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Extraordinarily gifted with perfect pitch; she began studying piano at 3 years old with Jiaquan Chen; professor at the Central Conservatory of Music in Beijing. When she was 9; she entered the Geneva Conservatory under the instruction of Mayumi Balet-Kameda and at 13 began her Bachelors of Arts in Music with Pascal Devoyon at the Geneva Superior Conservatory.\n\u003cbr\u003e\u003cbr\u003e\nAt the age of 14; she gained her Bachelors degree with the highest honours; also receiving the François Dumont Prize for the best interpretation of a Beethoven sonata. At 16; she was awarded her Master Soloist Diploma with distinction; as well as the Georges Filipinetti and Carola Pajonk prizes for the musician with the highest and most refined musical sensitivity. 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He did not attend a music school but trained - at the same time as his classical studies – with a single master; Joseph Lauber. The latter; a prolific composer whom his pupil rightly deemed “a very good technician; but less of an artist”; imparted to him a mastery of musical writing that Frank Martin never ceased to better through his own studies of the great masters. \u003cbr\u003e\u003cbr\u003eAlthough his Trois Poèmes païens (1910); the first of his works to appear in his catalogue; is still under Post-romantic influence; Frank Martin soon freed himself from it to steer towards Impressionism (Les Dithyrambes; Pavane couleur du temps) before gradually turning towards other means of expression. Around 1925 he developed a passion for rhythmic research; leading him to become a disciple of Emile Jaques-Dalcroze; and of which such works as the Trio sur des thèmes populaires irlandais (Trio based on popular Irish melodies) or Rythmes (for full orchestra) are examples. During the following decade; his interest in dodecaphony and his approach towards emancipation from tonal music can be seen in his First Piano Concerto; the Symphony and the String Trio. All of this research; all these transcended influences filtered through the prism of his exceptional personality and talent; make up the language of his mature years. This language first appears in all its fullness in the secular oratorio Le Vin herbé (1938-41) that Frank Martin himself defined as «[…] the first important work in which I spoke my own language. » \u003cbr\u003e\u003cbr\u003eThe years 1940 to 1949 witnessed the creation of numerous ballets by Swiss composers such as Jean Binet (L’Ile enchantée); Henri Gagnebin (Printemps); Hans Haug (L’Indifférent) Arthur Honegger (La Naissance des couleurs; L’Appel de la montagne); André-François Marescotti (Les Anges du Greco) and Frank Martin who wrote Das Märchen vom Aschenbrödel during the autumn of 1941; shortly after completing Le Vin Herbé. The composer had already tried his hand at ballet music with Die blaue Blume; which had won a second prize in 1935 in a competition organized by the Zurich Theatre; but which was never staged and whose orchestration was never finished. \u003cbr\u003e\u003cbr\u003eDas Märchen vom Aschenbrödel was first performed at the Basel Municipal Theatre on 12th March 1942; conducted by Paul Sacher; together with a choreographic performance of Monteverdi’s Combattimento di Tancredi e Clorinda. It is based on Aschenputtel; the tale by the Grimm brothers – very similar to Charles Perrault’s Cinderella – onto which the dancer Marie-Eve Kreis built a scenario. Despite its great initial success; this remarkably innovative score was then totally and unjustly forgotten. \u003cbr\u003e\u003cbr\u003eThe work is divided into three acts and uses a small; unusual palette of instruments: a flute; an oboe; a trumpet; a trombone; two saxophones; a piano; percussion and strings. Four singers (soprano; mezzo-soprano; contralto and tenor) share the different character parts; their texts being mostly taken from Grimm’s original tale. The score shows an underestimated angle of Frank Martin’s art; a charm and sense of humour already visible in La Nique à Satan; a wonderful popular show composed in 1929; and again present in the opera Monsieur de Pourceaugnac. \u003cbr\u003e\u003cbr\u003eThe first act starts with a long sung introduction; presenting the characters and setting the action: after the death of his wife; Aschenbrödel’s father remarried; this nasty second wife and her two daughters proceed to turn the poor child’s life into absolute misery. The curtain rises on this evil household; the music portraying the opposing natures: suffering and kindness on one hand; materialism and meanness on the other. Frank Martin commented on this himself: In a most spontaneous fashion; the material element expressed itself in a style inspired by jazz music. Jazz holds an obvious esthetical value for me; it is invariably impregnated into each of us; ready to spring out at the first opportunity. But it is an art and esthetic beauty totally void of any ethical value; a purely material; soulless type of art and beauty. […] On the contrary; there is evolution in Aschenbrödel; although matter is unchanging; the spirit is by essence the source of all development. […] To represent Aschenbrödel’s humility; the oboe seemed to me the obvious choice; with its rustic yet profound sound. […] As for the Fairy; her formal yet mysterious intervention will be depicted by the flute and muted strings […]. Having outlined the heroine’s distress; the first act then hosts the intervention of the Fairy; who adorns Aschenbrödel for the ball held by the Prince; to which her step-mother refused to take her. \u003cbr\u003e\u003cbr\u003eAct two takes place at the Royal Palace. The ball is in full swing when Aschenbrödel appears; magnificent; no one recognizing her. The Prince is hypnotized; he leads her into a fabulous waltz; suddenly interrupted by the twelve strikes of midnight and the young lady’s flight; leaving the King’s son in despair. He swears he will only marry the one whose foot will fit into the shoe left behind by the mysterious visitor. \u003cbr\u003e\u003cbr\u003eAct three begins by a fugato – in which the four singers echo the Prince’s oath – then brings us back to the set of the first act. Aschenbrödel is dreaming about the events as the two sisters barge in; furious at having been eclipsed by her. They go as far as mutilating their foot to try to fit it into the shoe brought by the messenger; and the younger sister is about to succeed when the birds; Aschenbrödel’s friends; tell of the treachery. The Prince discovers the young girl whom the step-mother was trying to hide; takes her into a slow dance while the three vile women are punished by the birds and all the singers celebrate; as Frank Martin says; the victory of good over evil; of spirit over matter. \u003cbr\u003e\u003cbr\u003eJacques Tchamkerten - Head of the Library of the Geneva Music Conservatory\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 id=\"reviews\"\u003eREVIEWS\u003c\/h3\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.diapasonmag.fr\/\" rel=\"noopener\" target=\"_blank\"\u003eDiapason Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Le compositeur en exploite toutes les ressources expressives, et son inventivité nous vaut une fin d’acte I surnaturelle, une scène de bal enamourée, un final angoissant jusqu’au triomphant happy end. A l’écoute aveugle, rien ne distingue l’Orchestre de la Haute Ecole de Musique de Genève d’un ensemble professionnel. Ils servent une équipe de chanteurs engagés, d’où émerge le soprano velouté de Clémence Tilquin, sous la direction fine et légère du chef Gabor Takacs-Nagy. Un apport significatif à la discographie de Frank Martin.\" - Olivier Gutierrez, avril 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.theartsdesk.com\/classical-music\/classical-cds-weekly-frank-martin-mei-yi-foo-powerplant\" rel=\"noopener\" target=\"_blank\"\u003eThe Arts Desk\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] His fairies are accompanied by music that’s just as delicate as Prokofiev’s, and I’d argue that Martin’s visceral depiction of midnight’s chimes is more terrifying, the texture abruptly thinning after the twelfth bell stroke. The vocal parts are delicious, particularly the pair of women’s voices used to portray the birds’ chorus. The closing chorus is magical. The orchestral playing is indecently accomplished, the players’ sense of shared discovery palpable. Unmissable, in other words. Track this CD down and buy multiple copies for friends and acquaintances. They’ll be grateful.\" - Graham Rickson, May 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/mutheute.com\/\" rel=\"noopener\" target=\"_blank\"\u003eMusik und Theater\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] «Le conte de Cendrillon» erzählt die bekannte Aschenputtel-Geschichte, der (deutsche) Text von Marie-Eve Kreis bleibt eng an der Grimm’schen Vorlage. Das gut einstündige Ballett wurde nun nach dem grossen Erfolg der Uraufführung seinem langen Dornröschenschlaf entrissen. Dank Genfer Interpreten: Die Musikhochschule und das Grand Théâtre brachten das Stück vor drei Jahren mit wiederum grossem Erfolg auf die Bühne, das Orchester der «Haute École de musique» der Rhonestadt unter der Leitung von Gábor Takács-Nagy ging anschliessend ins Studio und spielte es für Claves ein. Zwar kämpfen einige der vier Sänger manchmal ein bisschen mit den Tücken der deutschen Sprache, aber sonst gibt es an dieser wundervollen Aufnahme nichts auszusetzen: Sängerisch haben die Solisten ihre Partien mit ausdrucksvollem und souveränem Gesang im Griff, und das Instrumental ensemble, das insbesondere in den immer wieder mit virtuosen oder jazzigen Soli herausgefordert ist, macht beste Figur in diesem hörenswerten Martin-Ballett.\" - Reinmar Wagner, August 2013\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.letemps.ch\/culture\/musiques\/un-ballet-retrouve-chaussure-pied\" rel=\"noopener\" target=\"_blank\"\u003eLe Temps\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Si vous assimilez la musique de Frank Martin uniquement à l’austérité grandiose de Golgotha et de ses autres oeuvres d’inspiration religieuse, vous avez une idée limitée de la diversité de ses registres. Le compositeur genevois a cultivé tous les genres. Le moins connu est bien celui du ballet! Au beau milieu de la guerre, alors qu’il vient de terminer Le Vin herbé.[..]\" - Pierre Michot, janvier 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cominmag.ch\/tag\/lhebdo\/\" rel=\"noopener\" target=\"_blank\"\u003eL'Hebdo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] L’enregistrement de la RTS a immédiatement aiguisé la curiosité puis l’intérêt du label Claves, installé à Pully et dirigé depuis peu par Patrick Peikert. «Cette redécouverte d’une partition totalement oubliée entre parfaitement dans l’esprit de notre maison», s’enthousiasme le producteur, bluffé non seulement par l’oeuvre, mais encore par l’interprétation fabuleuse des étudiants genevois dirigés par Gábor Takács-Nagy. «L’enregistrement est accessible depuis trois semaines sur plateforme électronique et suscite déjà beaucoup de réactions, jusqu’au Japon.» [..]\" - Dominique Rosset, février 2013\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nzz.ch\/\" rel=\"noopener\" target=\"_blank\"\u003eNeue Zürcher Zeitung\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"[..] Den Charakter der Stiefmutter und der ambitiösen Schwestern geben Saxofon und Blechbläser in jazznahem Stil wieder. Für Aschenbrödel stehen Oboe und Flöte sowie die Streicher mit noblen Klängen ein. Das Genfer Hochschulorchester bringt die unterschiedlichen Tanzweisen auf ansprechendem Niveau zum Klingen. Die vier Solisten pflegen nicht immer ein astreines Deutsch, geben aber die Charaktere der Märchenfiguren treffend wieder. Pikant, dass die böse Stiefmutter und die gute Fee von derselben Solistin gesungen werden. 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Die Schubert’sche Stimme befindet sich genau in diesem «Dazwischen»: Der Gesang, der innig ist, ohne intim zu sein, löscht die rohe Heftigkeit des Schreis nicht aus und verhüllt sie auch nicht, sondern bringt sie in ihren unendlichen Beugungen zum Ausdruck, einer ständigen Zähmung gleich.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn seinen Meisterwerken für Klavier solo konfrontiert Schubert den Musiker wohl am intensivsten mit diesem Paradoxon: Der Lied-Komponist verzichtet auf die gesungene Stimme und lädt den Instrumentalisten ein, allein, jedoch nicht «solo» zu spielen. Als ginge es darum, eine abwesende Stimme zu begleiten und gerade durch dieses Spiel «ohne den anderen» das einsame Wesen des Gesangs deutlich zu machen. Weit entfernt vom romantischen Heroismus, macht der Schubert’sche Pianist keine Aussage. Er sagt nicht: «ich singe» oder «ich begleite» – er singt.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMit Schubert ist Fabrizio Chiovetta mitten in seinem «Thema». Der Genfer Pianist, ein intuitiver, sensibler Musiker und ein Improvisator voller Humor und Spontaneität, nimmt die Einladung zur Schubert’schen Reise als staunender Passant an, und er braucht nichts zu unterstreichen, damit die Architektonik Gestalt erhält und der Zauber sich entfaltet. Mit seiner Kunst des Liedbegleiters lässt er die unergründliche Schubert’sche Stimme von seinem Klavier aufsteigen und moduliert sie zärtlich, findet einen «einzigartigen» Klang für sie … der flüchtig streift, um besser zu berühren, sich behutsam vortastet, um besser zu erfassen, als würde nur eine zarte, strahlende Reminiszenz des Schubert’schen Schreis fortbestehen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBisweilen treffen sich die Stimmen von Komponist und Interpret aufs Schönste, doch häufig in einer «Vater-Sohn»-Kontinuität: Wenn man die Stimme der Väter nicht verlässt, «bearbeitet» man sie. Schuberts Stimme ist für die Musiker, die sie hören, die Stimme eines abwesenden Bruders. 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Albums wird die 1997 begonnene Reihe Baskische Musik abgeschlossen. Das Baskische Nationalorchester hat es sich im Laufe seiner Geschichte zur Aufgabe gemacht, das musikalische Schaffen des Baskenlandes bekannt zu machen, indem es sich um neue Engagements bemühte und eine intensive Konzerttätigkeit verfolgte, oder eben die vorliegende diskographische Reihe schuf, die zu einem eigentlichen Panorama der baskischen Musik wurde. Damit verschafft das Orchester der baskischen sinfonischen Musik des 20. Jahrhunderts ihren verdienten Platz, und darin besteht das grosse Verdienst der Reihe, die mit dem Werk von Jesús Guridi begann und mit demjenigen von Carmelo Bernaola endet.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eZwischen den beiden Musikern finden wir eine ganze Palette von Komponisten. Manche sind berühmt, andere weniger, doch sie alle zeugen von einem regen musikalischen Schaffen. So präsentiert die Reihe die Werke von Pedro Sanjuán, Valentín de Zubiaurre, Beltrán Pagola, Luis de Pablo, Juan Crisóstomo de Arriaga, Aita Madina, Tomás Garbizu, Aita Donostia, Pablo Sorozábal, Francisco Escudero, Andrés Isasi, Jesús Arámbarri, José Mª Usandizaga und Jesús Guridi. Ein anspruchsvolles Projekt, das ohne die Zusammenarbeit von Eresbil (dem Archiv der baskischen Komponisten) nicht zustande gekommen wäre.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCarmelo Bernaola prägte den ganzen Werdegang des Baskischen Nationalorchesters. Die Stücke des Komponisten aus Ochandiano (Biskaya) waren denn auch bei zahlreichen Konzerten des Orchesters zu hören, in der Reihe der Matineen von Miramon, bei Auftritten während der Musikwochen Musikaste und bei der Quincena Musical von San Sebastián. 1985 erhielt Carmelo Bernaola vom Orchester den ersten Auftrag, dem zahlreiche weitere folgten. Mehrere davon sollen übrigens in einer Reihe für zeitgenössische Musik zusammengefasst werden, und zwar erneut unter der Leitung von Juanjo Mena. Carmelo Bernaola stand auch 1983 am Dirigentenpult für die Aufnahmen der Filmmusik zu «Y el mundo marcha», im Rahmen des Internationalen Filmfestivals von San Sebastián, oder für das dritte Album des Orchesters, «Armonías Vascas». Wir beenden unsere Reihe mit einem diesem Komponisten gewidmeten Album, dessen Werke zum ersten Mal auf ein und derselben CD zusammengestellt sind.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDiese einzigartige Reihe verdankt ihr Entstehen dem baskischen Kulturdepartement, Hauptsponsor des Projekts. Sie trägt aber auch den Stempel der Genossenschaft MONDRAGON, Sponsor der ganzen Reihe, der wir für ihre uneingeschränkte Unterstützung danken. 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Such was not the case for the well-educated middle-class of the 19th century. Among those who sought out the music of Wagner, Liszt, and Richard Strauss, it was often by means of piano reductions and small-scale instrumental arrangements that could be performed in the intimacy of the home. The advent of violin virtuosos like Eugène Ysaÿe, Jascha Heifetz, and Toscha Seidel brought this tradition into the concert hall. If the musical transcriptions represented, to varying degrees, a departure from the composer’s original intentions, one should remember that there already existed strong historical precedent: J.S. Bach had refashioned several of his own violin concertos for harpsichord; Mozart had rescored Handel’s Messiah for a larger sized orchestra; Beethoven had recast his 9th Piano Sonata as a string quartet; and Rossini had liberally reused overtures and arias from earlier works. Whether resulting from lofty artistic considerations or the need for additional income, composers and performers had for centuries willingly arranged and tailored their own works and those of others to the constraints of particular venues and specific performers, so much so that a natural inclination towards flexibility and adaptation seems woven into the very fibers of the music itself. \n\u003cbr\u003e\u003cbr\u003e\nWagner was no exception to this rule. Beginning in 1839, he spent three destitute-ridden years in Paris eking out a living as an arranger of French operatic music. Mignonne, one of his more noteworthy lieder from this period, exhibits a melodic grace perfectly suited to the language and style of Pierre de Ronsard’s poem. In 1861, hoping finally to triumph in a city that had seemingly ignored his talents two decades prior, Wagner returned to Paris with a newly revised version of his opera Tannhaüser. The production was a failure and closed after only three performances. In the wake of this bitter disappointment, Wagner composed two short but emotionally charged works for piano: Albumblatt, dedicated to the wife of the Austrian ambassador to France, and Ankunft bei den schwarzen Schwänen (The Arrival of the Two Black Swans), inspired from an early morning walk in the Tuileries. In the first work, presented here in an arrangement by 19th century violin virtuoso August Wilhelmj, a lyrical yearning theme gradually builds in intensity and until the impassioned arrival of Wagner’s hallmark half-diminished 7th chord. In the second work, this same unstable harmony is used in almost obsessive fashion, delaying confirmation of the work’s A-flat tonality until the final measure.\n\u003cbr\u003e\u003cbr\u003e\nThe discovery of Schopenhauer’s writings in 1854 – particularly the notion of music’s ability to describe the true essence of things – exerted a strong influence on Wagner. From that point forward, Wagner, in his vocal works, relied less on text as a way of communicating dramatic meaning. He composed Traüme in 1857 for piano and female voice as the last of 5 songs set to poems by Mathilde Wesendonck. Intended in part as a study for the composition of Tristan und Isolde, the song’s dream-like mood is captured by a two note descending melodic figure, which seems to hover nearly motionless over a chromatically infused 8th note pulse. Equally demonstrative of Wagner’s genius is Walter’s Preislied from the third act of Die Meistersinger von Nürnberg. At this pivotal moment, Walter sings for Hans Sachs a newly composed song, thereby demonstrating a marked improvement from the previous attempt made in the opera’s first act.\n\u003cbr\u003e\u003cbr\u003e\nFranz Liszt – friend, colleague, admirer, and eventual father-in-law to Wagner – produced dozens of virtuosic keyboard arrangements and paraphrases of famous works, often intended as vehicles to display his own prodigious talents as a performer. The Romance Oubliée, Première Elegie, and Am Grabe Richard Wagners are late works reflecting Liszt’s gradual shift towards a less bombastic, more austere style. Romance Oubliée was originally conceived as the song, Oh pourquoi donc, composed in 1843, but passed through various guises before the finalized 1880 version for viola and piano, which Liszt in turn adapted for violin. The Première Elegie was composed in 1874 for several possible instrumental combinations as well. In this compact work, an angst-ridden descending half-step motif is masterfully widened to a whole-step amidst a transcendent coda. Am Grabe Richard Wagners, an homage of ephemeral and short-lived beauty, was originally composed for string quartet and harp in 1883. Its sparse melodic material is derived from both the grail leitmotif from Wagner’s final opera, Parsifal, and the opening theme of Liszt’s own choral work, Die Glocken des Strassburger Münsters.\n\u003cbr\u003e\u003cbr\u003e\nAn einsamer Quelle (A Solitary Spring) is the second of five mood-paintings that Richard Strauss composed for piano in 1884. It is, in essence, a song without words whose simple melodic lyricism welcomes the addition of a violin in Hugo von Steiner’s transcription. Cäcilie was composed in 1894 as a wedding gift to Strauss’s wife Pauline. Based on a love poem by Heinrich Hart, the work is a spirited embodiment of joy and exhilaration.\n\u003cbr\u003e\u003cbr\u003e\nRichard Strauss’s Violin Sonata in E-flat Major from 1888 occupies a unique place in the composer’s oeuvre and stands at a sort of stylistic crossroads. On one hand, it represents the culmination of Strauss’ conservative musical education by strictly adhering to three movement classical sonata form. On the other hand, it bears the marked influence of Wagner and Liszt in its harmonic innovations and tonal wanderings. 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Schumann: Works for Violin\/Viola \u0026 Piano-N. Stark, C. Pescia","description":"There are two common perceptions of “late works”, and they are mutually exclusive. The one regards “lateness” as a summation – a cumulative phenomenon in which the artist creates the crowning works of his oeuvre. The other sees lateness as decay. Some artists have been subject to both approaches. Beethoven’s last quartets were thought an embarrassing testimony to mental decline until Richard Wagner saw genius and logic in them where others had seen mere unreason. He declared them to be Beethoven’s masterpieces, and no one has disagreed since. \n\u003cbr\u003e\u003cbr\u003e\nRobert Schumann has also long been regarded as having lost his inspiration towards the end, more precisely after his move to Düsseldorf in 1850 to take up the post of music director. But his chances at wholesale rehabilitation are probably illusory. For while Beethoven was deaf, not dotty, Schumann’s state of mind in the early 1850s was often precarious. There were his séance obsessions, the voices in his head, the black dog days and finally the plunge into the Rhine after trying to pay the bridge-keeper’s toll with a handkerchief. Schumann’s wife Clara felt so embarrassed by his last works that she destroyed some and left others unpublished. But critics and commentators soon began reading Schumann’s madness much further backwards, taking earlier signs of formal irregularity in his music as proof of incipient insanity. \n\u003cbr\u003e\u003cbr\u003e\nSchumann’s late works deserve a more differentiated approach. While we must acknowledge that several written before his final breakdown are hardly strong enough to catch on – such as the Violin Concerto – there are many others from his Düsseldorf years that are truly compelling. This latter group must include the works on this CD; the Märchenbilder (“Fairy tale pictures”) op. 113 and the Second Violin Sonata op. 121, both composed in 1851. \n\u003cbr\u003e\u003cbr\u003e\nSchumann had begun his career as a composer for the piano, then after his marriage branched out successively into the lied, the symphony, chamber music, choral music and opera, almost as if he were ticking off one genre after another. His approach to chamber music for strings with piano was similarly methodical, though reductive: a piano quintet was followed by a piano quartet, then piano trios, and then from 1 to 4 March 1851 he wrote his first piano and string duo: the Märchenbilder for viola and piano (also issued with an alternative violin solo part). He dedicated them to Wilhelm von Wasielewski, his concertmaster in Düsseldorf, who tried them out with Clara and two years later gave their first public performance. Schumann called these pieces mere “childish pranks” though this was probably just overcautious modesty. Not only was this his first solo work for viola, but also just about the first-ever solo viola work by any Romantic composer of note. Schumann initially couldn’t decide on a title, calling them “viola stories”, “fairy-tale songs” and finally “fairy-tale pictures”, though all of these refer to the narrative element inherent in them. The first and third pieces certainly seem to be “telling” us something, though we know not what; the second is a “hunting horn” rondo; and the fourth and last piece sounds like a Brahmsian lullaby avant la lettre (its main theme, incidentally, seems to hover behind the opening of Mahler’s Ninth Symphony, also in D). \n\u003cbr\u003e\u003cbr\u003e\nSchumann wrote his First Violin Sonata, op 105 in a minor, in September 1851. Barely a month later he was writing a Second, this time in d minor. Where the First was in three movements, the Second is cast in four and is altogether more expansive. The slow opening is in a sarabande rhythm and reminiscent of the Chaconne from Bach’s Violin Partita in d minor (a work that Schumann knew well). The opening theme is generally agreed to be based on the surname of the dedicatee, the violinist Ferdinand David (with an “f” substituting for his “v”). The same theme opens the fast-paced movement proper, which is by turns passionate and lyrical, hesitant and agitated and veritably sweeps one along. The second movement, in b minor, is a “hunting” scherzo whose shift into the major towards the close is a magical moment that just about every critic agrees is Schumann at his best. The third movement is a set of variations in G major on a theme – first given pizzicato by the violin – that is a simple as it is memorable (some, incidentally, hear in it an echo of Luther’s chorale “I cry to thee in deepest need”). The last movement is in sonata form, and in its tempestuousness recalls the first movement. Schumann had published his First Sonata soon after its composition, so it was probably just the fear that he might swamp the market that made him hold back the Second for another two years. Despite the dedication to David, it was Joseph Joachim who gave the work’s first public performance in autumn 1853, organized roughly to coincide with its publication. Joachim loved it, writing to his friend Arnold Wehner on 10 September that “it is for me one of the loveliest creations of recent times in its magnificent unity and the concision of its themes. It is full of passion … The last movement is splendid in the way it ebbs and flows, and could be a landscape of the soul”. But just a few months after the composer’s death, Eduard Hanslick was already damning the Second Sonata as proof of Schumann’s declining powers. It suited Hanslick’s historical view of things to see a long, gradual decline instead of any abrupt biographical fracture. But the work itself merits no such nonsense. Had Schumann suddenly died in 1852 instead of dwindling away afterwards, Hanslick might well have joined Joachim in declaring the work “magnificent”; for that’s what it is. \n\u003cbr\u003e\u003cbr\u003e\nClara Schumann’s great fortune in life – as she saw it – was to fall in love and marry a composing genius. Her great misfortune in life – one might argue – was the same. Fêted as one of the leading pianists of her age, she was also a gifted composer, though outshone by her husband. Robert was outwardly supportive of her composing efforts, but since Clara also functioned as the conveyor belt for his babies he was of little concrete help to her career – she produced almost as many children as she did opus numbers during their marriage.\n\u003cbr\u003e\u003cbr\u003e\nClara’s Three Romances for violin and piano op. 22 were composed in July 1853 and dedicated to Joachim. They belong among her “last” works – after this year, she hardly ever composed again. In stylistic terms they are clearly situated in the Mendelssohnian\/Schumannian tradition. But even where their mood might seem at first to reflect the bourgeois salon, phrases here and there are subtly elongated or shortened, little cross-rhythms come and go (as in the opening bars of No. 1) and unexpected harmonies intrude (such as the augmented chords in the final bars of No. 3) that altogether reveal a more complex sensibility. After Robert’s decline, Clara returned to her career as a piano virtuoso in order to feed the family. A pity she did not resume composing on a larger scale; the music world would have been the richer for it.\n\u003cbr\u003e\u003cbr\u003e\nChris Walton","brand":"Claves Records","offers":[{"title":"CD 1502 \/ 1 \/ Cédric Pescia","offer_id":39924540538915,"sku":"1502","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"191018908140 \/ upc \/ Cédric Pescia","offer_id":42184093582,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"01.01.2015 \/ release \/ Cédric Pescia","offer_id":45642174222,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/schumann-works-for-violon-viola-piano\/id1210038266?l=fr \/ iTunes \/ Cédric Pescia","offer_id":32339022282787,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/open.spotify.com\/album\/3v07S7F2sYRGBYmbEa6upN \/ Spotify \/ Cédric Pescia","offer_id":42903807822,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_n-2_2RC2_pDYiEi9DAWOCe9CxGu7cRm08 \/ Youtube Music \/ Cédric Pescia","offer_id":32924459827235,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Qobuz \/ Cédric Pescia","offer_id":36599762830,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/ch-fr\/album\/schumann-works-for-violon-viola-piano-various-artists\/0191018908140 \/ Qobuz HD \/ Cédric Pescia","offer_id":42903808014,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/15477700 \/ Deezer \/ Cédric Pescia","offer_id":42903808078,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/2rWcKNd \/ AmazonMp3 \/ Cédric Pescia","offer_id":42903808142,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Naxos \/ Cédric Pescia","offer_id":31662900366,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/cedric-pescia-nurit-stark\/schumann-works-for-violon-viola-piano\/15805744\/ \/ eMusic \/ Cédric Pescia","offer_id":15647376323,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/1502_Schumann_Pescia_BOOKLET_itunes.pdf?6102410450466880480 \/ Booklet \/ Cédric Pescia","offer_id":15652137667,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=kX2a-bNRMYU\u0026list=PLy5IRCYvmbSxt7wKJrF0_9rKBfdmTHRoP \/ Video \/ Cédric Pescia","offer_id":64846331918,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/listen.tidal.com\/album\/70899385 \/ Tidal \/ Cédric Pescia","offer_id":42903808206,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/us.napster.com\/artist\/cedric-pescia\/album\/schumann-works-for-violon-viola-and-piano-claves-records \/ Rhapsody \/ Cédric Pescia","offer_id":42903808270,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Robert Schumann \/ Composers \/ Cédric Pescia","offer_id":31191123779,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.prestoclassical.co.uk\/r\/Claves\/501502 \/ Presto Classical \/ Cédric Pescia","offer_id":31245586115,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.e-onkyo.com\/music\/album\/cd1502\/ \/ E-onkyo \/ Cédric Pescia","offer_id":39879752078,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.prostudiomasters.com\/album\/page\/10878 \/ Pro Studio Masters \/ Cédric Pescia","offer_id":35068821838,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/mora.jp\/package\/43000072\/CD1502_F\/ \/ Mora \/ Cédric Pescia","offer_id":39879752142,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ HD-Music \/ Cédric Pescia","offer_id":31245586051,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.hdtracks.com\/schumann-works-for-violon-viola-piano-434084 \/ HD-Tracks \/ Cédric Pescia","offer_id":42903808334,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.slacker.com\/album\/nurit-stark-cedric-pescia\/clara-robert-schumann-works-for-violin-viola-piano \/ Slacker \/ Cédric Pescia","offer_id":42894771534,"sku":"1502","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/1502_Schumann_HR_RVB_sc_2.jpg?v=1499265335"},{"product_id":"the-seven-last-words-of-our-savior-on-the-cross-op-51-hob-iii-50-56","title":"(2000) The Seven Last Words Of Our Savior On The Cross, Op. 51, Hob. III:50-56","description":"Carmina Quartet\n\u003cbr\u003e\u003cbr\u003e\nMatthias Enderle, violin\u003cbr\u003e\nSuzanne Frank, Violin\u003cbr\u003e\nWendy Champney, Viola\u003cbr\u003e\nStephan Goerner, Cello\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\nThe Carmina Quartet was founded in 1984. Their stylistically convincing interpretations, technical perfection and musical intensity earned them recognition as one of the leading contemporary string Quartet. They have been accompanied throughout their development by eminent teachers such as Sandor Végh, Nikolaus Harnoncourt and the La Salle Quartet.\n\u003cbr\u003e\u003cbr\u003e\nSpectacular early successes at international competitions brought the Carmina Quartet to the attention of the critics and their international press and led to concert appearances throughout the world.\n\u003cbr\u003e\u003cbr\u003e\nIn addition to the ensemble’s diverse concert activities, including regular appearances with eminent musicians such as Olaf Bär, Mitsuko Uchida and Barbara Hendricks, they made a large number of recordings. These have been recognized with awards such as the Gramophone Award, the Diapason d’or and a Grammy nomination in Los Angeles.\n\u003cbr\u003e\u003cbr\u003e\nThe Carmina Quartet has been “quartet in residence” at the Winterthur\/Zurich School of Music (MWZ) since 1995.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nSchola Romana Lucernensis\n\u003cbr\u003e\u003cbr\u003e\nFounded in Lucerne in 1971, the Schola Romana Lucernensis is dedicated to the cultivation and performance of Gregorian chant; its regular director is Dominik Rickenbacher. The ensemble works in close collaboration with the choral director of the Abbey of Einsieldeln, Pater Roman Bannwart, who is also teacher at the Lucerne “Musikhochschule” (formerly the Academy for School and Church Music \/ Lucerne Conservatory). Pater Bannwart has assisted the group since its founding.\n\u003cbr\u003e\u003cbr\u003e\nThe Schola Romana Lucernensis has performed in Zurich, Basel, Rheinau and Wolkenstein (in Grödental), including in concerts with the Carmina Quartet.\n\u003cbr\u003e\u003cbr\u003e\nThey have also performed in concerts with the Lucerne Academy Choir, in conjunction with the Lucerne International Music Festival, for television DRS and at Comprecation Day concerts [Bettagskonzerten] at the Abbey of Einsiedeln.\n\u003cbr\u003e\u003cbr\u003e\nThe Schola Romana Lucernensis has worked closely with the Benedictine monks at the Abbey of Ensiedeln, striving to preserve the tradition of Gregorian chant and to make this music accessible to larger audiences. The members of the ensemble, which for some time has included female voices, view this as a their fascinating and gratifying challenge.","brand":"Claves Records","offers":[{"title":"CD 2002 \/ 1 \/ Carmina Quartet","offer_id":40119961387043,"sku":"2002","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410505062 \/ upc \/ Carmina Quartet","offer_id":42256792846,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Carmina Quartet","offer_id":45895715982,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/seven-last-words-our-savior\/id253839626?l=fr \/ iTunes \/ Carmina Quartet","offer_id":32339007111203,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/13cyUAp9jPHtoiihpzgrDi \/ Spotify \/ Carmina Quartet","offer_id":15872860675,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_nCAP9-PHAAfUoM5CmTCYZRQ1BjXN6BmdY \/ Youtube Music \/ Carmina Quartet","offer_id":39495907049507,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1mdfLm5 \/ Qobuz \/ Carmina Quartet","offer_id":15872860803,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/174296 \/ Deezer \/ Carmina Quartet","offer_id":15872860867,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/Seven-Last-Words-Savior-Cross\/dp\/B0025E4RLW\/ref=sr_shvl_album_1?ie=UTF8\u0026qid=1366203550\u0026sr=301-1 \/ AmazonMp3 \/ Carmina Quartet","offer_id":15872860931,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2002 \/ Naxos \/ Carmina Quartet","offer_id":31662379662,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1mdfYWv \/ eMusic \/ Carmina Quartet","offer_id":15872860995,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Carmina Quartet","offer_id":15872861059,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=2LoBgp3oVMo\u0026list=OLAK5uy_nCAP9-PHAAfUoM5CmTCYZRQ1BjXN6BmdY \/ Video \/ Carmina Quartet","offer_id":39497274392611,"sku":"2002","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2002.jpg?v=1453889977"},{"product_id":"schubert-quintets-d-956-d-8","title":"(2000) Schubert: Quintets D. 956 \u0026 D. 8","description":"Composed shortly before his death, the ineffably beautiful String Quintet in C Major D.956 was Schubert’s last chamber music composition. It is rightfully regarded not only as one of the composer’s most important works, but as one of the major works in the whole chamber music repertoire.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann said of the String Quintet that it is the music one would like to hear on one’s deathbed; it is indeed difficult to listen to it without feeling that Schubert must have had some premonition of the approaching end. It is the final and definitive expression of Schubert’s poetic vision, of that Romantic longing for the world beyond, whether in the dark lyricism of the first movement, the vigor of the Scherzo, the poetic Adagio, or the confident good humor of the closing movement.\n\u003cbr\u003e\u003cbr\u003e\nThis parting work is juxtaposed with one of Schubert’s earliest compositions, the Overture in C Minor for string quintet which the budding composer wrote in 1811 at the age of 14. It is characterized by formal clarity and dramatic expressiveness.\n\u003cbr\u003e\u003cbr\u003e\nThe Quartet Sine Nomine won First Prize and the Press Prize at the 1985 Evian International Competition; in 1987 it won the first Borciani Competition in Reggio nell’Emilia. The quartet has performed in the most important concert halls throughout Europe and America, including in London’s Wigmore Hall, New York’s Carnegie Hall and Amsterdam’s Concertgebouw.\n\u003cbr\u003e\u003cbr\u003e\nThe quartet has also recorded Brahms’ complete string quartets as well as his four quintets, Arriaga’s three string quartets, Haydn’s six quartets op. 76 and works by Turina for Claves. They are joined by cellist François Guye for Schubert’s C-Major Quintet, and by violist Michael Wolf for the youthful Overture in C Minor.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nFrançais\n\u003cbr\u003e\u003cbr\u003e\nComposé peu avant sa mort et d’une beauté ineffable, le quintette à cordes en ut majeur D.956 est la dernière composition de musique de chambre de Schubert. Elle est à juste titre considérée non seulement comme l’œuvre la plus importante de ce compositeur, mais aussi comme une des œuvres majeures de tout le répertoire de musique de chambre.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann disait de ce quintette que c’était le genre de musique que l’on aimerait entendre sur son lit de mort ; il est en effet, difficile de l’écouter sans avoir le sentiment que Schubert devait avoir certaines prémonitions quant à sa fin prochaine. C’est l’expression finale et définitive de la vision poétique de Schubert, de cette nostalgie romantique pour l’au-delà que ce soit dans le lyrisme sombre du premier mouvement, la vigueur du Scherzo, la poésie de l’Adagio ou la bonne humeur du mouvement final.\n\u003cbr\u003e\u003cbr\u003e\nCette œuvre «d’adieu» est ici juxtaposée à une des compositions de jeunesse de Schubert, l’ouverture en ut mineur pour quintette à cordes qu’il a écrite, à 14 ans, en 1811. Elle se distingue par sa clarté formelle et son expressivité dramatique.\n\u003cbr\u003e\u003cbr\u003e\nEn 1985, le Quatuor Sine Nomine a remporté le premier prix et le prix de la presse du Concours International d’Evian; en 1987, il a été le lauréat du premier Concours Borciani a Reggio nell’Emilia. Le violoncelliste François Guye les a rejoint pour le quintette en ut majeur de Schubert ainsi que l’altiste Michael Wolf pour l’ouverture en ut mineur.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nDeutsch\n\u003cbr\u003e\u003cbr\u003e\nDas unbeschreiblich schöne Streichquintett in C-dur D. 956, das Schubert kurz vor seinem Tod komponierte, war gleichzeitig sein letzes Kammermusikwerk. Zu Recht gilt es nicht nur als eines der wichtigsten Werke des Komponisten, sondern auch als eines der bedeutendsten kammermusikal-ischen Werke überhaupt.\n\u003cbr\u003e\u003cbr\u003e\nThomas Mann sagte einmal, dass man dieses Quintett gerne auf dem Totenbett hören möchte. Und tatsächlich ist es fast unmöglich, das Werk zu hören, ohne zu fühlen, dass Schubert sein nahes Endes vorausgeahnt haben muss. Hier beschreibt und vollendet er seine letzte künstlerische Vision, die romantische Sehnsucht nach dem Jenseits, die in der düsteren Lyrik des Eingangssatzes genau so stark zum Ausdruck kommt wie im kraftvollen Scherzo, im lyrischen Adagio oder im zuversichtlich gut gelaunten Schlusssatz.\n\u003cbr\u003e\u003cbr\u003e\nDieses Werk wird hier einer sehr frühen Komposition Schuberts gegenübergestellt, der Ouvertüre in c-moll für Streichquintett, die er 1811 im Alter von 14 Jahren geschrieben hat. Es zeichnet sich durch formale Klarheit und dramatische Expressivität aus.\n\u003cbr\u003e\u003cbr\u003e\nDem Sine Nomine Quartett wurde 1985 der Erste Preis und der Sonderpreis der Presse-Jury beim Internationalen Wettbewerb in Evian zugesprochen. Es gewann 1987 den ersten Borciani-Wettbewerb in Reggio nell‘Emilia. Seither ist das Ensemble in den bedeutendsten Städten Europas und Amerikas zu hören, namentlich in den berühmten Konzertsälen Wigmore Hall in London, Concert-gebouw in Amsterdam und Carnegie Hall in New York. Das Sine Nomine Quartett hat bereits sämtliche Streichquartette und die vier Quintette von Brahms, Arriagas drei Streichquartette, die sechs Quartette op. 76 von Joseph Haydn sowie Werke von Turina für Claves aufgenommen. Bei Schuberts Quintett in C-dur werden die Musiker vom Cellisten François Guye und für die Jugendouvertüre in c-moll vom Geiger Michael Wolf begleitet.","brand":"Claves Records","offers":[{"title":"CD 2003 \/ 1 \/ Quatuor Sine Nomine","offer_id":40119961419811,"sku":"2003","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410505161 \/ upc \/ Quatuor Sine Nomine","offer_id":42256797262,"sku":"2003","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Quatuor Sine Nomine","offer_id":45895716046,"sku":"2003","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/schubert-quintets-d.-956-d.-8\/id253840041?l=fr \/ iTunes \/ Quatuor Sine Nomine","offer_id":32339007143971,"sku":"2003","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/0FEWoCEFmYwmISRoyNd6Sg \/ Spotify \/ Quatuor Sine 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Strauss \u0026 Schoenberg: Violin Sonatas","description":"Brigitte and Yvonne Lang were winners of the prestigious Kiefer Hablitzel Foundation Award. In addition to prize money and concert appearances at the Menuhin Festival Gstaad, the Lang sisters are the first prize winners to be featured in the foundation’s newly inaugurated CD series. Claves Records is pleased to present the first recording in the «Kiefer Hablitzel Edition».\n\u003cbr\u003e\u003cbr\u003e\nBrahms composed his enchanting Violin Sonata at Lake Thun in Switzerland in 1886. Strauss’ Violin Sonata is a youthful work marked by the sweeping gestures of his first orchestral tone poems. The Daphne Etude and the Allegretto for Violin are two rarely performed miniatures from his later years. Schoenberg’s Phantasy is characterized by an inner peace and compositional clarity.\n\u003cbr\u003e\u003cbr\u003e\nIn addition to winning the Kiefer Hablitzel Foundation Award in 1998, violinist Brigitte Lang won first prize at the Swiss Youth Music Competition in 1990 and was a fellowship prize winner of the Migros-Genossenschaftsbund. She currently resides in London and Lucerne. Pianist Yvonne Lang earned her soloist’s diploma with honors in Lucerne in 1995. Likewise a Kiefer Hablitzel Foundation prize winner, Yvonne Lang was also a recipient of the Edwin Fischer Memorial Prize and a fellowship prize from the Migros-Genossenschaftsbund. \n\u003cbr\u003e\u003cbr\u003e\nThe two sisters have performed in duo since childhood, performing throughout Europe (including London’s Wigmore Hall) and North America. They won second prize at the international chamber music competition «Premio Trio di Trieste» in Italy in 1999.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nFrançais\n\u003cbr\u003e\u003cbr\u003e\nBrigitte et Yvonne Lang sont toutes les deux lauréates du prix de la Fondation Kiefer Hablitzel 1998. A part ce prix et un concert au Festival Menuhin de Gstaad 2000, les sœurs Lang sont les premières à qui a été offert un enregistrement qui inaugurera l’«Edition Kiefer Hablitzel», une nouvelle série de CD créée par la Fondation. Claves Records est heureux de présenter ce premier disque.\n\u003cbr\u003e\u003cbr\u003e\nBrahms composa sa magnifique «Thuner Sonate» pour piano et violon pendant son premier été passé au bord du Lac de Thoune en 1886. La Sonate pour violon de Strauss, une œuvre de jeunesse, à la légèreté et la vivacité de ses orchestrations de poèmes, tandis que l’Etude Daphné et l’Allegretto pour violon et piano sont deux miniatures écrites vers la fin de sa vie. La Fantaisie de Schoenberg est empreinte de grande sérénité et clarté.\n\u003cbr\u003e\u003cbr\u003e\nLa violoniste Brigitte Lang remporta un premier prix avec mention au Concours des Jeunesses Musicales de Suisse et gagna un prix doté d’une bourse d’études octroyée par la Coopérative Migros. Elle vit actuellement à Londres et à Lucerne. La pianiste Yvonne Lang obtint à Lucerne en 1995 son diplôme de soliste avec mention. Elle remporta le premier prix institué à la mémoire d’Edwin Fischer ainsi que le prix doté d’une bourse d’études de la Coopérative Migros. Les deux sœurs jouent en duo depuis leur enfance. En 1992, elles remportèrent le second prix du Concours international «Premio Trio di Trieste» en Italie. Elles ont donné des concerts, entre autres, au Wigmore Hall de Londres, à Paris, en Ecosse ainsi qu’au Canada.\n\u003cbr\u003e\u003cbr\u003e\n__________\u003cbr\u003e\nDeutsch\n\u003cbr\u003e\u003cbr\u003e\nEndlich ist auch die Violinsonate A-dur, op.100, die sogenannte «Thuner Sonate» von Johannes Brahms im Repertoire von Claves. Sie entstand im Sommer 1886 beim ersten Aufenthalt des Komponisten am Thunersee. Die in diesem ertragreichen Sommer entstandenen Werke zeichnen sich alle durch eine «herrliche Frische der Phantasie» aus, wie der Dichter Joseph Viktor Widmann sie beurteilte. Im Hause Widmann in Bern wurden die in Thun entstandenen Werke auch erstmals gespielt, Brahms selber spielte den Klavierpart. Bei der ersten offiziellen Aufführung am 2. Dezember 1886 spielten Brahms und Joseph Hellmesberger im kleinen Saal des Wiener Konzertvereins.\n\u003cbr\u003e\u003cbr\u003e\nDie Sonate in Es-dur von Richard Strauss ist – wie fast alle seine kammermusikalischen Werke – ein Jugendwerk, aber schon stark gezeichnet von der schwungvollen Gestik seiner folgenden gros-sen sinfonischen Tondichtungen. Die zwei selten gespielten Miniaturen, die Daphne Etüde und das Allegretto, sind zwei kleine, charmante Ergänzungen aus den späten Jahren des Komponisten. Auch Arnold Schönbergs «Fantasie», die sich durch grossen inneren Frieden und kompositorische Klarheit auszeichnet, ist ein Alterswerk dieses wegweisenden Komponisten und entstand im März 1949.\n\u003cbr\u003e\u003cbr\u003e\nDie zwei Interpretinnen Brigitte und Yvonne Lang haben in ihrer noch jungen Karrierre einzeln oder als Duo schon viele nationale und internationale Auszeichnungen erhalten. Die Schwestern bilden seit ihrer Kindheit ein Duo, und gemeinsam sind sie schon in der Wigmore Hall in London, in Paris, in Schottland und in Kanada aufgetreten. Bereits 1992 erhielt das Duo den Zweiten Preis am internationalen Kammermusikwettbewerb «Premio Trio di Trieste» in Italien zuerkannt. Beide Musikerinnen sind Preisträgerinnen der renommierten Kiefer Hablitzel Stiftung und erhielten nebst Preisgeld eine Einladung, im Rahmen des Menuhin Festivals Gstaad 1999 zu konzertieren. \n\u003cbr\u003e\u003cbr\u003e\nAls erste der bisherigen Gewinnerinnen und Gewinner können sie auf einer neu von der Stiftung ins Leben gerufenen CD-Serie ihr Talent unter Beweis stellen. 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Sie ist dem aus Bilbao stammenden Komponisten Andrés Isasi gewidmet.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMit ihm stellen wir einen hoch talentierten Komponisten vor, der alle klassischen Genres beherrschte, von der Sinfonie über die Polyphonie bis zur intimen Gitarrenmusik. Aber er war nicht nur Musiker sondern auch Dichter und zu vielen seiner Lieder schrieb er eigene Texte. Die vorliegenden sinfonischen Werke entstanden allesamt während seines Aufenthalts in Deutschland vor Ausbruch des 1. Weltkriegs und zeugen vom grossen Einfluss seines Mentors Engelbert Humperdinck.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eZusätzlich fand Isasi Inspiration in der modernen deutschen Literatur und in seiner eigenen tiefen Spiritualität. Folgendes Beispiel zeigt seine grosse Liebe zur Natur, die er mit Jesús Guridi teilte: Isasi arbeitete an einer höchst ungewöhnlichen Studie mit dem Titel «Ornotifonia» oder Lieder der Vögel, für die er die verschiedenen Variationen ihrer Gesänge notierte, um sie später in einigen seiner Werke einzufügen. Bisher wurden von Andrés Isasis sinfonischen Werken noch keine Tonaufnahmen gemacht, und die vorliegende CD mit Orchester ist somit eine Ersteinspielung.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDas Orquesta Sinfonica de Euskadi betraute Maestro Enrique Garcia Asensio mit der Leitung für diese Aufnahme, und Jonathan Carney wurde als Solist für die «Berceuse Tragica» für Violine und Orchester verpflichtet. Die vierte Aufnahme der Reihe wurde – wie die drei bisherigen – im Konzertsaal des Orchesters in San Sebastian aufgenommen. Eine interessante Entdeckung! Miguel A. 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Wie ein «Walzertraum» aus dem Wien der Vorkriegszeit, mit seinen Operetten von Strauss und Lehar, liegt ein Zauber über dieser blühenden Zeit der literarischen und musikalischen Genüsse, und lässt sie im Vergleich zum unruhigen Jahrhundert, das folgen sollte, noch glanzvoller erscheinen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMit brillanter Virtuosität und einem immensen Farbenreichtum interpretieren die Flötistin Marina Piccinini und Anne Epperson, ihre Begleiterin am Klavier, Werke berühmter und weniger berühmter Komponisten dieser Epoche. Von Gabriel Faurés frühem Meisterwerk «Morceau de concours» bis zu Georges Hües «Fantaisie» mit ihren leuchtenden spanischen und arabischen Farben sind sämtliche Werke vom Geist der «Belle Epoque» durchtränkt. Der Tradition der romantischen Solovirtuosen folgend, ergänzte Marina Piccinini die «Fantasie zu Bizets Carmen» von François Borne mit eigenen, farbenfrohen Variationen und Verzierungen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie Flötistin Marina Piccinini hat sich durch ihre brillante Virtuosität, ihre künstlerische Ausstrahlung und eine breite Klangfarbenpalette einen internationalen Ruf geschaffen. Seit ihren vielbeachteten und hochgelobten Debuts in der New Yorker Town Hall und in Londons Southbank Center ist Marina Piccinini eine begehrte Künstlerin in den grossen Konzertsälen der Vereinigten Staaten, Kanadas, Europas und in Japan. Marina Piccinini ist die erste und bisher einzige Flötistin, die den renommierten Avery Fisher Career Grant erhalten hat. 1989 wurde sie von Musical America zur «Jungen Künstlerin des Jahres» gewählt. Die Pianistin Anne Epperson leitet die Abteilung für Klavierbegleitung beim Musikinstitut von Cleveland.","brand":"Claves Records","offers":[{"title":"CD 2009 \/ 1 \/ Marina Piccinini","offer_id":40119961616419,"sku":"2009","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410506069 \/ upc \/ Marina Piccinini","offer_id":13668960600099,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/flute-recital-paris-belle\/id261677767?l=fr \/ iTunes \/ Marina Piccinini","offer_id":32339007340579,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Marina Piccinini","offer_id":45895717454,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/7qS5H6afV2Pd80uVu47H0K \/ Spotify \/ Marina Piccinini","offer_id":15872865539,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"# \/ Youtube Music \/ Marina Piccinini","offer_id":39495907278883,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/flute-recital-belle-epoque\/0829410506069 \/ Qobuz \/ Marina Piccinini","offer_id":15872865667,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/174323 \/ Deezer \/ Marina Piccinini","offer_id":15872865731,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/20GK7wR \/ AmazonMp3 \/ Marina Piccinini","offer_id":15872865795,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2009 \/ Naxos \/ Marina Piccinini","offer_id":31662381326,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/marina-piccinini-anne-epperson\/flute-recital-belle-epoque\/11078991\/ \/ eMusic \/ Marina Piccinini","offer_id":15872865859,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Marina Piccinini","offer_id":15872866051,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=utxxVrSZ2tc\u0026list=PLy5IRCYvmbSwBLHB_yhFqgVd-XWl-CgCa \/ Video \/ Marina Piccinini","offer_id":256444137486,"sku":"2009","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2009.jpg?v=1414687994"},{"product_id":"vivaldi-concertos","title":"(2000) Vivaldi: Concertos","description":"Maurice Steger was born in 1971 and completed his studies at the Zurich Conservatory and the Zurich Musikhochschule, studying with, among others, Pedro Memelsdorff (I) and Kees Boeke (NL). After additional studies in Europe he received his soloist’s diploma “with highest honors” in 1995; numerous prizes at competitions and cultural awards followed.\n\u003cbr\u003e\u003cbr\u003e\nNow internationally active as a soloist, Maurice Steger has worked with eminent conductors and ensembles. He has performed to great success throughout Europe, is a regular guest at international festivals and appears in programs for European radio and television.\n\u003cbr\u003e\u003cbr\u003e\nMaurice Steger performs as a soloist with various Baroque ensembles. In addition to I Barocchisti and Diego Fasolis, he performs with the Baroque orchestra Europa Galante under the direction of Fabio Biondi, the Ensemble 415 and Chiara Banchini, violinist Andrew Manze, the Sonatori de la Gioiosa Marca and the Akademie für Alte Musik Berlin. Maurice Steger is also a frequent soloist in orchestra concerts (including with the Zürcher Kammerorchester under the direction of Howard Griffiths, the Capella Istropolitana, and the London Mozart Players).\n\u003cbr\u003e\u003cbr\u003e\nHis recitals are characterized by innovative programs which touch upon the whole recorder repertoire from ancient music to world premieres of contemporary compositions. He has earned particular recognition for his interpretations of Italian instrumental works from the 17th and 18th centuries.\n\u003cbr\u003e\u003cbr\u003e\nMaurice Steger’s three previous recordings for Claves records (with the Continuo Consort and harpsichordist Naoki Kitaya) featuring Italian and English Baroque music have received a number of awards and highest praise from critics and audiences.","brand":"Claves Records","offers":[{"title":"CD 2010 \/ 1 \/ Maurice Steger","offer_id":40119961649187,"sku":"2010","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410505369 \/ upc \/ Maurice Steger","offer_id":13668960632867,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Antonio Vivaldi \/ composers \/ Maurice Steger","offer_id":39745891303459,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/vivaldi-concertos\/id253955366 \/ iTunes \/ Maurice Steger","offer_id":32339007373347,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Maurice Steger","offer_id":45895717518,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4Zmm0tZ1JFb4edg7YDTpZd \/ Spotify \/ Maurice Steger","offer_id":15872866307,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_kEvDXDDcjxoVE1ocWkktPCyEnBry8bxAk \/ Youtube Music \/ Maurice Steger","offer_id":39495907311651,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/antonio-vivaldi-concertos-pour-flute-a-bec\/0829410505369 \/ Qobuz \/ Maurice Steger","offer_id":15872866435,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/136145 \/ Deezer \/ Maurice Steger","offer_id":15872866499,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.com\/B001NTUY26 \/ AmazonMp3 \/ Maurice Steger","offer_id":15872866563,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2010 \/ Naxos \/ Maurice Steger","offer_id":31662381390,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/maurice-steger-i-barrochisti-diego-fasolis\/maurice-steger-vivaldi-concerti\/11034333\/ \/ eMusic \/ Maurice Steger","offer_id":15872866627,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Maurice Steger","offer_id":15872866691,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=twEOc5vYlXE?list=PLy5IRCYvmbSxRLq3-KcoPUOVWAqS2qTSN \/ Video \/ Maurice Steger","offer_id":46068053006,"sku":"2010","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2010.jpg?v=1414750742"},{"product_id":"bach-the-toccatas-bwv-910-916","title":"(2001) Bach: The Toccatas, BWV 910-916","description":"Die barocke Toccata ist eine Komposition für Tasteninstrumente, die Elemente von unterschiedlichem Charakter – Intonation, Praeambulum, Ricercar, Fantasie, und immer wieder Fuge – abwechslungsweise frei und kontrapunktisch geordnet, zu einem Stück mit improvisatorischem Charakter vereint. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e J.S. Bach (1685–1750) schrieb mindestens sieben eigenständige Werke für Tasteninstrumente, Toccaten genannt, daneben viele Werke, die Toccaten enthalten (z.B. als Ouvertüre) oder aber anders genannt wurden (z.B. Präludien). Die Toccaten BWV 910-916 entstanden zwischen 1705 und 1714. Die sieben Werke hat Ursula Dütschler mit grossem Erfolg im Mai 2000 in der Wigmore Hall in London gespielt. Nachfolgend einige Zitate eines britischen Musikkritikers: \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e «Das Cembalorezital von Ursula Dütschler in der Wigmore Hall war ohne jeglichen Zweifel eine Offenbarung. Sie spielte sämtliche Toccaten für Tasteninstrumente der Sammlung, und das Resultat war einfach grossartig. Diese Werke gehören nicht nur zu den besten des gesamten Cembalo-Repertoires, sondern zählen auch zu Bachs genialsten Kompositionen für Tasteninstrumente. Alle sind eigenständig und sehr unterschiedlich. Der Komponist nutzt die einleitenden Präludien für tiefe persönliche Meditationen und die Schlussfugen für blendende intellektuelle Kunststücke.» \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e «Ursula Dütschler ist eine aussergewöhnliche Musikerin und verfügt über eine ausgezeichnete Technik, die sie aber immer in den Dienst der Musik stellt. Dies kommt besonders gut zur Geltung in der Art und Weise, wie sie die feine Rhythmik der Musik beherrscht und in der klaren Ausdrucksweise und Phrasierung. Jede Toccata erfährt hier eine persönliche Interpretation, und immer wieder überrascht Ursula Dütschler mit der grossen Leichtigkeit ihrer musikalischen Sprache. Die Künstlerin sollte so schnell wie möglich in die Wigmore Hall zurückkommen.»\u003cbr\u003e","brand":"Claves Records","offers":[{"title":"CD 2011 \/ 1 \/ Ursula Dütschler","offer_id":40119961681955,"sku":"2011","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"https:\/\/music.apple.com\/us\/album\/j.s.-bach-toccatas-bwv-910\/id261679045?l=fr \/ iTunes \/ Ursula Dütschler","offer_id":32339007406115,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"829410505468 \/ upc \/ Ursula Dütschler","offer_id":45765699086,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Ursula Dütschler","offer_id":45895717582,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/3tRo2KBFSU9HIk83UuBu5S \/ Spotify \/ Ursula Dütschler","offer_id":15872866883,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_meXEDTmx6jPcvL6p88Cr0YY8vP_AWdDaQ \/ Youtube Music \/ Ursula Dütschler","offer_id":39495907344419,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/johann-sebastian-bach-toccatas-bwv-910-916\/0829410505468 \/ Qobuz \/ Ursula Dütschler","offer_id":15872867011,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/136254 \/ Deezer \/ Ursula Dütschler","offer_id":15872867075,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/J-S-Bach-The-Toccatas-910-916\/dp\/B0023PWO2M\/ref=sr_shvl_album_4?ie=UTF8\u0026qid=1366204017\u0026sr=301-4 \/ AmazonMp3 \/ Ursula Dütschler","offer_id":15872867139,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2011 \/ Naxos \/ Ursula Dütschler","offer_id":31662381582,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/ursula-dutschler\/j-s-bach-the-toccatas-bwv-910-916\/11078957\/ \/ eMusic \/ Ursula Dütschler","offer_id":15872867203,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Ursula Dütschler","offer_id":15872867267,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=c6l5f2kZC1c\u0026list=OLAK5uy_meXEDTmx6jPcvL6p88Cr0YY8vP_AWdDaQ \/ Video \/ Ursula Dütschler","offer_id":39497275572259,"sku":"2011","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2011.jpg?v=1414592432"},{"product_id":"bach-marcello-vivaldi-handel-works-for-oboe-organ","title":"(2000) Bach, Marcello, Vivaldi, Händel: Works for Oboe \u0026 Organ","description":"This recording grew from our friendship of nearly twenty years. We chose the wonderful Ahrend organ for its particularly sonorous foundation stops; we hope that organ lovers will forgive us for employing this beautiful instrument ”merely” as a chamber organ. We enjoyed playing in the spacious acoustics of the Jesuit Church in Porrentruy, they made it possible to do the recording practically without any cuts. We hope that listeners will share our pleasure in these compositions; their diverse and fascinating histories are engagingly accounted for by musicologist Guiseppe Clericetti.\n\u003cbr\u003e\u003cbr\u003e\nOmar Zoboli and Diego Fasolis","brand":"Claves Records","offers":[{"title":"CD 2012 \/ 1 \/ Omar Zoboli","offer_id":40119961714723,"sku":"2012","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/bach-marcello-vivaldi-handel\/id253841947 \/ iTunes \/ Omar Zoboli","offer_id":32339007438883,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"829410505567 \/ upc \/ Omar Zoboli","offer_id":45765699214,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2000 \/ release \/ Omar Zoboli","offer_id":45895717646,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2YaX1i6ZYEdTHKyBXbPBTK \/ Spotify \/ Omar Zoboli","offer_id":15872867523,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_nbfS6Ovp94NXNuGgfXQlqsPo_Bn0wGgAg \/ Youtube Music \/ Omar Zoboli","offer_id":39495907377187,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1JYiVWj \/ Qobuz \/ Omar Zoboli","offer_id":15872867651,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/141318 \/ Deezer \/ Omar Zoboli","offer_id":15872867715,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1SGOQvD \/ AmazonMp3 \/ Omar Zoboli","offer_id":15872867779,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2012 \/ Naxos \/ Omar Zoboli","offer_id":31662381774,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/omar-zoboli-diego-fasolis\/mosaico-barocco-bach-marcello-vivaldi-handel\/11034331\/ \/ eMusic \/ Omar Zoboli","offer_id":15872867843,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Omar Zoboli","offer_id":15872867907,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=OTW1Od1Dxl8\u0026list=OLAK5uy_nbfS6Ovp94NXNuGgfXQlqsPo_Bn0wGgAg \/ Video \/ Omar Zoboli","offer_id":39497275605027,"sku":"2012","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2012.jpg?v=1414592225"},{"product_id":"miniatures-for-flute-guitar","title":"(2000) Miniatures For Flute \u0026 Guitar","description":"Flutist Peter-Lukas Graf and guitarist Konrad Ragossnig have appeared together in concert and have been bound in personal friendship for many, many years. This recording presents a selection of favorite miniatures and encore pieces from their vast duo repertoire – a wonderful idea ! It is a diverse selection of charming, serious and lighter works extending from the Baroque period (Johann Sebastian Bach and Carl Philipp Emanuel Bach) to the Rococo (Niccolò Paganini and François Joseph Gossec), the Classic (Wolfgang Amadeus Mozart) and the Romantic (Frédéric Chopin and Piotr Ilitch Tchaikovsky). It is likewise delightful to see brave excursions into 20th century music, including Rags by Scott Joplin, pieces by Heitor Villa-Lobos, Jacques Ibert and Maurice Ravel, as well as dances from Aram Khatchaturian’s ballet “Gayaneh”.\n\u003cbr\u003e\u003cbr\u003e\nGraf and Ragossnig lend these miniatures (of one and a half to seven minutes in length) their personal signature with their famed technical mastery and interpretative skills. As is often the case in live concerts, once the official program has been completed and the audience has been won over, musicians are able to enjoy a certain liberty and spontaneous creative energy during the following encores that is not present in the “official” part of the concert. 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Die Werke von Taktakischwili und Martinu mit dem Titel «Sonata» sind nach neoklassischem Vorbild aufgebaut, aber unter ihrer traditionellen Form und den ausgewogenen Themen schlägt das Herz jener Kultur, deren Wurzeln in einem Stück Erde weit östlich von Wien zu finden sind.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePaul Armans Bearbeitung von Béla Bartóks Fünfzehn Ungarischen Bauernliedern fängt die Stimmung der Sammlung seines Lehrers ein und reicht von zärtlich über launisch bis lebhaft und nostalgisch. Erno von Dohnányis Arie für Flöte und Klavier, ein liebevolles Nocturne, erinnert an die sinnlichen Klänge Borodins und Rachmaninoffs. Erwin Schulhoffs Sonate für Flöte und Klavier aus dem Jahr 1927 verbindet die unbeschwerte Art der Pariser «Six» mit einer echten Liebe für tschechische Lieder und Rhythmen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie Flötistin Marina Piccinini gilt heute allgemein als eine der führenden Flötenvirtuosinnen. Sie kombiniert perfektes technisches Können und grosse gestalterische Fähigkeiten mit einer charismatischen Bühnenpräsenz – Qualitäten, die jeden ihrer Auftritte zu einem denkwürdigen Ereignis machen. 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Jahrhundert dar. Was die drei vorgestellten Komponisten, den Argentinier Astor Piazzolla, den US-Amerikaner Charles Ives und den jungen Schweizer Daniel Schnyder verbindet, so unterschiedlich und letztendlich unvergleichbar sie als Persönlichkeiten auch sind, ist ihre Fähigkeit, aus einem riesigen stilistischen Fundus zu schöpfen und dabei keinerlei Berührungsängste mit anderen Bereichen (z.B. Popular-musik, Jazz oder Volksmusik) zu haben.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlle beherrschen ihr kompositorisches Handwerk, Kontrapunktik, Satztechnik, haben sich mit der klassischen Musiktradition auseinandergesetzt und sich dann aber ganz bewusst von ihr abgesetzt. Alle drei haben übrigens längere Zeit in New York gelebt, und haben sich von der kulturellen Vielfalt und Freiheit der Stadt inspirieren lassen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSchnyder hat sein «Piano Trio 1999\/2000» speziell für das Zürcher Klaviertrio geschrieben. Die Interpreten hatten schon länger mit einem Ausflug in den Jazzbereich geliebäugelt, und baten Schnyder, ein Stück für sie zu komponieren; das Resultat ist ein vielgesichtiges Trio.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGabriel Adorján, Joël Marosi und Christiane Frucht lernten sich 1993 beim «First International Jerusalem Music Encounters» kennen, und seither musizieren sie zusammen unter dem Namen Zürcher Klaviertrio. Bereits 1994 gewann das Ensemble den 1. 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Sein erstes Rezital gab er im Alter von 12 Jahren, und als 19-jähriger unternahm er eine erste Konzerttournee durch Dänemark und Schweden. 1846 wurde er als Hofpianist nach Kopenhagen berufen. 1860 nahm Reinecke eine Stelle am Leipziger Konservatorium an, unterrichtete Klavier und Komposition. 1897 wurde er schliesslich zum Direktor des Instituts ernannt. Reinecke war auch Chefdirigent des Leipziger Gewandhausorchesters, eine Tätigkeit, die er 35 Jahre lang ausübte.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReinecke war ein fleissiger Komponist. Er war der letzte bedeutende Vertreter der sogenannten Leipziger Schule. Obwohl ihre Anhänger romantische Strömungen in ihre Musik aufnahmen, lehnten sie die gewagteren und radikaleren Darstellungen der Romantik ab.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie Werke dieser Einspielung erlauben in dieser gedrängten Form einen erstaunlichen Einblick in Reineckes Stil. Sehr spät in seinem Leben stellte er zwölf seiner früheren Kompositionen zusammen, die er unter dem Namen Tonbilder als Sammlung veröffentlichte. Der Reiz der Kinder-Sinfonie geht nicht nur vom Rasseln und Pfeifen aus, das die Nachtigall oder den Kukuck imitiert, sondern der Komponist überrascht seine Hörer auch im zweiten Satz mit einem musikalischen, rätselhaften Verwirrspiel. Die späte sechssätzige Serenade Op. 242 zeigt nicht nur die Stilentwicklung des Komponisten, sondern auch seine bemerkenswerte Beständigkeit.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDas Kammerorchester Kremlin, 1991 vom Dirigenten Misha Rachlevsky gegründet, hat sich auf internationaler Ebene die einhellige Anerkennung als eines der besten Streichorchester erworben.","brand":"Claves Records","offers":[{"title":"CD 2107 \/ 1 \/ Misha Rachlevsky","offer_id":40119962009635,"sku":"2107","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410506564 \/ upc \/ Misha Rachlevsky","offer_id":13668960895011,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/reinecke-music-for-string\/id261682324?l=fr \/ iTunes \/ Misha Rachlevsky","offer_id":32339007668259,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Chamber Orchestra Kremlin \/ orchestra \/ Misha Rachlevsky","offer_id":643793977358,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Misha Rachlevsky","offer_id":45895718222,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/3NkdF1qSvDxDxKfCHZhmD9 \/ Spotify \/ Misha Rachlevsky","offer_id":16194192707,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lelt2-0sYufiGgQ3TRYIcaQkNyxCOAHJI \/ Youtube Music \/ Misha Rachlevsky","offer_id":39496032649251,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/carl-reinecke-music-for-strings\/0829410506564 \/ Qobuz \/ Misha Rachlevsky","offer_id":16194192835,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/167465 \/ Deezer \/ Misha Rachlevsky","offer_id":16194192899,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/Carl-Reinecke-Music-For-Strings\/dp\/B0023PTS30\/ref=sr_shvl_album_1?ie=UTF8\u0026qid=1366205814\u0026sr=301-1 \/ AmazonMp3 \/ Misha Rachlevsky","offer_id":16194193027,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2107 \/ Naxos \/ Misha Rachlevsky","offer_id":31662385486,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/chamber-orchestra-kremlin-misha-rachlevsky\/carl-reinecke-music-for-strings\/11079384\/ \/ eMusic \/ Misha Rachlevsky","offer_id":16194193091,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Misha Rachlevsky","offer_id":16194193155,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=TKPCZO39jrU?list=PLy5IRCYvmbSxhr8kxwXINHOxnwitE0ojB \/ Video \/ Misha Rachlevsky","offer_id":46068059022,"sku":"2107","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2107.jpg?v=1414745690"},{"product_id":"romantic-flute-concertos","title":"(2001) Romantic Flute Concertos","description":"Das 19. Jahrhundert war kein ergiebiges für die Flötenmusik, und es entstanden nur wenige Flötenkonzerte. Reissiger und Reinecke waren die bedeutendsten unter den wenigen Komponisten, die Solowerke für Querflöte schrieben, selbst aber keine Flötisten waren. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Carl Gottlieb Reissiger wurde 1798 in Belzig geboren und kam 1811 als Schüler der Thomasschule nach Leipzig. Anschliessend studierte er in Wien bei Salieri und in München bei von Winter. In München komponierte er seine einzige italienische Oper «Didone abbandonata», die 1824 von Carl Maria von Weber in Dresden uraufgeführt wurde. Nach Webers Tod übernahm Reissiger 1828 das Amt eines Musikdirektors an der Hofoper und wurde zum Königlichen Kapellmeister auf Lebenszeit bestellt. Damit war die Verpflichtung verbunden, regelmässig Messen und Opern zu komponieren, die folglich das Hauptgewicht in seinem umfangreichen Schaffen ausmachen. Ausserdem schrieb er viele kleinere kirchenmusikalische Werke, Lieder, eine Sinfonie, Kammermusik und Klavierstücke. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Bis zu seinem Tode 1859 war Reissiger eine hochgeachtete Persönlichkeit in Dresden. Das Concertino für Flöte und Orchester op. 60 entstand 1829. Die Besetzung ist für ein «kleines Konzert» ungewöhnlich gross und umfasst neben den üblichen Streichern, je zwei Holzbläsern und Hörnern auch Trompeten, Pauken und eine Posaune. Anstelle von Flöten setzt Reissiger eine Piccoloflöte ein, die im ersten Satz häufig die Geigen verstärkt und den dritten Satz solistisch eröffnet. Die Bezeichnung «Concertino» deutet an, dass sich Reissiger nicht an die klassische Konzertform hält, die eine ausgewogene Balance der Formteile innerhalb der drei Sätze verlangt. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Die Ballade op. 288 von Carl Reinecke war dessen letztes Werk. Sie entstand 1910, zwei Jahre nach dem Flötenkonzert op. 283. Reineckes Kompositionsstil ging von Mendelssohn und Schumann aus, die er beide persönlich gut kannte. In der Harmonik seines Flötenkonzerts erkennt man auch Einflüsse von Brahms, und dessen Geist ist auch die sinfonische Haltung verpflichtet. Die Ballade ist ein einsätziges Konzertstück. Ein an Mendelssohns «Sommernachtstraum»-Musik erinnerndes Scherzo wird eingerahmt von zwei Adagio-Teilen mit poetisch-romantischem Ausdruck. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Peter-Lukas Graf wird auf dieser SWR-Archivaufnahme aus dem Jahre 1983\/84 vom Radio-Sinfonieorchester Stuttgart unter Bernhard Güller und Pinchas Steinberg begleitet.","brand":"Claves Records","offers":[{"title":"CD 2108 \/ 1 \/ Peter-Lukas Graf","offer_id":40119962042403,"sku":"2108","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410506663 \/ upc \/ Peter-Lukas Graf","offer_id":13668960927779,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/romantic-flute-concertos\/id261677945?l=fr \/ iTunes \/ Peter-Lukas Graf","offer_id":32339007701027,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Peter-Lukas Graf","offer_id":45895718286,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Carl Reinecke \/ Composers \/ Peter-Lukas Graf","offer_id":39670392455203,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/4YcPpnZrar2odlEBnYaTTJ \/ Spotify \/ Peter-Lukas Graf","offer_id":16194193411,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_mLCdzbiBe4aoi4prnIdPk3FYtK8UIweoU \/ Youtube Music \/ Peter-Lukas Graf","offer_id":39496032682019,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/carl-reinecke-carl-gottlieb-reissiger-romantic-flute-concertos\/0829410506663?qref=dac_2 \/ Qobuz \/ Peter-Lukas Graf","offer_id":16194193539,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/136275 \/ Deezer \/ Peter-Lukas Graf","offer_id":16194193603,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.fr\/Romantic-Flute-Concertos\/dp\/B0027ASFCQ\/ref=sr_shvl_album_2?ie=UTF8\u0026qid=1366205926\u0026sr=301-2 \/ AmazonMp3 \/ Peter-Lukas Graf","offer_id":16194193667,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2108 \/ Naxos \/ Peter-Lukas Graf","offer_id":31662385550,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/20ovImN \/ eMusic \/ Peter-Lukas Graf","offer_id":16194193731,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/files\/CD_2108.pdf?v=1657884833 \/ Booklet \/ Peter-Lukas Graf","offer_id":39670392487971,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=OQj88IAL76I\u0026list=PLy5IRCYvmbSz6MOnj35CYhN3VlXR0kDey \/ Video \/ Peter-Lukas Graf","offer_id":39670392520739,"sku":"2108","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2108.jpg?v=1414747520"},{"product_id":"respighi-original-pieces-for-violin-piano","title":"(2002) Respighi: Original Pieces for Violin \u0026 Piano","description":"Obwohl Respighi einer der wichtigsten Komponisten Italiens ist, bleibt er für viele ein Rätsel. Was macht seine Musik eigentlich so fesselnd? Ist es die sinnesfreudige Italianità oder sind es die Farben der Instrumentierung, die er von Rimsky-Korsakoff lernte? Ist es der Einfluss der deutschen Komponisten, insbesondere Richard Strauss, oder ist es einfach sein Sinn für Tradition?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn diesem Zusammenhang gelingt es dem Komponisten Respighi, uns immer wieder zu verblüffen, und seine Musik stellt höchste Anforderungen an die Interpretinnen und Interpreten unserer Tage. Der ständige Einsatz von Assonanzen und Allusionen, wie sie exemplarisch in seinen Werken für Geige und Klavier auftauchen, zeugt von einer in der Tradition verankerten psycho-emotionalen Sprache.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie Sonate in d-moll ist ein Frühwerk aus der Konservatoriumszeit in Bologna. Die gekonnte Schreibart lässt den Instrumentalisten erkennen, denn Respighi war nicht nur ein virtuoser Geiger (und Bratschist), sondern auch ein ebenso talentierter Pianist. Die Sechs Stücke aus den Jahren 1902 bis 1905 erklingen hier wie eine Suite, sind aber durchwegs Transkriptionen für Violine und Klavier, eine Art Blütenlese des Mittzwanzigers aus eigenen Werken verschiedenster Gattungen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie Sonate in h-moll entstand mehr als eine Dekade später und ist zum eigentlich repräsentativen Kammermusikwerk Respighis geworden, nicht zuletzt durch die Interpretationen grosser Künstler: Jascha Heifetz allen voran. Die Schluss-Passacaglia gilt als meisterhaftes Beispiel für das glänzende Handwerk des Komponisten. Der durchwegs romantische Charakter des Werkes kommt in den grossen Melodienbögen des ersten Satzes besonders deutlich zum Ausdruck.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIngolf Turban ist einer der führenden Geiger Deutschlands. 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Inzwischen hat dieser junge baskische Komponist sein Talent als einer der grossen Orchestrierer des 20. Jahrhunderts unter Beweis gestellt und ist in diesem Sinne ein würdiger Nachfolger Ravels, der ebenfalls Baskischer Abstammung war.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHinzu kommt, dass Francisco Escudero viele der wichtigsten Stil- und Kompositionstechniken des Jahrhunderts übernommen und mit den gefühlvollen Farben seiner baskischen Heimat verbunden hat, um eine wirklich einzigartige und emotional kraftvolle Musiksprache zu schaffen.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrancisco Escudero wurde am 13. August 1912 in San Sebastian geboren. Schon früh zeigte sich sein musikalisches Talent, und er begann am Konservatorium seiner Heimatstadt zu studieren. Seine Kompositionsstudien setzte er in Madrid fort, und Stipendien von Gipuzkoa und der Königlichen Akademie der Künste erlaubten es ihm, in Paris bei Paul Dukas und Paul le Flem Komposition und bei Adolf Wolff in München Orchesterdirigieren zu studieren.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eZusätzlich zu seiner Stellung als einer der wichtigsten lebenden Komponisten des Baskenlandes und Spaniens, hat Francisco Escudero zahllose andere, jüngere baskische Komponisten beeinflusst.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAuf den beiden CDs dieser Produktion finden sich die Hauptwerke für Orchester des Komponisten. Ausser dem bekannten choreographischen Gedicht «El sueno de un bailarin» (Der Traum eines Tänzers) und dem virtuosen Cellokonzert, ist auf der ersten CD ebenfalls Escuderos Baskisches Klavierkonzert zu hören, ein Werk, das den Vergleich mit Ravels (baskischem) Klavierkonzert nicht scheuen muss.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie zweite CD enthält die wichtigsten grossangelegten sakralen Werke des Komponisten.","brand":"Claves Records","offers":[{"title":"D 2110\/11 \/ 2 \/ Euskadiko Orkestra Sinfonikoa","offer_id":56503297999234,"sku":"2110\/11","price":24.0,"currency_code":"CHF","in_stock":false},{"title":"829410649766 \/ upc \/ Euskadiko Orkestra Sinfonikoa","offer_id":13668960993315,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/basque-music-collection-vol.\/id253866022?l=fr \/ iTunes \/ Euskadiko Orkestra Sinfonikoa","offer_id":32339007766563,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Euskadiko Orkestra Sinfonikoa \/ orchestra \/ Euskadiko Orkestra Sinfonikoa","offer_id":6972200845376,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Euskadiko Orkestra Sinfonikoa","offer_id":45895718414,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/24WKkxblwA1Y4kRpTPe7Gv \/ Spotify \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196227,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_kU2Si5uEW6yP0HGuXCaMK5SiVK_9zsbYA \/ Youtube Music \/ Euskadiko Orkestra Sinfonikoa","offer_id":39496032747555,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/francisco-escudero-collection-musique-basque-volume-5\/0829410649766 \/ Qobuz \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196419,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/206959 \/ Deezer \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196547,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.amazon.com\/Basque-Music-Collection-Vol-Francisco\/dp\/B001NWSIYY\/ref=sr_shvl_album_1?ie=UTF8\u0026qid=1372708969\u0026sr=301-1 \/ AmazonMp3 \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196675,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2110-11 \/ Naxos \/ Euskadiko Orkestra Sinfonikoa","offer_id":31662387022,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1V3v8tx \/ eMusic \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196739,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Euskadiko Orkestra Sinfonikoa","offer_id":16194196867,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=gCIlKeq_mlE\u0026list=OLAK5uy_kU2Si5uEW6yP0HGuXCaMK5SiVK_9zsbYA \/ Video \/ Euskadiko Orkestra Sinfonikoa","offer_id":39497275768867,"sku":"2110\/11","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2110_11.jpg?v=1414592650"},{"product_id":"telemann-solos-trio-sonatas-for-recorder","title":"(2001) Telemann: Solos \u0026 Trio Sonatas for Recorder","description":"Georg Philipp Telemann erfreute sich einer ungeheuren Popularität und war zu Lebzeiten weit geschätzter als beispielsweise J.S. Bach oder G.F. Händel. Johann Mattheson, der wortgewaltigste Musikkritiker jener Zeit schrieb: «Ein Lully wird gerühmt, Corelli lässt sich loben. Nur Telemann allein ist übers Lob erhaben.»\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTelemann verbindet in seiner Musik die maniera italiana mit all ihrer Gesanglichkeit in ariosen Cantilenen und überschwenglichen Spielfreude in akrobatisch virtuosen Passagen mit dem französischen bon goût. Fast alle seine Kompositionen tragen die Kennzeichen dieses «goût mêlé», des «vermischten Geschmacks» – von den opulenten Orchestersuiten bis zu den kleiner besetzten Stücken der Kammermusik.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie vorliegende Aufnahme bietet einen repräsentativen Einblick in Telemanns Repertoire für Blockflöte, das von formal angelegten viersätzigen Sonaten bis zu freier konzipierten Fantasien für flauto solo reicht. Zahlreiche langsame, betont lyrische Stücke entsprechen dem Ideal des italienischen bel canto, wogegen sich einige halsbrecherische Solopassagen am Vorbild italienischer Violinvirtuosen orientieren. Die Sätze mit tänzerischem Charakter sind französischen Ursprungs.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVereinzelt auftretende fugato-Partien, in welchen die Stimmen einander satztechnisch kunstvoll imitieren, können als Reminiszenz an das deutsche kontrapunktische Erbe Telemanns gewertet werden. Humorvoll zeigt sich der Komponist in einzelnen Figuren seiner Fantasia in e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDiese brillanten barocken Meisterstücke werden vom Schweizer Blockflötenvirtuosen Maurice Steger interpretiert. Begleitet wird er vom Continuo Consort unter Naoki Kitaya.","brand":"Claves Records","offers":[{"title":"CD 2112 \/ 1 \/ Maurice Steger","offer_id":40119962140707,"sku":"2112","price":18.5,"currency_code":"CHF","in_stock":false},{"title":"829410487665 \/ upc \/ Maurice Steger","offer_id":13668962631715,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/telemann-solos-trio-sonatas\/id253843247?l=fr \/ iTunes \/ Maurice Steger","offer_id":32339007799331,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2001 \/ release \/ Maurice Steger","offer_id":45895718478,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/2oYmY5i0ODwdxl20gBxrhj \/ Spotify \/ Maurice Steger","offer_id":16194198787,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_lj097bX2pANfh78eqal7cI7q6PyzjCgoc \/ Youtube Music \/ Maurice Steger","offer_id":39496032780323,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/georg-philipp-telemann-ouvres-pour-flute-a-bec\/0829410487665 \/ Qobuz \/ Maurice Steger","offer_id":16194199107,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/140581 \/ Deezer \/ Maurice Steger","offer_id":16194199171,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/20VphK9 \/ AmazonMp3 \/ Maurice Steger","offer_id":16194199299,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2112 \/ Naxos \/ Maurice Steger","offer_id":31662387726,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/bit.ly\/1PNxtZr \/ eMusic \/ Maurice Steger","offer_id":16194199427,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Maurice Steger","offer_id":16194199555,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=90nnqM1HMr8\u0026list=PLy5IRCYvmbSxRLq3-KcoPUOVWAqS2qTSN \/ Video \/ Maurice Steger","offer_id":40120306761763,"sku":"2112","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2112.jpg?v=1414749961"},{"product_id":"xixth-clara-haskil-competition-2001-live-recording","title":"(2002) XIXth Clara Haskil Competition 2001 (Live Recording)","description":"Der Clara Haskil Wettbewerb wurde 1963 ins Leben gerufen und gehört inzwischen zu den renommiertesten Klavierwettbewerben Europas. Er findet alle zwei Jahre in Vevey in der Schweiz statt, wo Clara Haskil von 1942 bis zu ihrem Tod im Jahre 1960 lebte. Die Jury, die seit 1991 von Michel Dalberto präsidiert wird, vergibt jeweils nur einen Preis. Zu den bisherigen Gewinnern gehören u.a. Christoph Eschenbach, Eugeni Korolyov und Till Fellner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDen 19. Wettbewerb im Jahr 2001 gewann der 19jährige Deutsche Martin Helmchen aus Berlin. Auf dieser Aufnahme ist seine brillante Interpretation von Beethovens Klavierkonzert Nr. 2 zu hören, ein Live-Mitschnitt vom glanzvollen Schlusskonzert, bei dem er vom Orchestra della Svizzera Italiana unter dem bekannten Dirigenten Lawrence Foster begleitet wurde. Ebenfalls zu hören ist Mozarts Klavierquartett in g-moll, das beim Halbfinale unter Mitwirkung von Musikern des Schweizer Sine Nomine Quartetts aufgenommen wurde.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBeethovens Klavierkonzert in B-dur, das zwar als sein 2. Klavierkonzert bekannt, tatsächlich aber als erstes komponiert wurde, widerspiegelt besonders im ersten und zweiten Satz das geistige Erbe Mozarts. Der letzte Satz, das solistisch eröffnete Rondo, enthält besonders im Klavierpart lausbübischen Schalk. 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Die Werke wurden den ersten fünf CDs der Claves-Reihe mit baskischen Komponisten entnommen sowie einer CD mit Ravel, die während der erfolgreichen Konzerttournee des Orchesters in Südamerika Gestalt annahm.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSämtliche Werke wurden im Konzertsaal des Orchesters in San Sebastián aufgenommen, und als Solisten sind Ricardo Requejo, Asier Polo, María Bayo, Jonathan Carney, Marta Zabaleta, Angel Pazos und Joaquín Achúcarro zu hören. Es dirigieren Gilbert Varga, Cristian Mandeal, Miguel Angel Gómez Martínez, Gabriel Chmura, Enrique García Asensio und Arturo Tamayo. Ebenfalls zu hören sind zwei berühmte Chöre, mit denen das Orchester eine enge Zusammenarbeit pflegt, der Orfeón Donostiarra und der Andra Mari Chor. Jede CD der Reihe ist einem baskischen Komponisten gewidmet und enthält seine bekanntesten sinfonischen Werke. 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Der englische Musikhistoriker Charles Burney schrieb einmal: «Er hat den Bogenvirtuosen und Musikliebhabern mehr hervorragende Kompositionen beschert als jeder andere seiner Zeitgenossen, ausgenommen Haydn. Sein Stil ist ebenso meisterhaft wie elegant.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn seinen Werken finden sich Sätze jeder Stilrichtung, die beispiellos auf die Instrumente abgestimmt sind, für die er schreibt. Dies alles sichert ihm einen Platz unter den grössten Komponisten, die für Violine oder Cello geschrieben haben...»\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSogar Haydn nannte Boccherini ein Genie. Und Mozart brachte seine Wertschätzung für den italienischen Kollegen in verschiedenen Werken, insbesondere aber in seinen Streichquintetten zum Ausdruck. Boccherinis Quintette zählen zu den schönsten Werken der klassischen Kammermusik, haben jedoch selten die Anerkennung gefunden, die ihnen gebührt.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSeine Werke für Flöte und Streichquartett (die sogenannten Flötenquintette) zeugen von der Originalität des Komponisten. Der Charme, der aussergewöhnliche Einfallsreichtum und der spielerisch-heitere Charakter seiner Musik sind in diesen Werken allgegenwärtig. Bei den Flötenquintetten, die Boccherini «opera piccola» (kleine Werke) nannte (im Gegensatz zu den drei- und viersätzigen Werken, den «opera grande», für die er vom Verleger den doppelten Preis verlangte) handelt es sich ausschliesslich um zweisätzige Kompositionen; meistens folgt auf ein Allegro oder Andante ein Menuett oder Rondo.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDer «leichtere» Stil dieser kleinen Kostbarkeiten zeigt sich in Boccherinis freiem Umgang mit Form und im Einsatz von starken Kontrasten, die dazu dienen, subjektive Stimmungsänderungen zu kreieren. Die sehr persönliche, ebenso ernsthafte, wie elegante und heitere Ausdrucksweise verleiht diesen Werken einen besonderen Glanz, hier meisterhaft interpretiert von einem der besten Ensembles in der Schweiz, das Quatuor Sine Nomine mit der Flötistin Béatrice Jaermann-Degex.","brand":"Claves Records","offers":[{"title":"CD 2202 \/ 1 \/ Quatuor Sine Nomine","offer_id":40119962239011,"sku":"2202","price":18.5,"currency_code":"CHF","in_stock":true},{"title":"829410487160 \/ upc \/ Quatuor Sine Nomine","offer_id":13668963418147,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.apple.com\/us\/album\/boccherini-six-flute-quintets\/id253836393?l=fr \/ iTunes \/ Quatuor Sine Nomine","offer_id":32339007897635,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"2002 \/ release \/ Quatuor Sine Nomine","offer_id":45895719694,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/open.spotify.com\/album\/45mGc2c2blzG0F2FMvMkno \/ Spotify \/ Quatuor Sine Nomine","offer_id":16194207875,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_kdejICrd8CZULs3BPBg9L1KchPAXGz_Fo \/ Youtube Music \/ Quatuor Sine Nomine","offer_id":39496032878627,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.qobuz.com\/album\/luigi-boccherini-six-quintettes-pour-flute\/0829410487160 \/ Qobuz \/ Quatuor Sine Nomine","offer_id":16194208003,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.deezer.com\/album\/167139 \/ Deezer \/ Quatuor Sine Nomine","offer_id":16194208067,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/amzn.to\/1PlaSBM \/ AmazonMp3 \/ Quatuor Sine Nomine","offer_id":16194208131,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.naxosmusiclibrary.com\/catalogue\/item.asp?cid=CD50-2202 \/ Naxos \/ Quatuor Sine Nomine","offer_id":31663182606,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"http:\/\/www.emusic.com\/album\/beatrice-jaermann-quatuor-sine-nomine\/luigi-boccherini-six-flute-quintets\/11034321\/ \/ eMusic \/ Quatuor Sine Nomine","offer_id":16194208195,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"Not available \/ Booklet \/ Quatuor Sine Nomine","offer_id":16194208259,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false},{"title":"https:\/\/www.youtube.com\/watch?v=AK2rFe34a9g\u0026list=PLy5IRCYvmbSyJt1HJJ_25YOwDMg3qsQei \/ Video \/ Quatuor Sine Nomine","offer_id":46089308558,"sku":"2202","price":0.0,"currency_code":"CHF","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0496\/4069\/products\/CD_2202.jpg?v=1453889931"},{"product_id":"fontana-sonate-a-uno-due-e-tre","title":"(2002) Fontana: Sonate a uno, due e tre","description":"Über das Leben von Giovanni Battista Fontana ist nur sehr wenig bekannt. Wahrscheinlich wurde er zwischen 1580 und 1589 geboren. Sein Name erscheint in der Widmung zu Sonate a quattro, sei, et otto von Cesare Gussago, wobei erwähnt wird, dass er «als Geiger in Venedig ebenso berühmt war wie Orpheus in Theben».\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDie zweite Sonate trägt sogar den Titel «La Fontana». In der Widmung seiner eigenen, posthum veröffentlichten Sammlung fand er Eingang als «der herausragende Geigenvirtuose seiner Zeit (...), der nicht nur in seiner Heimatstadt berühmt war, sondern auch in Venedig, Rom und Padua».\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFontanas Sonaten sind noch sehr im alten Stil verwurzelt. Die frühen Experimente des stile nuovo sind noch nicht voll integriert. 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Viele Komponisten bedienten sich noch zu Vivaldis Lebzeiten dieser Musik für ihre eigenen Kompositionen. So sind «Le printemps ou les saisons amusantes» Arrangements für populäre zeitgenössische Instrumente wie Drehleier oder Dudelsack. 1766 komponierte Michel Corrette den Psalm «Laudate Dominum de coelis» indem er dem «Frühling» Singstimmen hinzufügte, und 1775 veröffentlichte Jean-Jacques Rousseau den «Frühling» gar als Transkription für Soloflöte! \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Auf dieser Einspielung spielt der Geigenvirtuose Duilio Galfetti mit dem Ensemble «I Barocchisti» unter der Leitung des Barockspezialisten Diego Fasolis Vivaldis zeitloses Meisterwerk auf historischen Instrumenten. Neben den Streichern und dem Basso continuo wurden jedoch einige Streicherpartien mit historischen Blasinstrumenten verstärkt, eine Technik, die schon Vivaldis Schüler und Freund Johann Georg Pisendel bei anderen Werken des italienischen Komponisten angewendet hatte. Die Wirkung istüberwältigend: Pinselstriche, die den wohl berühmtesten Jahreszeiten der Geschichte Glanz und Farbe verleihen. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Auf dieser Aufnahme sind ebenfalls vier weitere Konzerte Vivaldis zu hören. Das Konzert für Mandoline «...Con tutti li violini pizzicati» gibt Duilio Galfetti die Möglichkeit, seine grosse Meisterschaft auch auf diesem Instrument unter Beweis zu stellen. 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Wenngleich kein «zweites» Konzert folgte, schrieb er doch immer wieder für die Harfe, widmete ihr mehrere Sonaten. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Das Konzertstück für Harfe und Orchester Op. 154 von Camille Saint-Saëns war - wie alle «Konservatoriumsstücke» - dazu bestimmt, Instrument und Instrumentalisten brillieren zu lassen. Das ganze ist wahrlich ein «Vorzeigetest»... Und jetzt die grosse Henriette Renié, von der keine Geringere als Lily Laskine sagte: «Wer Harfe denkt, denkt Henriette Renié.» Von 1901 an spielte sie bei Lamoureux ihr Harfenkonzert c-moll, dem ein riesiger Erfolg beschert war. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Xavier de Maistre gewann seinen ersten internationalen Wettbewerb im Alter von 16 Jahren in Paris. Viele Preise folgten bei allen bedeutenden Wettbewerben für Harfe: Cardiff, München, Jerusalem, Wien. Als Höhepunkt dieser Erfolgsserie gewann er 1998 den 1. 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Partitur und Ballett bekamen aber nicht nur von politischen Bürokraten schlechte Noten, sondern auch von einigen Musikern. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Shchedrin erinnert sich, dass es Schostakowitsch war, der schliesslich zu seiner Rettung kam, indem er zum Kulturministerium ging, hohe Beamte anrief usw. Tatsächlich unternahm Schostakowitsch noch einiges mehr, und in einem Interview sagte er: «Ich habe die Carmen-Suite im Bolschoi gesehen und war überwältigt von der Brillanz dieser Transkription von Bizets Musik. Das Werk sollte ebenbürtig neben die besten Transkriptionen von Liszt oder Busoni gestellt werden. Und wie schlicht und einfach! \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Keine der Melodien Bizets wurde verändert, nur ihre Akzente leicht verschoben... Vielen erschien Shchedrins Experiment auf den ersten Blick unvorsichtig und blasphemisch. Aber schaut euch das Resultat an, ein freudiges Zelebrieren des Balletts, und darüber hinaus ein grosser Erfolg für die sowjetische Musik... Wir könnten mehr Experimente dieser Art gebrauchen!» \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Auf dieser CD sind auch zwei Ersteinspielungen. «Russische Photographien» ist eine 1994 entstandene viersätzige Suite, die Schnappschüsse vom russischen Leben darstellt. «Velicanie» (Verherrlichung) für Streichorchester wurde im September 1995 im Auftrag des Weltwirtschaftsforums im schweizerischen Davos komponiert. In nur acht Tagen geschrieben, zeigt es auf eindrückliche Weise die unkonventionelle Art, mit der der Komponist traditionelle Genres und Themen verarbeitet. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e Das Kammerorchester Kremlin ist eines der besten Streichorchester der Welt. 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