening theme returns, and the calm close is blissful. It’s a real find. This is a terrific disc, and it’s already pencilled in on my ‘Best of 2024’ list.\" - Graham Rickson, March 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.thetimes.com\/article\/yo-yo-ma-beethoven-for-three-review-a-trio-id-follow-anywhere-p8pwzp35z\" target=\"_blank\"\u003eThe Times\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Connoisseurs of instrumental colour should especially relish the dark throb of Tim Posner’s cello in the early bars of Ernest Bloch’s “Schelomo”, the first attraction in a programme that displays technical excellence walking hand in hand with open emotion. This youngish British musician hasn’t taken numerous cello master classes with the soulful Steven Isserlis for nothing.  The choice of repertoire also invites the yearning tone. After Bloch’s “Hebraic rhapsody”, both lyrical and declamatory, we get the Protestant Bruch’s touching “Kol Nidre”, inspired by Hebrew melodies. Soaring song finally turns cheerful in Dohnanyi’s early “Konzertstück” of 1904, blessed with one of those long-legged romantic melodies hard to shake off once heard. The Bern Symphony Orchestra and Austrian conductor Katharina Müllner make decent sounds alongside, though the recording is a bit constricted, sometimes squeezing Posner in the process. Not enough, though, to snuff out this cellist’s special gifts.\" - Geoff Brown, March 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"\u0026quot;A%20beautiful%20disc%20from%20Tim%20Posner,%20then.%20The%20Berner-Symphonieorchester%20is%20on%20magnificent%20form%20under%20Katharina%20M%C3%BCllner%20(a%20conductor%20I%20would%20like%20to%20hear%20more%20from),%20all%20supported%20by%20a%20first-class%20recording.%20The%20only%20possible%20quibble%20is%20a%20slightly%20short%20playing%20time%20of%2055:34,%20butt%20with%20treasures%20like%20these,%20who's%20counting?\u0026quot;%20-%20Colin%20Clarke,%20March%202024\" target=\"_blank\"\u003eThe Classical Explorer\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"A beautiful disc from Tim Posner, then. The Berner-Symphonieorchester is on magnificent form under Katharina Müllner (a conductor I would like to hear more from), all supported by a first-class recording. The only possible quibble is a slightly short playing time of 55:34, butt with treasures like these, who's counting?\" - Colin Clarke, March 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href='\"This%20is%20a%20delightful%20work,%20full%20of%20youthful%20exuberance%20and%20grace.%20Posner%20moves%20naturally%20with%20the%20ebb%20and%20flow%20of%20the%20music,%20using%20a%20degree%20of%20Romantic%20portamento%20and%20a%20beautiful%20vibrato%20in%20the%20Adagio%20section.%20A%20warm%20and%20full%20recorded%20sound%20enhances%20this%20fine%20recording.\"%20-%20Janet%20Banks,%20March%20' target=\"_blank\"\u003eThe Strad\u003c\/a\u003e\u003ca href=\"https:\/\/www.thestrad.com\/reviews\/the-strad-recommends-tim-posner-bloch-bruch-dohnanyi\/17809.article\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is a delightful work, full of youthful exuberance and grace. Posner moves naturally with the ebb and flow of the music, using a degree of Romantic portamento and a beautiful vibrato in the Adagio section. A warm and full recorded sound enhances this fine recording.\" - Janet Banks, March \u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/chmedia.ch\/\" target=\"_blank\"\u003eCH Media\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Beim Gstaader Winterfestival Sommets Musicaux gibt es alljährlich einen Wettbewerb für junge Musiker, dem Sieger winkt eine Aufnahme mit Orchester. Der Cellist Tim Posner gewann 2023 und spielte nun mit dem Berner Symphonieorchester eine faszinierende CD mit Werken von Ernest Bloch, Max Bruch und Ernö Dohnanyi ein: glühend sein Celloton, bisweilen elegant knurrend.\" - Christian Berzins, March 2024\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theartsdesk.com\/classical-music\/best-2024-classical-cds%20\" rel=\"noopener\" target=\"_blank\"\u003eThe ArtsDesk\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] British cellist Tim Posner recorded Bloch’s Schelomo, Bruch’s Kol Nidrei and Dohnányi’s Konzertstück with the Berner Symphonieorchester and Katharina Müllner on the Claves label. His is one of the best accounts of Schelomo you’ll find, and the Dohnányi is a discovery, thrillingly played here. [..]” - Graham Rickson, December 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3079 \/ 1 \/ Tim Posner","offer_id":40255120932899,"sku":"3079","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"Berner Symphonieorchester \/ orchestra \/ Tim Posner","offer_id":40255120965667,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Tim Posner","offer_id":40255120998435,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Tim Posner","offer_id":40255121031203,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Katharina Müllner \/ conductor \/ Tim Posner","offer_id":40255121063971,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"15.03.2024 \/ release \/ Tim Posner","offer_id":40255121096739,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Tim 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Presto Classical HR \/ Tim Posner","offer_id":40255752208419,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Tim Posner","offer_id":40255121686563,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/229542 \/ Pro Studio Masters \/ Tim Posner","offer_id":40318771331107,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Tim Posner","offer_id":40255121752099,"sku":"3079","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/fr-fr\/album\/bloch-dohnanyi-bruch-tim-posner-berner-symphonieorchester-katharina-mullner-tim-posner-katharina-mullner-berner-symphonieorchester\/acu200l5yl6vc \/ Qobuz HD \/ Tim 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href=\"\/collections\/michael-studer\" target=\"_blank\" rel=\"noopener\"\u003eMichael Studer\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/michael-studer\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.claves.ch\/fr\/collections\/michael-studer\"\u003e\u003c\/a\u003e’s unique art is particularly comforting. Indifferent to trends, his piano and his music speak to the heart with candor and simplicity. Many performers, including some of the greatest, match themselves against the composer, attempting to impose and stage themselves.\u003c\/p\u003e\n\u003cp\u003eMichael Studer has chosen a different path. His sovereign mastery of his instrument allows for a freedom of expression and subtle musicality that lets the composer speak through him, as Dinu Lipatti did. “Content” with a repertoire less trodden, there are certain works that he is particularly fond of, and his love for these works is manifest in profound interpretations played with incomparable authenticity, musicality and finesse.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOlivier Verrey\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"error \/ Digital only \/ Michael Studer","offer_id":40360141226019,"sku":"3110","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ orchestra \/ Michael Studer","offer_id":40360141258787,"sku":"3110","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Michael Studer","offer_id":40360141291555,"sku":"3110","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Michael 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Studer","offer_id":40360142077987,"sku":"3110","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/Studer_portrait.jpg?v=1712145422"},{"product_id":"studer-rare-recital-ii","title":"(2024) Studer Rare Recital II","description":"\u003cdiv class=\"descr3\" data-mce-fragment=\"1\"\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003eMichael Studer (1940-2024)\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAt a dismal time of unadulterated virtuosity and product marketing, \u003ca href=\"https:\/\/www.claves.ch\/collections\/michael-studer\" rel=\"noopener\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.claves.ch\/collections\/michael-studer\" target=\"_blank\"\u003eMichael Studer\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/michael-studer\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.claves.ch\/fr\/collections\/michael-studer\"\u003e\u003c\/a\u003e’s unique art is particularly comforting. Indifferent to trends, his piano and his music speak to the heart with candor and simplicity. Many performers, including some of the greatest, match themselves against the composer, attempting to impose and stage themselves.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMichael Studer has chosen a different path. His sovereign mastery of his instrument allows for a freedom of expression and subtle musicality that lets the composer speak through him, as Dinu Lipatti did. “Content” with a repertoire less trodden, there are certain works that he is particularly fond of, and his love for these works is manifest in profound interpretations played with incomparable authenticity, musicality and finesse.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOlivier Verrey\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Claves Records","offers":[{"title":"error \/ Digital only \/ Michael Studer","offer_id":40360220491811,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ orchestra \/ Michael Studer","offer_id":40360220524579,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Michael Studer","offer_id":40360220557347,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Michael Studer","offer_id":40360220590115,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Michael Studer","offer_id":40360220622883,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"05.04.2024 \/ release \/ Michael Studer","offer_id":40360220655651,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Michael Studer","offer_id":40360220688419,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Michael Studer","offer_id":40360220721187,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/studer-rare-recital-ii\/1739358739 \/ iTunes \/ Michael Studer","offer_id":40365193887779,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/intl-fr\/album\/36x2HX7iV1rFesnHNvewqw?si=xGbSeFbTRnasGxq8bGWc5A \/ Spotify \/ Michael Studer","offer_id":40370525634595,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_mQU-URu8WhnidMWH4RudNKTGr8rLYMXUc \/ Youtube Music \/ Michael Studer","offer_id":40365193920547,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/studer-rare-recital-ii-michael-studer\/hfzo2ozojvcla \/ Qobuz \/ Michael Studer","offer_id":40365193953315,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Deezer \/ Michael Studer","offer_id":40360220885027,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/music\/player\/albums\/B0CZS5K2XX \/ AmazonMp3 \/ Michael Studer","offer_id":40365193986083,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Michael Studer","offer_id":40360220950563,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Michael Studer","offer_id":40360220983331,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=6RlwD5U5lYs\u0026list=PLy5IRCYvmbSyjArMqmcLsTQg7jMurw2Cq \/ Video \/ Michael Studer","offer_id":40365194018851,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Michael Studer","offer_id":40360221048867,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Tidal \/ Michael Studer","offer_id":40360221081635,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Rhapsody \/ Michael Studer","offer_id":40360221114403,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various composers \/ Composers \/ Michael Studer","offer_id":40360221147171,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/search?search_query=michael%20studer \/ Presto Classical HR \/ Michael Studer","offer_id":40361681551395,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Michael Studer","offer_id":40360221212707,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Pro Studio Masters \/ Michael Studer","offer_id":40360221245475,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ HD-Tracks \/ Michael Studer","offer_id":40360221278243,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz HD \/ Michael Studer","offer_id":40360221311011,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ 7digitalHD \/ Michael Studer","offer_id":40360221343779,"sku":"3111","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/damier.jpg?v=1712146254"},{"product_id":"ravel-schnittke-prokofiev","title":"(2024) Ravel - Schnittke - Prokofiev","description":"\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eTHE THOUSAND AND ONE LIVES OF THE CELLO IN THE 20TH CENTURY \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"#reviews\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eRead reviews\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/alfred-schnittke\"\u003eAlfred Schnittke\u003c\/a\u003e made a name for himself internationally in 1977 with the world premiere of his \u003ci\u003eConcerto grosso No. 1\u003c\/i\u003e. [..]\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIn 1978, the \u003cem\u003eSonata for Cello and Piano No. 1\u003c\/em\u003e pursued this polystylistic approach but in a less heterogeneous manner. The various components are thus far more integrated into the course of the score, yet remain perfectly audible and identifiable. The piece opens with a meditative Largo, reminiscent of a sarabande, in which the piece’s central substrate is immediately heard: the major or minor third interval, a fundamental element of classical harmony on which chords are built and which conveys a sense of impalpable tonality. The Presto is an inexorable race. The thirds are still present, particularly in the piano’s hammered punctuations, but are submerged by the incessant quavers running through the whole movement. [..]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe \u003ci\u003eSonata for Violin and Cello \u003c\/i\u003eis \u003ca href=\"\/collections\/maurice-ravel\"\u003eMaurice Ravel\u003c\/a\u003e\u003ca href=\"collections\/maurice-ravel\"\u003e\u003c\/a\u003e’s tribute to Claude Debussy. After the latter died in 1918, \u003ci\u003eLa Revue musicale \u003c\/i\u003edecided to publish a memorial supplement in December 1920. Contributions were requested from some of the most famous composers of the time, including Béla Bartók, Paul Dukas, Igor Stravinsky, Erik Satie and Ravel, of course, who composed a \u003ci\u003eDuo for Violin and Cello \u003c\/i\u003efor the occasion. This became the first movement of the future \u003ci\u003eSonate\u003c\/i\u003e, which was not completed until 1922 and was dedicated “To the memory of Claude Debussy”.\u003c\/span\u003e [..]\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/sergei-prokofiev\"\u003eProkofiev\u003c\/a\u003e’s \u003ci\u003eSymphony-Concerto \u003c\/i\u003eis one of the composer’s last productions, a synthesis of his art: the taste for motoric rhythms is dissolved in a variety of episodes and numerous ruptures, while melodies of exacerbated lyricism emerge from sometimes very dissonant harmonies. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe three works featured in this recording display more differences than similarities in style, cast, genre or origin. What unites them, however, is the extraordinary ability of their respective composers to exploit the full range of playing possibilities offered by the cello. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eYaël Hêche \u003cbr\u003e\u003c\/i\u003e\u003ci\u003e\u003ca href=\"https:\/\/www.communiquerlamusique.ch\" rel=\"noopener\" target=\"_blank\"\u003ewww.communiquerlamusique.ch\u003c\/a\u003e \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e(Translation: Michelle Bulloch – Musitext)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e[\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309729_booklet_pages.pdf?v=1716535890\" rel=\"noopener\" target=\"_blank\"\u003eread more in the booklet\u003c\/a\u003e]\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eCONSTANTIN MACHEREL \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eDeeply committed to exploring the cello repertoire and its interpretation, \u003ca href=\"\/collections\/constantin-macherel\"\u003eConstantin Macherel\u003c\/a\u003e’s program on this new CD focuses on the twentieth-century repertoire that is particularly close to his heart. From an early age, he was fascinated by Stravinsky’s musical universe. Through this prism, he discovered bewitching worlds, including those of Prokofiev, Ravel and Schnittke, as essential facets of this great and diverse musical era. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eIn 2019, his first CD with the London Mozart Players, \u003ci\u003eVirtuoso Music for Cello, \u003c\/i\u003efeaturing works by \u003ca href=\"\/collections\/luigi-boccherini\"\u003eBoccherini\u003c\/a\u003e, \u003ca href=\"\/collections\/gioachino-rossini\"\u003eRossini\u003c\/a\u003e, \u003ca href=\"\/collections\/auguste-joseph-franchomme\"\u003eFranchomme\u003c\/a\u003e and \u003ca href=\"\/collections\/adrien-francois-servais\"\u003eServais\u003c\/a\u003e, won \u003ca href=\"\/collections\/5-diapason\" target=\"_blank\"\u003efive Diapason awards\u003c\/a\u003e, international critical acclaim and was broadcast on France Musique, RAI Classica, RTS\/SRF, New York Public Radio, Radio NDR, Finnish National Radio and Bayerische Rundfunk. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eConstantin Macherel performs regularly as a soloist and in recital in Switzerland, Belgium, England, Germany, France, Italy, Austria, Holland, Czech Republic, Romania and Lithuania. In the 2024 season, he will make his first solo tour of several Japanese cities. As a soloist, he works with the \u003ca href=\"\/collections\/london-mozart-players\" target=\"_blank\"\u003eLondon Mozart Players\u003c\/a\u003e, Geringas Chamber Orchestra, Sonoro Quartet, Léman Virtuosi, St-Petersburg Taurida State Orchestra, Aarau Sinfonie Orchester, Orchestre OQPL, Janacek Symphony Orchestra, Carlsbad Symphony Orchestra and others. Since 2019, he has performed regularly with violinist Anna Orlik, forming the Duo Violincello with whom he also founded the international ensemble Léman Virtuosi. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eConstantin Macherel won 1\u003csup\u003est\u003c\/sup\u003e prize at the Schweizer Solisten Vorspiel for his performance of Schumann’s Cello Concerto with the Aargauer Sinfonie Orchester, 2\u003csup\u003end\u003c\/sup\u003e prize at the Rahn Musikpreis für Streicher, and a special prize at the Klaipeda International Cello Competition. He has also been awarded the Leenaards Foundation grant for young artists, and is supported by the Swiss foundations Irène Denéréaz, Casino Barrière de Montreux, Concours Nicati-de Luze, Fritz Gerber Stiftung, Schenk Stiftung für junge Solisten. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eBorn in Lausanne into a family of musicians, Constantin Macherel began studying his instrument with his mother, and soon joined the classes of Marc Jaermann and Susan Rybicki-Varga at the Conservatoire de Musique de Lausanne. He went on to study with Masters Ivan Monighetti and Raphael Wallfisch, and completed a soloist’s Master’s degree with distinction. He perfected his skills in masterclasses with David Geringas, Karina Georgian, Giovanni Sollima, Natalia Gutman and France Springuel. Equally passionate about composition, he wrote his first pieces around the age of 14. He composes for a variety of instruments and formations, and has received several commissions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eConstantin Macherel plays a historic English cello by Joseph Hill I, circa 1765.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLONDON MOZART PLAYERS \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eFounded in 1949 by Harry Blech to delight audiences with the works of Mozart and Haydn, over the last 70-odd years the \u003ca rel=\"noopener\" href=\"collections\/london-mozart-players\" target=\"_blank\"\u003e\u003c\/a\u003e\u003ca href=\"\/collections\/london-mozart-players\" target=\"_blank\"\u003eLondon Mozart Players\u003c\/a\u003e (LMP) has developed an outstanding reputation for adventurous, ambitious programming from Baroque through to genre-crossing contemporary music. It continues to build on its long history of association with many of the world’s finest artists including Sir James Galway, Dame Felicity Lott, Jane Glover, Howard Shelley, Nicola Benedetti, John Suchet and Simon Callow. The orchestra enjoys an international reputation, touring throughout Europe and the Far East, most recently Dubai and Hong Kong, and records for Naxos, Chandos, Signum, Hyperion, Convivium Records and the German label CPO. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe London Mozart Players has been the resident orchestra at Croydon’s Fairfield Halls for thirty years, and in September 2019 enjoyed a gala concert to celebrate the Halls’ reopening. As Croydon’s resident orchestra, the ensemble has shown an invigorated and growing commitment to the borough’s cultural life. In 2016, the LMP relocated its office from Fairfield Halls to St John the Evangelist, Upper Norwood, undertaking a programme of initiatives within the local community. The orchestra has brought classical music stars Nicola Benedetti, Michael Collins and Sheku Kanneh-Mason to Upper Norwood in world-class performances, and its annual St John’s season has included family concerts and collaborations with local community groups and schools. [..]\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFREDERIC BAGER, piano\u003c\/span\u003e\u003cb\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eAs a soloist and chamber musician, \u003ca href=\"\/collections\/frederic-bager\"\u003eFrederic Bager\u003c\/a\u003e has performed in venues such as the Great Hall of the Berlin Philharmonie, the Cologne Philharmonie, St John’s Smith Square in London, as well as the Salle Métropole and Salle Paderewski in Lausanne, and the Victoria Hall in Geneva. He regularly plays in festivals such as the Davos Festival, Puplinge Classique, Festival des Haudères, and has performed several times on the airwaves of Swiss radio RTS Espace 2. [..]\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eANNA ORLIK, violin\u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003ePolish-born violinist based in Switzerland, \u003ca href=\"\/collections\/anna-orlik\"\u003eAnna Orlik\u003c\/a\u003e has performed as a soloist across Europe, South America and Africa, and collaborated with the artists of the international format: Maxim Vengerov Prokofiev's (Sonata for two violins during Gstaad Menuhin Festival), Cecilia Bartoli, Gary Hoffman, Wolfgang Marschner, Igor Frolow, as well as with the musicians of other genres: Noa, Germaine Jackson and Avishai Cohen Trio. [..]\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eJONATHAN BLOXHAM, conductor\u003c\/span\u003e\u003cb\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eMusic Director Luzerner Theater \u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eChief Conductor Nordwestdeutsche Philharmonie (from 2024\/25) \u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eConductor in Residence and Artistic Advisor London Mozart Players \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/jonathan-bloxham\"\u003eJonathan Bloxham\u003c\/a\u003e\u003ca href=\"collections\/jonathan-bloxham\"\u003e\u003c\/a\u003e began his tenure as Music Director of the Luzerner Theater this season, conducting \u003ci\u003eLa Bohème, Dido and Aeneas \u003c\/i\u003eand \u003ci\u003eI Montecchi e I Capuleti, \u003c\/i\u003eafter having debuted in 2022 with \u003ci\u003eBluebeard’s Castle. \u003c\/i\u003eHe made his Glyndebourne Festival debut in 2021 with \u003ci\u003eLuisa Miller, \u003c\/i\u003ealso conducting \u003ci\u003eDon Pasquale \u003c\/i\u003efor Glyn­debourne Touring Opera. [..]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e[\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309729_booklet_pages.pdf?v=1716535890\" rel=\"noopener\" target=\"_blank\"\u003eRead more and other biographies in the booklet\u003c\/a\u003e]\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\" id=\"reviews\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eREVIEWS\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.diapasonmag.fr\/critiques\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eDiapason Magazine\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"Constantin Macherel et Anna Orlik livrent une lecture de belle tenue mais un peu monochrome - nous fait défaut le grain de folie qu'y mettaient Sol Gabetta et Patricia Kopatchinskaja (Alpha). La décantation intense et l'âpreté de la Sonate pour violoncelle et piano n° 1 (1978) de Schnittke, écrite après la mort de Chostakovitch, sont mieux venues. Dans la Symphonie concertante, les London Mozart Players n'ont pas l'ampleur indispensable pour restituer toute la variété et la fascinante richesse de l'orchestre de Prokofiev. Dès lors, malgré le lyrisme et la virtuosité de Macherel, son interprétation ne peut rivaliser avec la référence laissée par Rostropovich avec Sargent (Warner), ni avec les versions bénéficiant d'orchestres autrement fournis et puissants que nous laissent Wallfisch (avec Jarvi père, Chandos) ou Capuçon (avec Gergiev, Virgin).\" - Jean-Claude Hulot, December 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003ca href=\"https:\/\/dasorchester.de\/artikel\/sonata-for-violin-and-cello-sonata-for-cello-and-piano-no-1-symphony-concerto-in-e-minor-op-125\/%20\" rel=\"noopener\" target=\"_blank\"\u003eDas Orchester\u003c\/a\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cem\u003e\"Das selbstverwaltete Orchester beeindruckt mit leuchtendem Klang und vor allem punktgenauer Durchsichtigkeit, die Prokofjews Symphonie-Konzert endlich einmal alle Schwere nimmt (trotz Tuba). Dafür sorgt auch Jonathan Bloxham, „Conductor in Residence and Artistic Advisor“ des britischen Klangkörpers sowie Musikdirektor des Luzerner Theaters und nicht zuletzt seit der neuen Saison 2024\/25 Chefdirigent der Nordwestdeutschen Philharmonie in Herford.\" - Ingo Hoddick\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.resmusica.com\/2024\/10\/05\/le-violoncelle-dans-tous-ses-etats-avec-constantin-macherel-claves\/%20\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eResMusica\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\"Le violoncelliste Constantin Macherel aime explorer les différentes facettes du répertoire de son instrument. Après un premier album consacré au répertoire virtuose et préromantique (Rossini, Franchomme, Servais), il s'intéresse dans son nouveau disque à celui du siècle passé. Sous-titré « Les mille et une vies du violoncelle au XXᵉ siècle », ce récital en compagnie de la violoniste Anna Orlik, du pianiste Frederic Bager et de l'ensemble des London Mozart Players, est assez hétérogène, tant dans son programme que dans son interprétation, où la musique de chambre côtoie la musique concertante, et où Ravel voisine avec les Russes Schnittke et Prokofiev.\" - Jean-Marc Petit, October 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.kultur-tipp.ch\/artikel\/artikeldetail\/hoertipps-klassik-constantin-macherel%20\" target=\"_blank\"\u003eKulturTipp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e« Der britische Dirigent Jonathan Bloxham gastierte auch schon am Luzerner Theater. Auf diesem Album zeigt er sich mit den London Mozart Players von seiner besten Seite, indem er Sergei Prokofiews packende «Sinfonie Concertante, op.125» spielt. Dabei triumphiert auch der junge Lausanner Cellist Constantin Macherel auf. Mehr als Zugaben sind die Sonaten für Geige und Cello von Maurice Ravel sowie für Klavier und Cello von Alfred Schnittke. » - Christian Berzins, Mai 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/musicwebinternational.com\/2024\/07\/ravel-schnittke-prokofiev-works-for-cello-claves\/%20\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003eMusicWeb International\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e“[..] All three soloists, with superb artistry, contributed to the enjoyment, but I must single out cellist Constantin Macherel, whose playing is of the very highest order. I thank him for convincing me that Prokofiev’s Symphony-Concerto is something quite special. The orchestra and conductor were also vital in my reappraisal. I have recently also been reassessing my appreciation of Ravel’s music. I see it now as a very important influence in the twentieth-century music. Anna Orlik’s violin playing has helped that reassessment. To make Schnittke’s challenging music tunefully enjoyable is also a considerable achievement. In the hands of the two musicians here, it became a thing of beauty and joy. Pianist Frederic Bager excelled in tumultuous passages, making them completely and coherently relevant. This is without doubt a disc to savour, unreservedly recommended.” - Steve Arloff, July 2024\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.clicmusique.com\/ravel-schnittke-musique-chambre-prokofiev-symphonie-concerto-macherel-orlik-bager-bloxham-p-111051.html%20\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eClic Musique\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e« Très jolie association que ces trois partitions du 20e siècle ! Assez rarement donnée, la Sonate en quatre mouvements pour violon et violoncelle de Ravel fut conçue comme un hommage à Debussy disparu en 1918. Ravel imagina une étonnante polyphonie avec simplement les huit cordes des deux instruments. Constantin Macherel et Anne Orlik donnent l’illusion d’une “orchestration” tant leurs voix se complètent parfaitement. Ils jouent magnifiquement des allongements et rétrécissements sonores, restituant la sensualité d’une partition proprement géniale. [..] » - Septembre 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.austa.asn.au\/\" rel=\"noopener\" target=\"_blank\"\u003eAusta - Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] Macherel’s superb tone sings in the high register passages, while the fast demisemiquaver passages in the allegro giusto are a distinctive highlight. The orchestra and soloist achieve an ideal balance on this album.\" - Robert Jackson, March 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/ravel29.htm\" rel=\"noopener\" target=\"_blank\"\u003eOpus Klassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] \u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThis album, released by the Swiss label Claves, is a gem in every respect. All the musicians - starring Constantin Macherel (Lausanne, 1991): he plays a British cello made by Joseph Hill around 1765 - have made these contrasting ‘worlds’ their own to such an extent that you can count on surprising interpretations that effortlessly nestle in the top segment. \u003c\/span\u003eHighly recommended!\" Aart van der Wal, March 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.revuemusicale.ch\/critiques\/disques\/2025\/06\/chefs-doeuvre-du-20e-siecle\" target=\"_blank\"\u003eSchweizer Musik Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\" [..] La collaboration entre les Mozart Players de Londres et Constantin Macherel avait été fructueuse pour son premier album ; l’enregistrement de la Symphonie concertante de Prokofiev pousse le soliste, l’orchestre et son chef Jonathan Bloxham à leurs limites. Il faut bien constater que la pièce est un défi combinant non seulement les possibilités, mais aussi les difficultés d’une symphonie, chaque registre de l’orchestre étant important et mis en valeur, et celles d’un concerto demandant au soliste des prouesses inimaginables. On admirera de nombreux beaux moments dans l’orchestre ainsi que l’énergie inépuisable du soliste pour accomplir ce tour de force.\" - Pierre-Alain Chamot, juin 2025\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3097 \/ 1 \/ Constantin Macherel","offer_id":40452644306979,"sku":"3097","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Constantin Macherel","offer_id":40452644339747,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Constantin Macherel","offer_id":40452644372515,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"London Mozart Players \/ ensemble \/ Constantin Macherel","offer_id":40452644405283,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Jonathan Bloxham \/ conductor \/ Constantin Macherel","offer_id":40452644438051,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"31.05.2024 \/ release \/ Constantin Macherel","offer_id":40452644470819,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Constantin Macherel","offer_id":40452644503587,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ smart_links \/ Constantin Macherel","offer_id":40452644536355,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309729_booklet_pages.pdf?v=1716535890 \/ Booklet \/ Constantin Macherel","offer_id":40452644569123,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/ravel-schnittke-prokofiev\/1748127177 \/ iTunes \/ Constantin Macherel","offer_id":55471325184386,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/0Cu6FZMrl5UAMOhIMA3Qna \/ Spotify \/ Constantin 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Macherel","offer_id":55471325217154,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/fr-ch.7digital.com\/artist\/constantin-macherel-london-mozart-players-and-jonathan-bloxham\/release\/ravel-schnittke-prokofiev-41725308 \/ 7digitalHD \/ Constantin Macherel","offer_id":40463273033763,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/6651a2ec06e098559699b589 \/ HD-Tracks \/ Constantin Macherel","offer_id":40465626759203,"sku":"3097","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309729_frontcover.jpg?v=1716536075"},{"product_id":"eric-tappy-lenchanteur-livre-avec-cd-inclus","title":"(2011) Eric Tappy - L'Enchanteur - Livre avec CD inclus","description":"\u003cp\u003eCe beau livre, mis en page par la graphiste renommée Flavia Cocchi, constitue bien plus qu’une biographie, c’est un véritable hommage à la fois au ténor qui fêtera son huitantième anniversaire en mai 2011, et à la grande journaliste Myriam Meuwly qui a initié ce bel ouvrage qu’elle ne verra pas paraître. \u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\" data-mce-style=\"text-align: right;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003chr\u003e\n\u003ch3\u003eAUTEUR\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e« Ce livre s’est imposé à moi. Il était nécessaire. Il ne pouvait pas ne pas être. »\u003c\/em\u003e confie Myriam Meuwly en préambule de ce livre qu’elle a porté jusqu’au bout, malgré la maladie qui l’affaiblissait. Disparue juste après avoir rendu ses derniers textes, elle partage avec ses lecteurs une émotion d’autant plus intense qu’elle l’habitait depuis longtemps.\u003c\/p\u003e\n\u003cp\u003eLa voix de Tappy lui était familière depuis sa jeunesse, elle l’entendait à la radio et associait Noël à ce grand ténor, interprétant sur les ondes des oratorios sublimes. Lorsqu’à 50 ans, au sommet de son art, Eric Tappy renonce à chanter, Myriam Meuwly parvient à le convaincre de lui accorder un long entretien. En journaliste et en mélomane avertie, elle n’a cessé de suivre sa carrière de ténor puis de professeur de chant.\u003c\/p\u003e\n\u003cp\u003eCe livre, qu’elle voulait réaliser en hommage à Eric Tappy, est également désormais un hommage à elle. C’était une grand dame de la presse, elle a dirigé des rédactions, fut correspondante à l’étranger et elle a écrit plusieurs livres.\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003eCONTENU \u003c\/h3\u003e\n\u003cp\u003eLe grand ténor vaudois \u003ca href=\"\/collections\/eric-tappy\" data-mce-href=\"\/collections\/eric-tappy\"\u003eEric Tappy\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/eric-tappy\" data-mce-href=\"https:\/\/www.claves.ch\/collections\/eric-tappy\"\u003e\u003c\/a\u003e a marqué l’histoire de l’art lyrique et interprété les plus grands rôles dans les opéras du monde entier. Après avoir mis trop vite un terme à sa carrière de chanteur, il a enseigné le chant et demeure encore aujourd’hui une figure emblématique pour les mélomanes. \u003c\/p\u003e\n\u003cp\u003eMyriam Meuwly a conçu son livre en collaboration étroite avec le chanteur. Le portrait qu’elle consacre à Eric Tappy est complété par un long entretien qu’il lui a accordé et de nombreux témoignages de personnalités qui l’ont côtoyé. Parmi eux, Hugues Cuénod et José Van Dam. \u003c\/p\u003e\n\u003cp\u003eLes photographies sont sublimes et historiques, signées notamment par Marcel Imsand. Elles proviennent de l’Opéra de Genève, principalement, mais aussi du monde entier car la réputation du ténor vaudois rayonne bien au-delà de nos frontières. On y découvre Eric Tappy dans ses rôles les plus célèbres, ainsi que de manière plus intime, puisque nombre de photos privées ont été confiées par le chanteur lui-même.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInclus \u003c\/strong\u003eun CD audio de 72 minutes contenant des airs d’opéra tels que Orfeo de Monteverdi ou encore La flute enchantée de Mozart.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClaudio Monteverdi (1567-1643)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOrfeo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eActe cinq\u003c\/p\u003e\n\u003cp\u003eOrfeo, Eric Tappy\u003cbr\u003eApollo, Theo Altmeyer\u003c\/p\u003e\n\u003cp\u003eEnsemble Vocal et Instrumental de Lausanne\u003cbr\u003eThe Edward H. Tarr Brass Ensemble\u003cbr\u003eMichel Corboz, direction\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCD Erato 2292-45445-2\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en 1968\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrancesco Cavalli (1602-1676)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOrmindo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eScène de la Prison (extraits)\u003c\/p\u003e\n\u003cp\u003eOrmindo, Eric Tappy\u003cbr\u003eErisbe, Claudine Perret\u003c\/p\u003e\n\u003cp\u003eOrchestre des Collèges lausannois\u003cbr\u003eJacques Pache, direction\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDisque VDE-Gallo\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en concert le 14 mars 1975 à la Cathédrale de Lausanne\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWolfgang Amadeus Mozart (1756-1791)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDie Zauberflöte\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eActe I (extraits)\u003cbr\u003eActe II (extraits)\u003c\/p\u003e\n\u003cp\u003eTamino, Eric Tappy\u003cbr\u003ePamina, Ileana Cotrubas\u003cbr\u003eErster geharnischter Mann, Karl Terkal\u003cbr\u003eZweiter geharnischter Mann, Helge von Bömches\u003c\/p\u003e\n\u003cp\u003eWiener Philharmoniker\u003cbr\u003eKonzertvereinigung Wiener Staatsopernchor\u003cbr\u003eJames Levine, direction\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCD RCA 88687527702\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en 1980, production du Festival de Salzbourg\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHector Berlioz (1803-1869)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eL’Enfance du Christ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePartie II : La fuite en Egypte (extrait)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRécitant, Eric Tappy\u003c\/p\u003e\n\u003cp\u003eLondon Symphony Orchestra\u003cbr\u003eJohn Alldis Choir\u003cbr\u003eSir Colin Davis, direction\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCD Philips 416 949-2\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en 1976\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArthur Honegger (1892-1955)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLe Roi David (version originale)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePremière partie (extraits)\u003c\/p\u003e\n\u003cp\u003eEric Tappy, ténor\u003cbr\u003eJean Desailly, le récitant\u003c\/p\u003e\n\u003cp\u003eEnsemble instrumental placé sous la direction de Charles Dutoit\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCD Erato 2292-45800-2\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en 1971\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eClaude Debussy (1862-1918)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePelléas et Mélisande\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eActe 4 (extrait)\u003c\/p\u003e\n\u003cp\u003ePelléas, Eric Tappy\u003cbr\u003eMélisande, Rachel Yakar\u003c\/p\u003e\n\u003cp\u003eOrchestre National de l’Opéra de Monte-Carlo\u003cbr\u003eArmin Jordan, direction\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCD Erato 2292-45684-2\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEnregistré en 1971\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e***\u003c\/p\u003e\n\u003cp\u003eRemastering, Blaise Favre\u003cbr\u003eEditions Pierre-Marcel Favre\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eAuteur: Myriam Meuwly\u003cbr\u003eISBN: 978-2-8289-1223-9\u003cbr\u003eÉditions: Favre\u003cbr\u003eRayon: Musique\u003cbr\u003eCollection: Beaux-livres\u003cbr\u003eFormat: 24,5 x 27,5 cm oblong\u003cbr\u003ePagination: 160 pages avec une centaine de photos noir\/blanc \u003cbr\u003e(Images privées et photos de grands artistes, Marcel Imsand notamment, montrant Eric Tappy sur scène dans les plus grands opéras.)\u003cbr\u003eSortie: 4 mai 2011\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"BO 1106 \/ Books \/ Eric Tappy","offer_id":40488913469475,"sku":"1106","price":20.0,"currency_code":"CHF","in_stock":true},{"title":"04.06.2011 \/ release \/ Eric Tappy","offer_id":40488913502243,"sku":"1106","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/schubert-die-sch%C3%B6ne-m%C3%BCllerin-op-25-d-795\/id1206891515?l=fr \/ iTunes \/ Eric Tappy","offer_id":40488913535011,"sku":"1106","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/1XYsMfJbDn6Nh7NIOW0uTn \/ Spotify \/ Eric Tappy","offer_id":40488921169955,"sku":"1106","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/channel\/UCB-bHpS7h5cS9tXIu8Yx7TQ \/ Youtube Music \/ Eric Tappy","offer_id":40488921104419,"sku":"1106","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/BOKK_COVER_Photo05_carre_DEF.jpg?v=1718796471"},{"product_id":"lieber-freund-sonatas-by-brahms-rontgen-von-herzogenberg","title":"(2024) «LIEBER FREUND» Sonatas by Brahms, Röntgen \u0026 von Herzogenberg","description":"\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eDear friend: Brahms, Herzogenberg and Röntgen \u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIn 1874, \u003ca href=\"\/collections\/heinrich-von-herzogenberg\"\u003eHeinrich von Herzogenberg\u003c\/a\u003e (1843-1900) hosted a Brahms festival in Leipzig, where the two men became friends. Brahms (1833-1897) also met \u003ca href=\"\/collections\/julius-roentgen\"\u003eJulius Röntgen\u003c\/a\u003e (1855-1932) there. Subsequently, the three men rubbed shoulders in what became known as the Brahms circle. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/johannes-brahms\"\u003eBrahms\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/johannes-brahms\"\u003e\u003c\/a\u003e was a central figure in this professional and friendly network, from which he benefited in many ways. Between 1874 and 1892, he sent almost all his manuscripts to Elisabeth von Herzogenberg (1847-1892), his former piano pupil who married Heinrich von Herzogenberg. He took her advice most readily, along with that of the pianist and composer Clara Schumann, another leading figure in the circle. The group’s meetings allowed Brahms to try out works before they were premiered or published. In addition, Elisabeth von Herzogenberg’s exceptional memory and talent as a pianist enabled her to perform unpublished pieces she had heard, thus promoting their diffusion. This network was essential to Brahms’s recognition, but its role is little known as its members, dominated by ideas of genius and inspiration, blotted out the traces of their help to let their idol shine alone. [..]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eWith this programme, Isabel Gehweiler and Fiona Hengartner shed light on the circle that played a decisive role in bringing Brahms into the repertoire but also produced other top-quality composers who had unjustly fallen into oblivion. Let us not forget that Joachim placed the works of Heinrich von Herzogenberg just after those of Brahms and believed that Röntgen could become one of the great masters in the history of music. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eDelphine Vincent \u003cbr\u003e\u003c\/i\u003e\u003ci\u003eTranslation: Michelle Bulloch – Musitext\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e[\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309828_booklet_pages.pdf?v=1719572749\" rel=\"noopener\" target=\"_blank\"\u003eRead more in the booklet\u003c\/a\u003e]\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003eIsabel Gehweiler\u003c\/span\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe cellist \u003ca href=\"\/collections\/isabel-gehweiler\"\u003eIsabel Gehweiler\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/isabel-gehweiler\"\u003e\u003c\/a\u003e first attracted international attention when in 2007, at the age of 19, she won the European Bursary for Young Artists. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFrom 2016 to 2021 Isabel Gehweiler was a lecturer in cello at the University of Music, Drama and Media in Hanover. Since 2017 she has been teaching a cello class at the College of Music in Einsiedeln (in the Swiss canton of Schwyz), and since 2019 she has additionally held a lectureship in didactics and improvisation at the Zurich University of the Arts. She specialises in transdisciplinary projects and regularly works with internationally acknowledged artists such as the director Christoph Marthaler and the pop star Andreas Vollenweider. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHer teachers included Katharina Gohl-Moser and Ivan Monighetti (both at the Basel Musikhochschule in the pre-college phase), Richard Aaron (The Juilliard School, New York – Bachelor of Music), Gustav Rivinius (Musikhochschule Saarbrücken – orchestra diploma) and Thomas Grossenbacher (Zurich University of the Arts – Master of Arts Soloist and Master of Arts Music Education). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIsabel Gehweiler is a prizewinner of the European Bursary for Young Artists, the Art Prize of the Art Foundation of Baden-Württemberg, the Art Prize of the Markgräfler region; she is also a recipient of grants from the DAAD (German Academic Exchange Service), the Juilliard School of Music, the Rotary Foundation, the arteMusica Foundation, the Cultural Foundation of the Saarland region, the Richard Wagner Association, the Covid-19 Grant of the City of Zurich, the Notenstein La Roche Privatbank and the Vontobel Bank. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eAs a composer Isabel Gehweiler has produced a body of work encompassing chamber music and orchestral compositions, which are regularly performed at international festivals.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.isabelgehweiler.com\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003cspan lang=\"DE-CH\" style=\"mso-ansi-language: DE-CH;\"\u003ewww.isabelgehweiler.com\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003eFiona Hengartner\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003ca href=\"\/collections\/fiona-hengartner\"\u003eFiona Hengartner\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/fiona-hengartner\"\u003e\u003c\/a\u003e is a Swiss pianist who is active as a concert pianist, experienced chamber musician and orchestral pianist. In addition, she teaches a piano class and is a rehearsal pianist at the conservatoire in Fribourg (Switzerland). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eFiona Hengartner studied piano at the conservatoire in Fribourg with Francois Beffa and at the Haute École de Musique de Lausanne with Christian Favre. She attained a second Masters degree in interpretation at the Zurich University of the Arts with special emphasis on chamber music and Lieder as well as a Certificate of Advanced Studies (Piano Performance) in Christoph Berner’s class. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eShe has won many prizes at competitions, including the Longines Prize in the finale of the 5th National Competition at the Jura Festival, first prize at the International Piano Competition in Fribourg and the prize for interpretation of the compulsory piece. At the finale of the Swiss Youth Music Competition she twice received first prize, alongside the Astona Prize. She is the recipient of a number of grants including that of the Fonds Pierre et Renée Glasson, the Fondation Casino Barrière de Montreux pour le Talent et la Créativité, the Swiss Richard Wagner Society, the Vincent Merkle Foundation and the Rotary Club’s Elsner Prize. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eIn 2021 as a member of the Essor Quartet she released her CD „Music for 4 Musicians” featuring works for two pianos and two percussions. She is also the duo partner of cellist Isabel Gehweiler and the two performers give concerts that concentrate on diversified repertoire, combining different art forms and the works of forgotten composers. In 2024, their first CD „Notre amour” is released on the German label \u003ci\u003eSolo Musica\u003c\/i\u003e, featuring a selection of works by Swiss and French composers. This programme resonates with the emotions associated with love in all its diversity, whether romantic, friendly, familial, unconditional or spiritual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003ca href=\"https:\/\/www.fionahengartner.ch\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003ewww.fionahengartner.ch\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"http:\/\/www.fionahengartner.ch\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"DE-CH\"\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.kulturabdruck.de\/ein-kreis-und-sein-mittelpunkt\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"EN-US\"\u003eKultur Abdruck\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"EN-US\"\u003e\u003cem\u003e\"Jahrzehntelang interessierte sich die Musikwelt nur für den Namensgeber des sogenannten „Brahms-Kreises“, der in erster Linie vom Bemühen seiner hochbegabten Zeitgenossen um musikalische Perfektionierung profitiert hatte. Die Cellistin Isabel Gehweiler und die Pianistin Fiona Hengartner entdecken nun aber auch im Umfeld des Verehrten großartige Werke.\" - October 2024\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.laliberte.ch\/articles\/culture\/musique\/musique-romantique-oubliee-856427\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003cspan style=\"mso-ansi-language: DE-CH;\" lang=\"EN-US\"\u003eLa Liberté\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Ce ne sont pas des noms qu’on voit souvent sur les affiches de concert ou les pochettes de disque. La pianiste Fiona Hengartner et la violoncelliste Isabel Gehweiler en donnent sur un nouvel enregistrement Claves une des rares lectures. Julius Röntgen et Heinrich von Herzogenberg ont pourtant fait partie du cercle musical de Johannes Brahms, dont elles interprètent également une sonate. Intitulé Lieber Freund… ce disque est déjà le troisième de la pianiste fribourgeoise et un témoignage d’amitié à plusieurs titres. Interview. [..] » - Elisabeth Hass, septembre 2024\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/brahms97.htm\" target=\"_blank\"\u003eOpusKlassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] \u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThese are subtle interpretations filled with expressive power, beautiful in tone and free of sentimentality. It is a fairly tight performance, as we see with more musicians from the younger generation: no overly emphatic display of their own abilities, no excessive romanticizing, nuanced and eloquent. The fact that more profound performances can be found in the top segment of the discography does not detract from this beautifully stylized duo performance.\" - Aart van der Wal, March 2025\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.austa.asn.au\/\" target=\"_blank\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eAusta - Stringendo\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e“This is a comparison review of two CDs of Romantic sonatas for piano and cello. They have much in common, which is why I’ve chosen to discuss them together, but also great differences. For brevity I’ll refer to them as ‘Weilerstein’ and ‘Gehweiler’, absolutely not diminishing the excellent work of both pianists! [..] Gehweiler adds sonatas by Julius Röntgen and Heinrich von Herzogenberg, both as Brahmsian as you can get without actually being Brahms. The four concise movements of Röntgen’s sonata op. 56 are particularly attractive: worth enjoying both as a listener and a performer. [..] If too much Brahms is never enough, Weilerstein will fit the bill, but for sheer beauty and sensitive emotional response, I can’t go past Gehweiler’s performance.” - Michael O’Loghlin, June 2025\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3098 \/ 1 \/ Isabel Gehweiler","offer_id":54881258471810,"sku":"3098","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Isabel Gehweiler","offer_id":40499882557475,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Isabel Gehweiler","offer_id":40499882590243,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Isabel Gehweiler","offer_id":40499882623011,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Isabel Gehweiler","offer_id":40499882655779,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"13.09.2024 \/ release \/ Isabel Gehweiler","offer_id":40499882688547,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Isabel Gehweiler","offer_id":40579940876323,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/orcd.co\/album-lieber-freund \/ smart_links \/ Isabel Gehweiler","offer_id":40520079081507,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309828_booklet_pages_94c2ba49-bf55-464f-983d-931f7c187dc4.pdf?v=1726153811 \/ Booklet \/ Isabel Gehweiler","offer_id":40579481534499,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/lieber-freund\/1755546655 \/ iTunes \/ Isabel Gehweiler","offer_id":40511654133795,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/57sz953xwXHUdzlRVRNvn8 \/ Spotify \/ Isabel 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Gehweiler","offer_id":40499883212835,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9662654--lieber-freund-sonatas-by-brahms-rontgen-von-herzogenberg \/ Presto Classical HR \/ Isabel Gehweiler","offer_id":40579940974627,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ E-onkyo \/ Isabel Gehweiler","offer_id":40499883278371,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/272766 \/ Pro Studio Masters \/ Isabel Gehweiler","offer_id":40579941007395,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Mora \/ Isabel Gehweiler","offer_id":40499883343907,"sku":"3098","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/lieber-freund-isabel-gehweiler-fiona-hengartner\/x55b1rn9trnob \/ Qobuz HD \/ Isabel 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Bach","description":"\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eROBERTO GONZÁLEZ-MONJAS ON MOZART’S THEATRE OF SUFFERING \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e\u003ca href=\"collections\/musikkollegium-winterthur\"\u003e\u003c\/a\u003e’s Chief Conductor, \u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e, took the three last sympho­nies that Mozart composed – in rapid succession in the summer of 1788 – as the inspiration for this large-scale seasonal triptych. While the first symphony (No. 39) in E flat major has a slow introduction, the last (No. 41), known as the “Jupiter Symphony”, ends with a breath-taking finale, so that “beginning” and “ending” – yes, let’s say “becoming” and “transcending” – are integral to the artistic concept of this trilogy. The central G minor Symphony (No. 40) stands for “being”: for “be­ing in the centre.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIn fact, we are rarely thrown into a musical maelstrom as abruptly and breathlessly as in this G minor sym­phony by Mozart. It’s almost as if we notice the first, soft strains of the viola only when the violins make their entrance with their famous melody – and by that time, we have already been thrown into the thick of it. The fact that the melody became a mobile phone ringtone in the 1990s obscures how unusual it actually is: restless, consisting of small elements – “sighs,” as we often read. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe history of a sigh \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFor his time, the way Mozart uses these sighs is quite audacious. There is an established tradition of the poi­gnant half-step friction between the notes E flat and D flat, between the minor sixth and fifth of the key. In his \u003ci\u003eSt Matthew Passion\u003c\/i\u003e, for example, Johann Sebastian Bach uses minor sixths and fifths in an alto aria to express the words of the text “Buss und Reu.” And Mozart himself also likes to use this musical formula – when Barbarina sings her sorrowful cavatina in \u003ci\u003eLe Nozze di Figaro\u003c\/i\u003e, for instance. Yet in all these cases, the minor sixth so characteristic of minor keys is merely heard as an evasion; starting from the chordal fifth, it is briefly and expressively touched upon. In his Symphony No. 40, however, Mozart introduces the lugubrious sixth before the fifth is even heard! This, too, is an aspect of “being in the centre.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThis brief digression into the history of this musical formula of pain may make it clear that, in this case, the familiar form of the symphony is already operating with the aesthetic categories of discord and passion favoured by the literary epoch of “Sturm und Drang.” This aes­thetic becomes even more striking in the abrupt final movement, which is characterised by caesuras. “Sighs and dissonances, daring modulations and chiaroscuro contrasts” are among the characteristics that Roberto González-Monjas mentions. The choice of G minor is also relevant in this context: in \u003ci\u003eThe Magic Flute\u003c\/i\u003e, Pamina sings her “Ach ich fühl’s, es ist verschwunden” in this key. And Don Giovanni descends to hell in the key of G minor. As far as symphonies go, Mozart’s Symphony No. 40 is the culmination of a series of similarly agitated predecessors, such as Johann Christian Bach’s Symphony in G minor op. 6\/6. In comparison, Mozart’s music is more obsessive – for example, in that the sighing figure is incessantly repeated, as if the music were touching a vexatious wound – and at the same time more rational, insofar as it is composed with unrivalled mastery. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHuman failings \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe fact that, even behind the expressive eccentricity, there is a planned concept reveals Mozart as an artist of the Enlightenment – also here in G minor, and not only in the work’s lighter sister symphonies in the keys of E flat and C major. For Roberto González-Monjas, however, Mozart succeeds in demonstrating this even more comprehensively than rationalist aesthetics – with their ideal of symmetry and perfection – would be capable of doing. Mozart is not afraid of showing “the wrinkles, even ugliness; the small and large failings that make us human.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eRoberto González-Monjas identifies “suffering” as the fundamental idea behind Mozart’s Symphony No. 40. But it is not merely “suffering in today’s parlance of pain and grief, but in the broader context of the 18th century, where everything that happens to us that we are unable to direct or control tends to be referred to in this way. González-Monjas is thinking of the physi­cal – from twitching, dancing feet to carnal sin – and of course the broad field of emotions. It is no coincidence that in Mozart’s century, such sensations were referred to as “passions.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSwept away in a “storm of passions” \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eUnderstood in this way, “suffering” becomes almost syn­onymous with “being.” And what art is better suited not only to reveal to us all the facets of existence, but also to make us suffer through them? Mozart’s Symphony No. 40 achieves this best when the music – such as the ini­tial, sighing figure – appears in an ever-changing light, in ever-changing guises, as the movements progress. Sometimes surprisingly, sometimes logically. Mozart achieves what Johann Georg Sulzer wrote about lis­tening to music in his \u003ci\u003eAllgemeine Theorie der Schönen Künste \u003c\/i\u003e(1771): “We feel a storm of passion that sweeps us away – and to which the soul is incapable of resisting.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eFelix Michel\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eDIANA SYRSE \u003ci\u003eQuetzalcóatl - \u003ca href=\"\/collections\/world-premiere-recording\"\u003eWorld Premiere Recording\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/world-premiere-recording\"\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThis work combines two parallel stories that converge in a common experience – Wolfgang Amadeus Mozart, an Austrian, and myself, a Mexican, both of us young composers writing music in different eras. He and I meet in the exploration of music as a means of expressing the profound pain of a lost love and the inner transformation that accompanies it. Inspired by Mozart’s Symphony No. 40 and my own life experiences, I have created this work as a counterpoint and dialogue dedicated to the constant reinvention of beauty. I long for the music to become a path to lead performers and audiences into new emotional realms, immersing them in the intensity of love, pain, passion and freedom, all from the perspective of a composer rooted in Aztec traditions and deities. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe god Quetzalcóatl, who appears in the guise of a feathered serpent, symbolises nature, power, the duality between darkness and light, and liberation – a central element in the musical narrative of this work. So we, Wolfgang and I, who come from different worlds, find ourselves temporarily confronted with the same empty staves, sharing overwhelming grief and passion. I have written this piece as an emotional tribute to my mother, my culture and the power of transformation that leads us to an awareness of universal solidarity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eDiana Syrse\u003c\/i\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eDIANA SYRSE (*1984) \u003ca rel=\"noopener\" href=\"https:\/\/www.dianasyrse.com\/\" target=\"_blank\"\u003edianasyrse.com\u003c\/a\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003ca href=\"\/collections\/diana-syrse\"\u003eDiana Syrse\u003c\/a\u003e\u003ca href=\"collections\/diana-syrse\"\u003e\u003c\/a\u003e is a composer and singer from Mexico. She is drawn to current, socially relevant topics and also documents her everyday life in musical form. As a musician, she also likes to combine acoustic instruments with electronics, and uses her own voice or pre-Hispanic instruments to create new urban soundscapes. Her oeuvre includes works for choirs, orchestras, ensembles, electronics, electro-acoustic music, dance, opera, and new musical theatre. Syrse’s music has been performed in Europe, Canada, Latin America, the United States, Africa and Asia. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eIn the realm of opera and theatre, she has worked as composer-in-residence on more than 15 musical theatre and opera productions, and has collaborated with various authors and directors in Germany – at the Kammerspiele München, Schauspiel Frankfurt, Staatsoper Hamburg, Deutsche Oper am Rhein, Neuköllner Oper, Berlin, Staatstheater Braunschweig and the Berliner Ensemble. As a composer and singer, Diana Syrse has worked with the Los Angeles Philharmonic, the Staatsoper Hamburg, VocalEssence, the Babylon Orchestra Berlin, the Trio D’Argent, the Akademie August Everding, the Secession Orchestra in Paris and the Les Chambres aux échos theatre company.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eMUSIKKOLLEGIUM WINTERTHUR \u003ca href=\"https:\/\/www.musikkollegium.ch\/programm-tickets\/programm\" target=\"_blank\"\u003emusikkollegium.ch\u003c\/a\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e was founded in 1629 and thus boasts one of the longest-standing traditions among Europe’s musical institutions. Winterthur occupies a prominent position in Europe’s cultural landscape. This is due not only to its art collections, but also to its orchestra – the Musikkollegium Winterthur – which has been under the direction of Chief Conductor \u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e since the 2021\/22 season. Stretching back to 1629, the history of the Musikkollegium Winterthur is still very much alive: today, the dedication of Winterthur’s bourgeois families of the 17th century is maintained by the numerous members of the orchestra association. The early 20th century was a particularly formative period, with patron of the arts Werner Reinhart and conductor Hermann Scherchen transforming Winterthur into a centre of European musical life. Igor Stravinsky, Richard Strauss and Anton Webern all frequented the city, as did Clara Haskil and Wilhelm Furtwängler. This is a legacy that comes with obligations: no other classical symphony orchestra in Switzerland devotes itself to contemporary music with as much natural confidence as the Musikkollegium Winterthur. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eWorld premières also feature on the programme – most recently of works by composers such as Richard Dubugnon, Helena Winkelman, David Philip Hefti, Matthias Pintscher, Andrea Tarrodi and Arash Safaian. In its remaining repertoire, the orchestra focuses on the classical and early romantic periods. However, the agile ensemble also enjoys shedding fresh light on great symphonic works, such as those by Brahms, who is the subject of a recent CD recording. The orchestra can also be regularly experienced in opera and ballet productions. With more than 40 concerts per season, a versatile musical education programme and interdisciplinary formats, the \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e is an outstanding ensemble. Many artists have contributed to the high quality of the orchestra’s performances: former chief conductors such as Franz Welser-Möst, Heinrich Schiff or Thomas Zehetmair, long-standing guest conductors such as Heinz Holliger, Reinhard Goebel and Michael Sanderling, but also internationally sought-after soloists, who are always pleased to return to the Musikkollegium Winterthur. Andreas Ottensamer, Barbara Hannigan, Sir András Schiff, Ian Bostridge and Carolin Widmann, among others, regularly give guest performances in Winterthur.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eROBERTO GONZÁLEZ-MONJAS \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e\u003ca href=\"collections\/roberto-gonzalez-monjas\"\u003e\u003c\/a\u003e is an extremely sought-after conductor and violinist who has rapidly established an international reputation. He is Chief Conductor of the Musikkollegium Winterthur, Principal Guest Conductor of the Belgian National Orchestra as well as Chief Conductor of the Orquesta Sinfónica de Galicia in Spain. As of September 2024, he will also be Chief Conductor of the Mozarteumorchester Salzburg. As a committed educator, Roberto González-Monjas founded the Iberacademy together with conductor Alejandro Posada in 2013. The institution aims to create an efficient and sustainable model of musical education in Latin America that focuses on disadvantaged sections of the population – as well as promoting highly talented young musicians. González-Monjas is also Professor of Violin at the Guildhall School of Music \u0026amp; Drama, and regularly mentors and conducts the Guildhall School Chamber and Symphony Orchestra at London’s Barbican Hall. Previously, Roberto González-Monjas held the post of Concertmaster of the Orchestra dell’Accademia Nazionale di Santa Cecilia for six years and was also Concertmaster of the Musikkollegium Winterthur until the end of the 2020\/21 season.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.pizzicato.lu\/ausdrucksvolle-interpretationen\/\" rel=\"noopener\" target=\"_blank\"\u003ePizzicato.lu\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“[..] The program concludes with another G minor symphony, the sixth op. 6\/6 by Johann Christian Bach, his darkest and most dramatic. Roberto González-Monjas and the Musikkollegium deliver a wonderfully clear, engaging performance, and their brisk concluding Allegro di molto makes for a particularly impressive and memorable finale.” - Remy Franck, January 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.rondomagazin.de\/kritiken.php?kritiken_id=13059\" target=\"_blank\"\u003eRondo Magazin\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Ich kann mich nicht erinnern, diese leidlich abgedroschene Sinfonie jemals so attackierend, so aggressiv und befreiend gehört zu haben. Diese radikale Korrektur alter Mozart-Klischees wird überzeugend ergänzt durch die direkt an Mozarts Sinfonie angehängte Orchesterarbeit „Quetzalcóatl“ der mexikanischen Komponistin Diana Syrse, die dem aztekischen Gott der Dunkelheit und des Lichts huldigt und mit ähnlicher Vehemenz einen aktuellen Kontrapunkt setzt zu Mozarts existenziellen Botschaften. Zwei weitere hochdramatische Moll-Sinfonien der revolutionären „Sturm-und-Drang“-Umbruchszeit, nämlich Haydns „La passione“ Nr. 49 und Johann Christian Bachs g-Moll-Sinfonie op.6\/VI, ergänzen mit ähnlich kompromissloser Stringenz die wahrlich überwältigende Botschaft dieses faszinierenden Albums. Auf weitere solche Geniestreiche des neuen Leiters des Salzburger Mozarteumorchesters darf man gespannt sein.\" - Attila Csampai, March 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/mutheute.com\/meilenstein\/\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Der 37-jährige spanische Chefdirigent des Orchesters, Roberto González-Monjas, setzt alles daran, diese neue, unbequeme Wahrheit Mozarts kompromisslos und schlagkräftig in Klang zu setzen und so eine ungute Tradition spätromantischer Gefühligkeit zu beenden. Selten klang dieses populäre Werk so attackierend und befreiend. Dieses radikale Statement wird überzeugend ergänzt durch «Quetzalcóatl» der mexikanischen Komponistin Diana Syrse, die dem aztekischen Gott der Dunkelheit und des Lichts huldigt und mit ähnlicher Vehemenz einen aktuellen Kontrapunkt setzt zu Mozarts existenziellen Botschaften. [..]\" - Attila Csampai, Juni 2025\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.austa.asn.au\/\" rel=\"noopener\" target=\"_blank\"\u003eAusta - Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] This recording is the brainchild of conductor Roberto González-Monjas.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eHe has devised three separate programs to form a triptych, inspired by Mozart’s last three symphonies. [..]\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/scherzo.es\/roberto-gonzalez-monjas-y-el-musikkollegium-winterthur-revisitan-el-clasicismo\/\" target=\"_blank\"\u003eScherzo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Lo más interesante del disco, sin embargo, es la formidable versión que firman González-Monjas y sus huestes de la Sinfonía nº 40 de Mozart. Muy en la línea de la 39, grabada anteriormente por ellos —es de esperar que llegue la Júpiter en una próxima entrega—, la música fluye tan natural como imparable pero no se piense en el recurso a esa velocidad algo tosca que a veces se da en determinadas asunciones poco sutiles de la información histórica. Por el contrario, aquí se le lleva al oyente como en un suspiro, entre un cierto desasosiego y la certeza de que esta música es así. Esa puesta en práctica, tan inteligente, de un concepto a la vez abierto y con fundamento, dota a esta lectura de un dramatismo muy especial, de una muy interesante dialéctica sobre lo que supone ese Sein que da título al disco. [..] - Luis Suñén, March 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.ritmo.es\/discos\/discos-recomendados\/sein\" rel=\"noopener\" target=\"_blank\"\u003eRITMO - Discos recomendados del Mes\u003c\/a\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Excelente violinista, el español Roberto González-Monjas (1988) está labrando también una sólida carrera como director, que le ha llevado a la titularidad de la Sinfónica de Galicia, la Orquesta del Mozarteum de Salzburgo o la del Musikkollegium Winterthur, formación de la que ha sido concertino desde 2013 y, desde 2021, su titular y con la que ha registrado un muy interesante trío de compactos en torno a las tres últimas sinfonías de Mozart para Claves. [..] Aunque la competencia en este repertorio es enorme, podemos indicar que este registro marca todo un jalón del estado del arte interpretativo. La toma sonora es de primera. Muy recomendable.\" Justino Losada, Noviembre 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.classicvoice.com\/rivista\/recensioni-cd\/sein\/\" target=\"_blank\"\u003eClassic Voice\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"In prossimità dei 150 anni di storia della Musikkollegium Winterthur, la più antica orchestra svizzera, l’etichetta Claves ha pubblicato questo concept album peculiare che mescola e rielabora autori diversi sulla scorta di un percorso che nasce dall’avvicinamento del direttore principale Roberto González-Monjas alle ultime tre Sinfonie di Mozart, distribuite in altrettanti dischi. [..]\" - Paolo Locatelli, novembre 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/dasorchester.de\/artikel\/sein\/\" target=\"_blank\"\u003eDas Orchester\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Es ist dies ein gerade im Kopfsatz ausgesprochen sportiver Mozart, mit akzentreichem Menuett und einem echten Andante als langsamem Satz, in dessen Verlauf tatsächlich kurzzeitig so etwas wie Beruhigung einkehrt. [..] Die Auftragskomposition des Musikkollegiums Winterthur (Quetzalcóatl), die 2023 ihre Uraufführung erlebte, zeitnah zu den Tonträgeraufnahmen, ist hörbar mit größter Sorgfalt einstudiert.\" - Jürgen Schaarwächter, Juni 2025\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3099 \/ 1 \/ Roberto González-Monjas","offer_id":53340956819842,"sku":"3099","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"Musikkollegium Winterthur \/ orchestra \/ Roberto González-Monjas","offer_id":53340956852610,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Roberto González-Monjas","offer_id":53340956885378,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Roberto González-Monjas","offer_id":53340956918146,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Roberto González-Monjas \/ conductor \/ Roberto 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González-Monjas","offer_id":53340957639042,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/sein-works-by-mozart-syrse-haydn-j-c-bach-roberto-gonzalez-monjas-musikkollegium-winterthur\/yit3og8o374gc \/ Qobuz HD \/ Roberto González-Monjas","offer_id":53357449281922,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/fr-ch.7digital.com\/artist\/roberto-gonzalez-monjas-and-musikkollegium-winterthur-1\/release\/%C2%ABsein%C2%BB-works-by-mozart-syrse-haydn-j-c-bach-46676588 \/ 7digitalHD \/ Roberto González-Monjas","offer_id":53357449314690,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/see-all-albums?q=musikkollegium \/ HD-Tracks \/ Roberto González-Monjas","offer_id":53357449347458,"sku":"3099","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309927_frontcover.jpg?v=1727691762"},{"product_id":"vergehen-works-by-haydn-mozart-kendall","title":"(2025) «Vergehen» works by Haydn - Mozart - Kendall","description":"\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eROBERTO GONZÁLEZ-MONJAS ON \u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eMOZART’S VIEW OF INFINITY \u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe three symphonies that Mozart composed over two months in the summer of 1788 inspired \u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003e\u003c\/a\u003e to plan three concert seasons around this trio of pieces, which are incomparably skilfully crafted works that reflect the richness of the human condition. González-Monjas and his team at the \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e thought long and hard about how to conceptualise the dimensions inherent in Mozart’s symphonic triad. Ultimately, the conductor opted for “Becoming – Being – Transcending,” which immediately makes sense. With its grand introduction, the first of the three works, the E flat major Symphony (No. 39, Claves CD 3076), is replete with a sense of fresh incipience. By contrast, the G minor Symphony (No. 40, Claves CD 3099) throws us into the midst of the emotional turmoil of human existence – without warning. Finally, everything in Mozart’s last symphony, the ‘Jupiter’ in C major (No. 41), is directed towards the breathtaking coda of the finale. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eEVEN BEAUTY MUST DIE \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe Musikkollegium Winterthur’s concert season 24\/25 was thus characterised by “transcendence.” Farewell and mourning, loss and pain have always been themes that are well suited to music as an art form. As in Mozart’s Requiem, music can offer consolation. It can be a meditative way of dealing with eternity, as in the \u003ci\u003eFarewell \u003c\/i\u003efrom Mahler’s \u003ci\u003eSong of the Earth\u003c\/i\u003e. It can also express our fear of the end, as in Frank Martin’s \u003ci\u003eEveryman Monologues\u003c\/i\u003e, or give expression to pain, as in Tchaikovsky’s \u003ci\u003ePathétique \u003c\/i\u003eSymphony, whose final movement could perhaps almost be construed as a plea for inconsolability. Incidentally, it was logical that Roberto González-Monjas and the Musikkollegium Winterthur should include all these works in the programme of the 24\/25 season. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eAs an art of its time that is inextricably linked to transience, all music itself is always ‘transcendent’. In Friedrich Schiller’s elegy, \u003ci\u003eNänie \u003c\/i\u003e– the setting by Johannes Brahms was also performed in the 24\/25 season – the poet took the transience of all art to its ruthless conclu­sion: “Even beauty must die.” The fact that “the beautiful fades, that the perfect dies” ultimately means that one day – no later than with the demise of humanity – even Mozart’s wonderful symphonies will disappear. Schiller does, however, offer art some consolation: that of being a marvellous “lament” – while the ordinary merely “descends soundlessly to the underworld.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eTHINKING – FEELING – BELIEVING \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eAs the final work in the triad, Mozart’s Jupiter Symphony represents “transcendence.” However, it is not a lament in the direct sense, but an immensely cheerful, self-possessed and spirited work in C major. González-Monjas explains that Mozart consciously incorporated ecclesiastical style and splendour into the symphony, thus bringing a spiritual, metaphysical component into play. According to González-Monjas, in accordance with Mozart’s enlightened, rational ideals – which are particularly evident in the Symphony in E flat major (No. 39) – and the psychological insights gained from his operatic experience in the Symphony in G minor (No. 40), the composer once again broadens his horizons in his last symphony (No. 41). Mozart’s symphonic triad could therefore also be summarised with the terms ‘thinking – feeling – believing’, or in other words: ‘knowledge – experience – enlightenment’. This third phase not only surpasses the possibilities for mind and body, reason and emotion, but also reconciles them, as it were. And their contradictions are resolved. ‘Innocence – sin – redemption’ was another of González- Monjas’ suggestions. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFaith, enlightenment and salvation are religious concepts, and Mozart does indeed evoke the divine in the finale of the Jupiter Symphony – and not only with fugue technique and counterpoint, but also in the thematic content of the piece. Mozart had previously used the four-note sequence that characterises the entire final movement in settings of the mass: once to the words ‘credo, credo’ and once to ‘sanctus, sanctus’. Even those who are not aware of this will probably sense what is meant beyond the language – the progression of keys is so motto-like and eloquent. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eTHE LIMITS OF THE POSSIBLE \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eIn the finale of a symphony, the tone sequence is the main theme of a sonata movement – in other words, a musical event consisting of dynamics, repose and fulfilment (we could also say: of becoming, being and transcendence). And then, when the sonata movement has actually come to an end, the four-note sequence – now inverted, harmonically enigmatic and \u003ci\u003epiano \u003c\/i\u003e– opens the famous coda, in which Mozart wants to demonstrate all his artistry to us. He continuously combines all the themes of the movement until he has assembled everything into a kind of “compact cube,” as musicologist Peter Gülke puts it. As astonishing as this is, musical progression and structured time, as in the previous sonata movement, are no longer possible. Mozart “composes to the limits of what is possible here, beyond which there is nothing to be gained” (Gülke). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe climax lights up – only briefly, and without pomp. The “cube” soon dissolves, and the movement concludes on a buoyant note. Before that, however, we may have had a brief glimpse of infinity – in the few bars in which Mozart succeeds in combining the highest artistry and stirring music with thinking and feeling, genesis and transcendence. Admittedly, this does not alter the passage of time. However, we should allow Peter Gülke to encourage us to “listen to great moments of music that are independent of the voracious passage of time.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFelix Michel \u003cbr\u003eTranslation: Toby Alleyne-Gee\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHANNAH KENDALL \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003cstrong\u003eHe stretches out the north over the void and hangs the earth on nothing\u003c\/strong\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eHe stretches out the north over the void and hangs the earth on nothing \u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eis inspired by both Schumann’s symphony No. 2 and Mozart’s ‘Jupiter’, which led me to the title; a passage from the book of Job reflecting on the greatness and power of God, with specific imagery speaking to the miraculous creation of the vast cosmos. It reminded me of Jupiter, God of sky and thunder (in some translations ‘the north’ is ‘the northern skies’, and later on the verse says, “who then can understand the thunder of his power?”) However, it also seemed to embody the sensations of profound despair, reminiscent of Schumann’s, having read his letters: feelings of being within a void; suspended without tangible means of support. This is the overall theme that I have aimed to evoke through the work. More specifically, an expansive opening brass section is constructed on a series of chords from Schumann’s symphony. Indeed, motifs from both works are quoted, and furthermore, a collection of pre-programed music boxes play Mozart’s \u003ci\u003eAh! vous dirai-je, Maman\u003c\/i\u003e, which is a theme and variations on \u003ci\u003eTwinkle Twinkle Little Star\u003c\/i\u003e, linking back to the boundlessness of the skies, but more importantly urging for light from a seemingly all-consuming darkness. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003eHannah Kendall\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eHANNAH KENDALL \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eBorn in London, \u003ca href=\"\/collections\/hannah-kendall\"\u003eHannah Kendall\u003c\/a\u003e studied singing and composition at the University of Exeter, where she majored in singing and composition. She also gained a Master’s degree from the Royal College of Music, where she studied with Kenneth Hesketh, and a Master’s degree in Arts Management from the Royal Welsh College of Music and Drama in Cardiff. In 2015, Kendall won a Women of the Future Award in the Arts and Culture category. In 2022, the composer was also awarded the Hindemith Prize at the Schleswig-Holstein Music Festival for her “enormous compositional diversity, ranging from the classical heritage to experimental ideas.” In reference to this, Kendall says, “Evocative images within dramatic constructs are the main elements of my compositional style. I sometimes draw on aspects of my Afro-Caribbean-European heritage, and also try to find a path towards a more profound understanding of how cultural discoveries can influence the aesthetics of my music.”\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eROBERTO GONZÁLEZ-MONJAS \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003e\u003c\/a\u003e is an extremely sought-after conductor and violinist who has rapidly established an international reputation. He is Chief Conductor of the Musikkollegium Winterthur and the Mozarteumorchester Salzburg. He is also Principal Guest Conductor of the Belgian National Orchestra as well as Chief Conductor of the Orquesta Sinfónica de Galicia in Spain. As a committed educator, Roberto González-Monjas founded the Iberacademy together with conductor Alejandro Posada in 2013. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe institution aims to create an efficient and sustainable model of musical education in Latin America that focuses on disadvantaged sections of the population – as well as promoting highly talented young musicians. González-Monjas is also Professor of Violin at the Guildhall School of Music \u0026amp; Drama, and regularly mentors and conducts the Guildhall School Chamber and Symphony Orchestra at London’s Barbican Hall. Previously, Roberto González-Monjas held the post of Concertmaster of the Orchestra dell’Accademia Nazionale di Santa Cecilia for six years and was also Concertmaster of the Musikkollegium Winterthur until the end of the 2020\/21 season.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eMUSIKKOLLEGIUM WINTERTHUR\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e\u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003e\u003c\/a\u003e was founded in 1629 and thus boasts one of the longest-standing traditions among Europe’s musical institutions. Winterthur occupies a prominent position in Europe’s cultural landscape. This is due not only to its art collections, but also to its orchestra – the Musikkollegium Winterthur – which has been under the direction of Chief Conductor Roberto González-Monjas since the 2021\/22 season. Stretching back to 1629, the history of the Musikkollegium Winterthur is still very much alive: today, the dedication of Winterthur’s bourgeois families of the 17th century is maintained by the numerous members of the orchestra association. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe early 20\u003csup\u003eth \u003c\/sup\u003ecentury was a particularly formative period, with patron of the arts Werner Reinhart and conductor Hermann Scherchen transforming Winterthur into a centre of European musical life. Igor Stravinsky, Richard Strauss and Anton Webern all frequented the city, as did Clara Haskil and Wilhelm Furtwängler. This is a legacy that comes with obligations: no other classical symphony orchestra in Switzerland devotes itself to contemporary music with as much natural confidence as the Musikkollegium Winterthur. World premières also feature on the programme – most recently of works by composers such as Richard Dubugnon, Helena Winkelman, David Philip Hefti, Matthias Pintscher, Andrea Tarrodi and Arash Safaian. In its remaining repertoire, the orchestra focuses on the classical and early romantic periods. However, the agile ensemble also enjoys shedding fresh light on great symphonic works, such as those by Brahms, who is the subject of a recent CD recording. The orchestra can also be regularly experienced in opera and ballet productions. With more than 40 concerts per season, a versatile musical education programme and interdisciplinary formats, the Musikkollegium Winterthur is an outstanding ensemble. Many artists have contributed to the high quality of the orchestra’s performances: former chief conductors such as Franz Welser-Möst, Heinrich Schiff or Thomas Zehetmair, long-standing guest conductors such as Heinz Holliger, Reinhard Goebel and Michael Sanderling, but also internationally sought-after soloists, who are always pleased to return to the Musikkollegium Winterthur. Andreas Ottensamer, Barbara Hannigan, Sir András Schiff, Ian Bostridge and Carolin Widmann, among others, regularly give guest performances in Winterthur.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/www.musikkollegium.ch\" rel=\"noopener\" target=\"_blank\"\u003emusikkollegium.ch\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eOTHER ALBUMS FROM THIS \"SÉRIE\"\u003c\/span\u003e\u003c\/h3\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003ca rel=\"noopener\" href=\"\/collections\/musikkollegium-winterthur\/products\/werden-works-by-mozart-beethoven-tarrodi\" target=\"_blank\"\u003e\u003cimg style=\"margin-right: 10px; margin-bottom: 10px; float: left;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931307626_Winterthur_frontcover_240x240.jpg?v=1683553054\"\u003e\u003cstrong\u003e\"Werden\" Works by Mozart - Beethoven - Tarrodi\u003c\/strong\u003e\u003c\/a\u003e\u003ca href=\"\/collections\/musikkollegium-winterthur\/products\/werden-works-by-mozart-beethoven-tarrodi\" rel=\"noopener\" target=\"_blank\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cbr\u003e“Even if you don’t have to understand music completely, it’s fascinating to unlock the secrets behind musical masterpieces.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe theme of our 22\/23 season, “Werden” (Becoming), is taken directly from Mozart’s splendid Symphony No. 39. This work is associated with concepts such as freemasonry, virtuosity, nature, mystery and enlightenment. But why? Can music really express these ideas, or do we merely randomly associate romantic meanings with it? How can we interpret a manuscript – hastily written in ink on parchment by candlelight in 1788? I warmly invite you to engage with the hidden aspects of this fascinating work. [\u003ca href=\"\/collections\/musikkollegium-winterthur\/products\/werden-works-by-mozart-beethoven-tarrodi\" rel=\"noopener\" target=\"_blank\"\u003eView album\u003c\/a\u003e]\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"\/collections\/musikkollegium-winterthur\/products\/sein-works-by-mozart-syrse-haydn-j-c-bach\" target=\"_blank\"\u003e\u003cstrong\u003e\"Sein\" Works\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931309927_frontcover_240x240.jpg?v=1727691762\" style=\"margin-right: 10px; margin-bottom: 10px; float: left;\"\u003e by Mozart - Syrse - Haydn\u003c\/strong\u003e\u003c\/a\u003e\u003ca href=\"\/collections\/musikkollegium-winterthur\/products\/sein-works-by-mozart-syrse-haydn-j-c-bach\" rel=\"noopener\" target=\"_blank\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eThe \u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003eMusikkollegium Winterthur\u003c\/a\u003e\u003ca href=\"\/collections\/musikkollegium-winterthur\"\u003e\u003c\/a\u003e’s Chief Conductor, \u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003eRoberto González-Monjas\u003c\/a\u003e\u003ca href=\"\/collections\/roberto-gonzalez-monjas\"\u003e\u003c\/a\u003e, took the three last sympho­nies that Mozart composed – in rapid succession in the summer of 1788 – as the inspiration for this large-scale seasonal triptych. While the first symphony (No. 39) in E flat major has a slow introduction, the last (No. 41), known as the “Jupiter Symphony”, ends with a breath-taking finale, so that “beginning” and “ending” – yes, let’s say “becoming” and “transcending” – are integral to the artistic concept of this trilogy. The central G minor Symphony (No. 40) stands for “being”: for “be­ing in the centre.” \u003c\/span\u003e[\u003ca rel=\"noopener\" href=\"\/collections\/musikkollegium-winterthur\/products\/sein-works-by-mozart-syrse-haydn-j-c-bach\" target=\"_blank\"\u003eView album\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/collections\/musikkollegium-winterthur\/products\/sein-works-by-mozart-syrse-haydn-j-c-bach\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e]\u003c\/p\u003e\n\u003cp\u003e[\u003ca rel=\"noopener\" href=\"\/collections\/musikkollegium-winterthur\" target=\"_blank\"\u003eView more albums of the Musikkollegium Winterthur\u003c\/a\u003e]\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/musicwebinternational.com\/2025\/06\/vergehen-haydn-mozart-claves\/\" target=\"_blank\"\u003eMusicWeb International\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The performance by the Musikkollegium is characterised for me by its attention to the little things. The balance between wind band and strings is admirably considered throughout. There is some lovely phrasing and ornamentation much in evidence as motif cells end or blend into others. Roberto González-Monjas is dynamic, surprising us with a hard accent here and a gentle drawing out of a phrase there. It is all done within the natural pulse and drive of the music however and nothing seems vulgar of done purely for effect. One may subjectively disagree with a decision here and there (I did a couple of times) but artistic licence is to be encouraged, especially in Mozart if the musical message is paramount; and it is here.[..] So, an end then to an enterprising series of records, that have explored the great trio of symphonic works from 1788, framing them in this ingenious way. I wonder what project this combination of orchestra and conductor will turn to next.\" - Philip Harrison, June 2025\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/articles\/culture\/musique\/trois-compositrices-contemporaines-prolongent-lultime-triptyque-symphonique-de-mozart-1069719%20\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"C’est une tendance forte dans le monde de la musique classique: tisser des ponts entre les époques, éclairer les parentés thématiques, les persistances formelles, au-delà des différences stylistiques, pour mieux mesurer l’héritage et la nouveauté de chaque œuvre. Ainsi le Musikkollegium Winterthur a-t-il souhaité réaffirmer la modernité des trois ultimes symphonies de Mozart, les Nos. 39, 40 et 41. Pour montrer à quel point Mozart était visionnaire dans ces œuvres, l’orchestre dirigé par Roberto Gonzalez-Monjas les a comparées au répertoire de son époque, voire plus tardif. Et a passé trois commandes à des compositrices nées dans les années 1980. Elles ont eu une dizaine de minutes à orchestrer pour faire écho, si ce n’est dépasser l’œuvre qui les a inspirées. Le premier disque de cette belle initiative, paru chez Claves en 2023, s’intitulait Werden (devenir). Il mettait en lumière la 39e Symphonie entre une ouverture beethovenienne et les Fragments of Enlightenment de la Suédoise Andrea Tarrodi. [..]\" - Elisabeth Haas, juin 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/mutheute.com\/theater\/\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Was den musikalischen Einsatz des Winterthurer Kollegiums unter der Leitung seines spanischen Chefdirigenten Roberto González-Monjas betrifft, so realisieren sie die heftigen dynamischen Kontraste zu Beginn der «Jupiter-Sinfonie» mit ähnlich attackierender Schärfe und drängender Stringenz, wie sie schon die g-Moll-Sinfonie von aller falschen Gefühligkeit befreiten. So lodert auch hier insbesondere im Grenzen sprengenden Finale der musikalische Kosmos Mozarts in kontrapunktischer Klarheit und im ständigen Wechsel zwischen seinen metaphysischen und irdisch-realen Kräften.\" - Attila Csampai, Juli 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/kendall01.htm\" target=\"_blank\"\u003eOpus Klassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Tarrodi composed the Fragments on commission from the Musikkollegium Winterthur and its chief conductor, the orchestra's former concertmaster, Roberto González-Monjas. Commissioning compositions and performing modern and contemporary music have been part of the activities of this orchestra, which has a rich tradition dating back to 1629, for decades. Closer to the present day, Werner Reinhart and Hermann Scherchen not only familiarised the ensemble with contemporary music, but also put it on the international map. The technical qualities of the orchestra developed so successfully that renowned musicians such as Thomas Zehetmair, Heinrich Schiff and “our own” Jac van Steen were attracted to it. Further back in time, other famous names were associated with Winterthur, including Stravinsky, Webern, (Richard) Strauss, Furtwängler and Haskil. [..]\" - Aart van der Wal, juli 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.austa.asn.au\/stringendo\/\" rel=\"noopener\" target=\"_blank\"\u003eAusta - Stringendo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"In 2022 this esteemed ensemble and conductor devised a series of three concert programs; Werden, (becoming), Sein (being) and Vergehen; a triptych inspired by Mozart’s last three symphonies. [..] Haydn’s begins his spirited Allegro, joyful and optimistic, followed by an elegant Rondeau, culminating in the final fugato, Vivace assai, showcasing a variety of tonal colour. [..] The Mozart's Jupiter receives a splendid performance, with everyone fully engaged emotionally and technically, displaying thrilling virtuosity as well as introspection. [..] Hannah Kendall evokes dramatic sound-images, with experimental ideas conjuring light and dark in her thought-provoking ten-minute work, with a committed and sensitive performance by the Ensemble.\" Mary Nemet, September 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/scherzo.es\/gonzalez-monjas-culmina-su-trilogia-sinfonica-mozartiana\/\" target=\"_blank\"\u003eScherzo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Formidable la prestación del Musikkollegium Winterthur que muestra una perfecta sintonía con su titular, ya sin duda uno de los nombres a tener muy en cuenta en el presente y en el inmediato futuro de la dirección de orquesta en el mundo. [..] - Luis Suñén, August 2025\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3113 \/ 1 \/ Roberto González-Monjas","offer_id":55097863897474,"sku":"3113","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"Musikkollegium Winterthur \/ orchestra \/ Roberto González-Monjas","offer_id":55097863930242,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Roberto González-Monjas","offer_id":55097863963010,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ ensemble \/ Roberto González-Monjas","offer_id":55097863995778,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Roberto González-Monjas \/ conductor \/ Roberto González-Monjas","offer_id":55097864028546,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"09.05.2025 \/ release \/ Roberto González-Monjas","offer_id":55097864061314,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ single \/ Roberto González-Monjas","offer_id":55097864094082,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/orcd.co\/album-vergehen \/ smart_links \/ Roberto González-Monjas","offer_id":55112697708930,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931311326_Winterthur_booklet_pages.pdf?v=1743601855 \/ Booklet \/ Roberto González-Monjas","offer_id":55097864159618,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/vergehen-works-by-haydn-mozart-kendall\/1807316633 \/ iTunes \/ Roberto González-Monjas","offer_id":55112539832706,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/3xWW64CSQVEXm2NPInHtJ6 \/ Spotify \/ Roberto González-Monjas","offer_id":55114199794050,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=PLy5IRCYvmbSyix0QHZ0d-6YU9N40UwCEq \/ Youtube Music \/ Roberto González-Monjas","offer_id":55185896964482,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Roberto González-Monjas","offer_id":55097864290690,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.amazon.fr\/dp\/B0F448GPPL\/ref=sr_1_1 \/ AmazonMp3 \/ Roberto González-Monjas","offer_id":55112539865474,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Roberto González-Monjas","offer_id":55097864356226,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos HD \/ Roberto González-Monjas","offer_id":55097864388994,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=0vkQqYx63Wo\u0026list=PLy5IRCYvmbSyix0QHZ0d-6YU9N40UwCEq \/ Video \/ Roberto González-Monjas","offer_id":55185896997250,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Topic \/ Roberto González-Monjas","offer_id":55097864454530,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Various Composers \/ Composers \/ Roberto González-Monjas","offer_id":55097864487298,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prestomusic.com\/classical\/products\/9772468--vergehen-works-by-haydn-mozart-kendall \/ Presto Classical HR \/ Roberto González-Monjas","offer_id":55181577257346,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.prostudiomasters.com\/album\/page\/350850 \/ Pro Studio Masters \/ Roberto González-Monjas","offer_id":55185897030018,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.qobuz.com\/ch-fr\/album\/vergehen-works-by-haydn-mozart-kendall-roberto-gonzalez-monjas-musikkollegium-winterthur\/z4scan1wwa0ta \/ Qobuz HD \/ Roberto González-Monjas","offer_id":55112539898242,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/fr-ch.7digital.com\/artist\/roberto-gonzalez-monjas-and-musikkollegium-winterthur\/release\/vergehen-works-by-haydn-mozart-kendall-53878915 \/ 7digitalHD \/ Roberto González-Monjas","offer_id":55185897062786,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.hdtracks.com\/#\/album\/67f8cc872841860ddb30816c \/ HD-Tracks \/ Roberto González-Monjas","offer_id":55185897095554,"sku":"3113","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/7619931311326_Winterthur_frontcover.jpg?v=1743602209"},{"product_id":"debussy-nielsen-say-barber-ensemble-astera","title":"(2025) Debussy, Nielsen, Say, Barber - Ensemble Astera","description":"\u003cp\u003e\u003ca href=\"#reviews\"\u003eRead reviews\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/claude-debussy\"\u003eClaude Debussy\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/claude-debussy\"\u003e\u003c\/a\u003e (1862–1918) always had a fondness for four-hand and two-piano writing, a quality that seems to underlie his orchestral compositions\u003ca style=\"mso-footnote-id: ftn1;\" href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[1]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e. Perhaps this is precisely what makes his work for two pianos so suitable for transcription: the \u003ci\u003ePetite Suite\u003c\/i\u003e, with its rich sonorities, was arranged for orchestra by Henri Büsser and for wind quintet by Gordon Davies. Young Claude Debussy was recognised early on for his musical talent and was admitted to the Paris Conservatoire when he was only ten. He then broadened his artistic horizons during travels as an accompanist for Baroness von Meck. The \u003ci\u003ePetite Suite \u003c\/i\u003eis one of his early works. Published in 1889, it comprises four movements. The first, \u003ci\u003eEn Bateau \u003c\/i\u003e(Sailing), recalls the barcarolle with its gentle rocking motion, first given by the clarinet and then the horn, surrounding the theme played by the flute. The central section becomes more animated before everything suddenly halts; time is suspended in a delicate transition that leads back to a varied reprise of the first theme. \u003ci\u003eLe Cortège \u003c\/i\u003e(Retinue), also in three sections, soars freely and light-heartedly before the return of the opening material. Debussy said that his \u003ci\u003ePetite Suite \u003c\/i\u003e“humbly seeks only to give pleasure”; this joy is perceived here, foreshadowing that of \u003ci\u003eFêtes \u003c\/i\u003e(Festivals), the central movement of the \u003ci\u003eNocturnes \u003c\/i\u003efor orchestra, premiered ten years later. Borrowing from Verlaine his melancholy and nostalgia for the “fêtes galantes” of the ancient régime, the \u003ci\u003eMenuet \u003c\/i\u003eis a delicate and diaphanous piece, where tonality gives way to modality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eFinally, a theme in a short-long rhythm, introduced by the horn, launches the joyous \u003ci\u003eBallet\u003c\/i\u003e, reminiscent of Emmanuel Chabrier’s contemporaneous \u003ci\u003eSuite pastorale\u003c\/i\u003e. A waltz motif gradually establishes itself and becomes the counterpoint to the first theme in the concluding section. The joy of this music is infectious, spilling over into the programme’s other works. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"\/collections\/carl-nielsen\"\u003eCarl Nielsen\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/carl-nielsen\"\u003e\u003c\/a\u003e’s \u003ci\u003eWind Quintet \u003c\/i\u003eOp. 43 shares with Debussy’s work a pastoral, luminous character infused with a sense of humour. Coming from a modest background, Carl Nielsen (1865–1931) studied with Niels Gade at the Copenhagen Conservatory and received a scholarship that enabled him to study in Germany, France, and Italy. Initially a violinist and later a conductor at the Royal Danish Opera, he was appointed professor at the Copenhagen Conservatoire, eventually becoming its honorary director shortly before his death. His compositional style, which contributed to expanding tonality into an “evolving” tonality, is often compared to his contemporary Jean Sibelius (1865–1957)\u003ca style=\"mso-footnote-id: ftn2;\" href=\"#_ftn2\" name=\"_ftnref2\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[2]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e. However, it is primarily the composer’s admiration for Haydn and Mozart that shines through in this work. The idea of a wind quintet was sparked during a phone call with his friend Christian Christiansen, who was then rehearsing Mozart’s \u003ci\u003eSinfonia Concertante \u003c\/i\u003efor oboe, clarinet, horn, and bassoon K. 297b. Enthralled by what he heard, Nielsen asked to attend the rehearsal. “Nielsen knew us all,” recounts oboist Sven Felumb. “We played Mozart’s \u003ci\u003eKoncertantes Quartet \u003c\/i\u003e[sic], where the final movement is an incomparable series of variations. He became immensely happy. We drank some tea (or was it beer?). He talked and talked about Mozart, wind players etc. But then he suddenly became quiet. So he gave us all a kind look and promised to compose a wind quintet if we promised to perform it. He confided to us that he was very captivated by the way we played our instruments. He referred to the combination of our different personalities and the characteristics of our instruments. He said that the quintet would contain variations, where he would do his best to reflect every personality\u003ca style=\"mso-footnote-id: ftn3;\" href=\"#_ftn3\" name=\"_ftnref3\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[3]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e.” And so he did. The first two movements are highly reminiscent of Mozart, starting with an \u003ci\u003eAllegro ben moderato \u003c\/i\u003ein sonata form, whose freshness and lightness evoke nature, featuring deep timbres answering the flute’s airy notes while repeated motifs of repeated notes bouncing from one instrument to another seem to evoke birdsong. The \u003ci\u003eMinuet \u003c\/i\u003epursues this lightness with a spirit and humour strongly indebted to Haydn. Finally, the third movement begins with a solemn \u003ci\u003ePraeludium, \u003c\/i\u003ewhich\u003ci\u003e, \u003c\/i\u003ein contrast to the preceding movements\u003ci\u003e, \u003c\/i\u003eestablishes an almost unsettling atmosphere before the composer’s chorale gradually restores a sense of lightness through a set of eleven variations. As Nielsen had announced, these variations highlight not only the personality of each instrument but also of each performer, like many knowing winks. Following this quintet, Nielsen planned moreover to compose a concerto for each member of the Copenhagen Wind Quintet, a project he only partially completed\u003ca style=\"mso-footnote-id: ftn4;\" href=\"#_ftn4\" name=\"_ftnref4\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[4]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e. The premiere was hailed by critics as a true success for a bright and sunny work\u003ca style=\"mso-footnote-id: ftn5;\" href=\"#_ftn5\" name=\"_ftnref5\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[5]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe quintet \u003ci\u003eAlevi dedeler rakı masasında, \u003c\/i\u003eOp. 35 (Alevi Dedes at the Raki Table), was written in 2011 by Turkish pianist and composer \u003ca href=\"\/collections\/fazil-say\"\u003eFazıl Say\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/fazil-say\"\u003e\u003c\/a\u003e (b. 1970). Structured in four movements, the piece depicts the discussion of five spiritual masters, the Alevi Dedes: “They’re talking about everything, life, humans, world, religion. I’ve composed a piece of work based on a true story I was told. Here, each instrument represents one of the dedes. The first two consist of rather amusing talk, the third includes Âşık Veysel’s \u003ci\u003eThe Day and Night\u003c\/i\u003e, and the fourth part towards the final is a bit more abstract\u003ca style=\"mso-footnote-id: ftn6;\" href=\"#_ftn6\" name=\"_ftnref6\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[6]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e”. The first movement introduces a recurring unison refrain, which reappears throughout the piece, soon supported by a light and dance-like rhythm, interspersed with moments of tension. The second movement adds a touch of humour and irony. Darker accents signal a shift in tone in the third movement, before the final movement returns to the lightness of the opening, infused with a sense of magic and “abstraction”. It leaves the listener to dream pensively in front of the setting sun. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eConstructed in a single movement, \u003ca href=\"\/collections\/samuel-barber\"\u003eSamuel Barber\u003c\/a\u003e’s (1910–1981) \u003ci\u003eSummer Music \u003c\/i\u003eOp. 31 was composed in 1953 for the Detroit Chamber Music Society. It was initially conceived for a septet of wind and string instruments but became a quintet and premiered on 20th March 1956. The piece is structured in different sections that echo one another and highlight the timbral qualities of each instrument. The first theme, carried by the oboe, creates a tender and nostalgic atmosphere before giving way to a faster, humorous passage that leads to a motoric section alternating between eight and seven semiquaver measures. Eventually, the melancholic oboe melody returns. A second section presents the flute’s song over murmuring clarinets and bassoons before other voices take up the melody, culminating in a festive section before the return of the opening’s nostalgia. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eBénédicte Gandois \u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eTranslated from French by \u003ca href=\"https:\/\/musitext.ch\/\" rel=\"noopener\" target=\"_blank\"\u003eMichelle Bulloch - Musitext\u003c\/a\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e___________________________________________\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn1\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn1;\" href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[1]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e François Lesure, « Debussy et les transcriptions », \u003ci\u003ein Revue belge de Musicologie, 1998, Vol. 52, p. 85.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn2\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn2;\" href=\"#_ftnref2\" name=\"_ftn2\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[2]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e Source : François-René Tranchefort, « Carl Nielsen », \u003ci\u003ein La Musique de chambre, Fayard, 1989, p. 669.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn3\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn3;\" href=\"#_ftnref3\" name=\"_ftn3\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[3]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: EN-US;\"\u003e \u003cspan lang=\"EN-US\"\u003eAnecdote reported by Karen R. Moses, Nielsen, Hindemith and Schoenberg: Foundations of the Twentieth-Century Wind Quintet, Doctoral Thesis, Washington D. C., 2015, p. 21.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn4\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn4;\" href=\"#_ftnref4\" name=\"_ftn4\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[4]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: EN-US;\"\u003e \u003cspan lang=\"EN-US\"\u003eHe indeed completed a \u003ci\u003eFlute Concerto\u003c\/i\u003e, premiered in 1926, and a \u003ci\u003eClarinet Concerto\u003c\/i\u003e, premiered in 1928, to which one can add two \u003ci\u003eFantasies \u003c\/i\u003efor oboe and orchestra.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn5\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn5;\" href=\"#_ftnref5\" name=\"_ftn5\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[5]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: EN-US;\"\u003e \u003cspan lang=\"EN-US\"\u003e“Carl Nielsen’s quintet is a notable contribution to the wind chamber repertory, and one of his sunniest compositions”, John Horton, \u003ci\u003ein The Musical Times\u003c\/i\u003e, vol. 110, nr. 1514, April 1969, p. 387.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"mso-element: footnote;\" id=\"ftn6\"\u003e\n\u003cp class=\"MsoFootnoteText\"\u003e\u003ca style=\"mso-footnote-id: ftn6;\" href=\"#_ftnref6\" name=\"_ftn6\" title=\"\"\u003e\u003cspan class=\"MsoFootnoteReference\"\u003e\u003cspan style=\"mso-special-character: footnote;\"\u003e\u003cspan style=\"font-size: 10.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: FR-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e[6]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"mso-ansi-language: EN-US;\"\u003e \u003cspan lang=\"EN-US\"\u003eSource: Presentation of the quintet by the composer, avai­lable on youtube.com.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoNormal\"\u003e\n\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eENSEMBLE ASTERA \u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe woodwind quintet \u003ca href=\"\/collections\/ensemble-astera\"\u003eEnsemble Astera\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/ensemble-astera\"\u003e\u003c\/a\u003e, was the first prize winner of the Carl Nielsen International Chamber Music Competition of 2023. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSince the founding of the Ensemble in 2019, the musicians of the Ensemble Astera have been united by friendship and a common passion for chamber music. They are keen to communicate their shared musical vision, namely the blending of the diverse sounds and timbres of their five wind instruments in search for unity and the broadest artistic dimension. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe ensemble members’ experiences with major international orchestras have enhanced their cohesion, distinctive sound, and musical affinity with the wind quintet. This Franco-Swiss Ensemble offers a refreshing perspective on the classical music scene. The musicians are driven by an insatiable enthusiasm, investing their energy towards thoughtful and committed performances, whilst making the most of their ensemble’s many sound possibilities. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe Ensemble’s artistic dynamism is also characterised by its approach to the contemporary repertoire, and its strong desire to bring innovation to concerts halls. This was acknowledge by the winning of the prize for best performance of the commissioned work at the 2023 Nielsen competition. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eThe \u003ca href=\"\/collections\/ensemble-astera\"\u003eEnsemble Astera\u003c\/a\u003e regularly performs for festivals and music seasons across Europe, such as Lavaux Classic, Aix-en-Provence Easter Festival, Davos Festival, Radio France Festival, Rencontres Musicales d’Evian and the Murten Classics Festival among others. The Ensemble has also been heard on France Musique, Radio Télévision Suisse and Danish Radio. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eSince 2023, the Ensemble Astera is Artist in residence at the Fondation Singer-Polignac in Paris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\u003ca href=\"https:\/\/www.ensembleastera.com\/\"\u003eensembleastera.com\u003c\/a\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"MsoFootnoteText\"\u003eARTISTS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/coline-richard\"\u003eColine Richard\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/coline-richard\"\u003e\u003c\/a\u003e, flute\u003cbr\u003e\u003ca href=\"\/collections\/yann-thenet\"\u003eYann Thenet\u003c\/a\u003e, oboe\u003cbr\u003e\u003ca href=\"\/collections\/moritz-roelcke\"\u003eMoritz Roelcke\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/moritz-roelcke\"\u003e\u003c\/a\u003e, clarinet\u003cbr\u003e\u003ca href=\"\/collections\/gabriel-potier\"\u003eGabriel Potier\u003c\/a\u003e, horn\u003cbr\u003e\u003ca href=\"\/collections\/jeremy-bager\"\u003eJeremy Bager\u003c\/a\u003e\u003ca href=\"https:\/\/www.claves.ch\/fr\/collections\/jeremy-bager\"\u003e\u003c\/a\u003e, bassoon\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"flex-video\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/fTRxJmBfI9k?si=clKvH4qgbg9LQD51\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/wukali.com\/2025\/04\/23\/ensemble-astera-un-quintette-franco-suisse-de-mozart-a-fazil-say\/33081\/\" rel=\"noopener\" target=\"_blank\"\u003eWukali\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« L’Ensemble Astera est un quintette à vent franco-suisse fondé en 2019 par cinq musiciens diplômés de la Haute École de Musique de Lausanne. Nous les avons découverts le 7 octobre 2024, à l’occasion de la présentation de la programmation de l’édition 2025 du Festival de Pâques d’Aix-en-Provence. Ce n’était pas un simple intermède musical offert au public du Conservatoire Darius Milhaud, mais une véritable révélation. Leur performance nous a captivés d’emblée, et la rencontre en coulisses n’a fait que confirmer une évidence : ce rendez-vous avec eux était immanquable ! [..] » - Pétra Wauters, avril 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laprovence.com\/article\/region\/3268628048779\/au-festival-de-paques-daix-en-provence-lensemble-astera-met-la-musique-de-chambre-a-lhonneur%20\" target=\"_blank\"\u003eLa Provence\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] Ils ont passionné l'auditoire. Fort de leur premier album consacré à Debussy, Carl Nielsen, Fazil Say, et Samuel Barber, à paraître fin mai, l'Ensemble Astera a choisi un programme très éclectique. [..] L'ensemble Astera, humble et précis, fait des merveilles, non seulement dans ce qui fut une découverte d'une œuvre pratiquement jamais jouée, mais tout le temps d'un récital réussissant à unifier des morceaux très disparates, formant un tout et racontant une histoire d'émotions où le dialogue est roi.\" - Jean-Rémi Barland, avril 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.destimed.fr\/entretien-avec-yann-thenet-hautboiste-de-lensemble-astera-decouvrir-et-faire-decouvrir-plus-de-musique\/\" rel=\"noopener\" target=\"_blank\"\u003edestimed.fr\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e« Parallèlement à leur magnifique concert du Festival de Pâques au Théâtre du Jeu de Paume, l’ensemble Astera sort un album consacré à des compositeurs de facture très différente. Rencontre avec Yann Thenet, hautboïste du groupe. » - Jean-Rémi Barland, mai 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.laliberte.ch\/articles\/culture\/musique\/lensemble-astera-publie-son-premier-disque-1090450\" target=\"_blank\"\u003eLa Liberté\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"Les mélodies descriptives de Debussy prennent une légèreté particulière, jouées par des vents: les quatre mouvements de la Petite Suite, qui se prête particulièrement bien à la transcription, sont interprétés avec un bonheur communicatif par l’ensemble Astera (flûte, hautbois, clarinette, cor et basson), en ouverture de son premier disque. [..] - Elisabeth Haas, juillet 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"Issu de la Haute école de musique de Lausanne et grand vainqueur du Concours international de musique de chambre Carl Nielsen 2023, le jeune Ensemble Astera fait ici des débuts au disque en dents de scie. Dans la transcription de la Petite Suite de Debussy, la pâte sonore séduit par son homogénéité, son impeccable justesse, ses interventions individuelles ciselées et pondérées. [..]\" - Bertrand Hainaut, septembre 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.resmusica.com\/2025\/09\/12\/lensemble-astera-quintette-a-vent-debussy-nielsen-fazil-say-barber-claves\/\" target=\"_blank\"\u003eResMusica\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\"[..] Une cohésion et une précision rythmique remarquables ainsi qu'une sonorité homogène marquent cette sélection de pièces incontournables dans ce registre. Le jeu dénué d'affectation des musiciens de l'Ensemble Astera nous fait espérer la découverte d'autres lectures avec les mêmes acuité technique, sens des nuances et enthousiasme communicatif.\" - Jean-Luc Caron, Septembre 2025\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.opusklassiek.nl\/cd-recensies\/cd-aw\/nielsen06.htm\" target=\"_blank\"\u003eOpus Klassiek\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\"[..] Finding the right (or at least the most convincing) approach in the versatile repertoire (from classical to contemporary) for wind quintet is no easy task, but for this wind ensemble, there seems to be no obstacle that cannot be overcome with enormous dedication and, moreover, without any technical limitations. The phenomenal interplay of colours comes to life thanks in part to the equally brilliant recording.\" - \u003cspan lang=\"DE-CH\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Calibri',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: DE-CH; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eAart van der Wal\u003c\/span\u003e, October 2025\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca href=\"https:\/\/www.24heures.ch\/musique-classique-8-disques-a-ecouter-en-boucle-cet-automne-828073413576\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e24 Heures - Matin Dimanche\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\"Réunissant des ex-étudiants des hautes écoles de Suisse romande et deux anciens solistes de l’OCL, l’Ensemble Astera s’impose comme une réjouissante formation à vent. [..] La transcription de la «Petite suite» de Debussy est chargée de parfums entêtants, prolongés par la «Summer Music» de Barber. Le volubile opus de Fazil Say conçu comme une conversation de cinq maîtres spirituels turcs, les pères alévis, parlant «de tout, de la vie, des humains, du monde, de la religion», est piquant à souhait.\" - Matthieu Chenal, septembre 2025\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/musicwebinternational.com\/2025\/06\/ensemble-astera-wind-chamber-music-claves\/\" target=\"_blank\"\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003eMusicWeb International\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-US\" style=\"mso-ansi-language: EN-US;\"\u003e\"The members of Ensemble Astera, the Franco-Swiss wind quintet, have been performing together since 2019. They all have experience of playing in major European orchestras. As a group, they have a stated commitment: to bring wind chamber music to the widest possible audience, with a strong emphasis on contemporary repertoire. [..] It is brilliantly conveyed by this quite outstanding young ensemble. I love their playing, and cannot wait for their next recording.\" - Gwyn Parry-Jones, October 2025\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.clicmusique.com\/debussy-nielsen-say-barber-musique-pour-quintette-vents-ensemble-astera-p-113731.html\" target=\"_blank\"\u003eCliMag'\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Le monde de la musique pour ensemble de vents semble bien se prêter à la fantaisie et bien souvent les compositeurs, sans doute titillés par les contrastes et la franchise des différents timbres, nous donnent l’impression de bien s’amuser. Avec cet album, l’ensemble nous propose une réjouissante variété qui montre la richesse et les exigences d’un tel répertoire, ici centré sur le XXe siècle. [..]\" - Bertrand Hainaut, novembre 2025\u003c\/em\u003e\u003c\/p\u003e","brand":"Claves Records","offers":[{"title":"CD 3139 \/ 1 \/ Ensemble Astera","offer_id":55131185447298,"sku":"3139","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"# \/ orchestra \/ Ensemble Astera","offer_id":55131185480066,"sku":"3139","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ choir \/ Ensemble Astera","offer_id":55131185512834,"sku":"3139","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Ensemble Astera \/ ensemble \/ Ensemble Astera","offer_id":55131185545602,"sku":"3139","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ conductor \/ Ensemble Astera","offer_id":55131185578370,"sku":"3139","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"30.05.2025 \/ release \/ Ensemble Astera","offer_id":55131185611138,"sku":"3139","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/orcd.co\/single-ensemble-astera \/ single 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