Poésie chantée d'un visionnaire
Songs on poems by Victor Hugo
Trio Cénacle
Evelyn Czesla Soprano
Nico Wouterse Bass-baritone
Michèle Kerschenmeyer Piano
Pitt Simon Speaker
catalog number: 21147
Trio Cénacle with the Luxemburg pianist Michèle Kerschenmeyer, the German soprano Evelyn Czesla and the Dutch bass-baritone Nico Wouterse decided in 2021 to record this CD. The starting point in 2017 was the 14-minute composition À Vianden by the Luxemburg composer Marco Pütz, which he dedicated to Trio Cénacle, who also premiered it, and which, in 2020, was also adapted into a musical-scenic and award-winning short film by the French filmmaker James Chan-A-Sue.
BLACK PENCIL
Into Space
Jorge Isaac blockflute
Matthijs Koene panflute
Esra Pehlivanli viola
Marko Kassl accordion
Enric Monfort percussion
catalog number: 21150
Bringing together newcomers from all corners of the world, with an openness to experimentation and a wonderfully unexpected mix of old and new; these three elements apply to both to the province of Flevoland and to ensemble Black Pencil. It is therefore not surprising that the unique Flevoland landscape and the Land Art has inspired Black Pencil so greatly in the creation of beautiful new pieces of music written by composers with great vision
Max Reger
12 Lieder op. 51
17 Gesänge op. 70
Markus Schäfer, tenor
Ernst Breidenbach, piano
catalog number 21142
Max Reger wrote more than three hundred Lieder with piano accompaniment, a comprehensive body of work that clearly exceeds the amount written by Richard Strauss, Johannes Brahms, Arnold Schönberg or Hans Pfizner. This makes it clear that Reger considered the genre to be very important and he composed the Lieder during a relatively short period between the years 1893 and 1907 (with comparatively few exceptions which followed in the years till 1915).
This recording presents the complete Lied cycles op. 51 and op. 70.
"Right from the start we did not want to just string together individual songs, but to perform the songs in their original, correct context, as published by the master himself. Since most of these songs are virtually unknown, working on them is also always an adventure; you never know where the journey will take you.
We feel we have been richly rewarded and have tried, as accurately as possible, to trace the peculiarities and expressivity of these song compositions, which, for all their complexity and diversity, still seem to follow an absolutely stringent inner logic.“
Markus Schäfer & Ernst Breidenbach
| Trajektorie
Violeta Dinescu
Gudula Rosa: Recorder
Marko Kassl: Accordion
Irene Kurka: Soprano
Markus Schäfer: Tenor
catalognumber: 21138
The title Trajektorie has several meanings: In mathematics it is the graphic solution of a differential equation, in physics it is the path of an object, in social science it is a social development curve. Thus it always describes a process whereby something is changing. Dinescu assigned this term to her composition, because “on the one hand extensive correspondences emerge as well as constant changes to the goal-orientated musical substance, and on the other static structure-types appear, melodic contours which circle around one another and suggest a feeling of endless lingering.”
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for Christ is born
Trio Cénacle:
Evelyn Czesla, soprano
Nico Wouterse, bass baritone
Michèle Kerschenmeyer, piano
Calamus Reed Quintet:
Annika Steinkamp, oboe
Christoph Herche, clarinet
Nico Wouterse, saxophone
Alexandra von Hammel-Herche, bass clarinet
Ursula Blobel, bassoon
catalognumber: 21141
How do people celebrate Christmas? One answer is certainly: Very, very differently. To shed light on these differences is a leitmotiv running through the Christmas collection on this album. The journey takes us from Germany to France, from France to England and then across the Atlantic to America, and it is also a journey through time, from the late Middle Ages to the present day. Surrounded by France, Belgium and Germany, Luxemburg lies at the heart of Europe. Culturally however, and especially with regard to music, the country is a blank space. Or have you ever heard of Lou Koster? Do you perhaps know one of her songs or piano works, one of her operas, or have you heard one of her orchestral works? On this album the Trio Cénacle, supported by the Calamus Reed Quintet, perform pioneering work: two songs by the composer, who was born on 7th May 1889 and died on 17th November 1973, mark two milestones in the musical development of Luxembourg.
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Canto doloroso e danza
Chamber Music by Christoph Schickedanz
Catalog number 21139
“I keep on hearing sounds and music internally, and when I set about making arrangements of Piano Quartets for a new chamber music ensemble I felt such a strong urge, a need, and also the curiosity to put something of my own down on the paper, that I threw all my reservations out of the window and wrote my own Piano Quartet as my first opus.” There are many ways to become a composer. One of them is the way which Christoph Schickedanz himself describes here: Based on the one hand on arrangements for chamber music ensembles and on the other from continually hearing sounds in his head, which have accompanied him for decades during his international career as a violinist. Gradually this led to his decision to become artistically creative in a second area, to use his dual talent as an interpreter and composer, instead of suppressing it.
Sonata for violin and piano
Sebastian Schmidt, violin
Bernhard Fograscher, piano
Metamorfosi for viola and piano
Roland Glassl, viola
Cornelia Glassl, piano
Canto doloroso e danza
Anja Schröder, violoncello
Quintett for trumpet, violin, viola, violoncello and piano
Emilia Suchlich, trumpet
Christoph Schickedanz, violin
Malte Koch, viola
Mathias Beyer-Karlshøj, violoncello
Holger Spegg, piano
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Ernst BreidenbachAuch ich ein Davidsbündler
Works by Schumann, Zdralek, Reubke
Robert Schumann (1810-1856)
Davidsbündlertänze op.6
Marko Zdralek (*1973)
Auch ich ein Davidsbündler
Julius Reubke (1834-1858)
Klaviersonate b-Moll
catalog number 21137
Zum Arabischen Coffe Baum - This is the name of one of Europe’s oldest and most well-known Coffee Houses and it can be found right in the centre of Leipzig. Among its illustrious patrons were Bach, Lessing, Goethe and Napoleon. Robert Schumann was also a regular visitor. In 1834 the discussions and plans of these “young hotheads” (Schumann’s own words) led to the founding of the ‘Neue Zeitschrift für Musik’, which soon became the leading German language music periodical.
The Davidsbündlertänze op. 6, which Schumann composed between August and September 1837 are cyclic, with sudden changes of character and yet they are “very different to Carnaval”, as Schumann wrote: They “are as similar to it as faces are to masks”.
Julius Reubke, the son of an organ builder, first studied in Berlin and then moved to Weimar in 1856, at the latest, to study with Liszt. A letter of recommendation from Hans von Bülow, who described his as being “the best student at the conservatory”, paved the way for this transition. In Weimar he quickly became one of the most promising of Liszt’s circle of friends and acquaintances. Reubke died much too early, only 24 years old.
Schumann’s League of David utopia has occasionally been taken up by other composers, such as in two works by Thomas Kirchner, a friend of Brahms. In principle, an approach on two levels is conceivable, the musical level and the personal, historic-ideological level. The composer Marko Zdralek, born in 1973, must have been thinking along these lines when he decided on the title Auch ich ein Davidsbündler. His work for piano from 2003, which is recorded on this CD for the first time, amalgamates the gravitational pull of Schumann’s music and the commitment to an idealistic collective with concrete stylistic models.
Mahler. Complete Symphonies
Stuttgarter Philharmoniker,
Dortmunder Philharmoniker
Stuttgarter Philharmoniker,
Dortmunder Philharmoniker
Gabriel Feltz
Catalog number 21140
10 CD / 4 multi-channel SACD
To record such a global oeuvre as Gustav Mahler’s ten symphonies is a truly Herculean task. After 15 years of intensive musical labour, Gabriel Feltz, former participant of the Deutsche Musikrat’s Conductors Forum and now General Music Director of the City of Dortmund, has produced a really impressive complete recording, and is the only German conductor of his generation to have done so.
Two orchestras, namely the Stuttgart Philharmonic and the Dortmund Philharmonic, can be heard on this highly acclaimed CD cycle. Once again it reveals Feltz’s instinct to focus on the inner core of Mahler’s music, even in these almost over-exuberant works. Fono Forum praised him for his “recordings which are conceived with a cool head”, and the Stuttgarter Nachrichten rejoiced at “a production of unfettered sound contrasts”.
In September 2021 the project reached its dazzling conclusion with the release of the stunning 9th symphony and the original, two movement fragment of the 10th symphony.
The edition contains a 108 pages booklet with work comments by Gabriel Feltz and an original text by Volker Hagedorn.
"... a superbly recorded new cycle of the ‘complete’ symphonies. ... Listen, love and learn afresh."Rob Cowan"Meanwhile, the wild world of recordings serves up two new off-the-beaten-path readings of Mahler symphonies —Gabriel Feltz's of the Second, Francois-Xavier Roth's of the Fourth— guaranteed to shake loose the last cobwebs clinging to what are now the standard interpretations."Tim Pfaff on Mahler 2 in Bay Area Reporter, San Francisco
Yamen Saadi - Voices from Paris
Works by Fauré, Poulenc, Ysaÿe
Yamen Saadi, violin
Nathalia Milstein, piano
catalog number 21130
Yamen Saadi was born in Nazareth in 1997. He started to study the violin at the Barenboim-Said Conservatory in Nazareth, and after that began to study under the guidance of the renowned Israeli Philharmonic Orchestra Concertmaster, Chaim Taub.
At only 11 years old, Saadi joined the West-Eastern Divan Orchestra, conducted by Daniel Barenboim. 6 years later he served as concertmaster of the orchestra.
“Voices from Paris” is the debut album of this outstanding young musician. Together with the outstanding young pianist Nathalia Milstein he presents works by Fauré, Poulenc and Ysaÿe.
“On his debut album, he plays an all-French program, and when the CD is called Voices from Paris, that’s no lie. Saadi and Milstein give the music a genuinely French character. Saadi’s Stradivari ‘Ex-Lord Amherst of Hackney, Ex-Fritz Kreisler’ sounds elegant and sensual, he and the pianist let the tragic elements of the Poulenc sonata become audible but not dominant. Thus, just as in La Reine de Coeur, the bittersweetness of the composition is perfectly expressed. In the Ysaÿe pieces, too, the blend of virtuosity, lyricism and controlled expressivity is perfect. The Fauré Sonata is wonderfully interiorized in the slow movement, sparkling, elegant and racy in the fast ones. Sadi plays with great suppleness, flexibility and a finely graduated but wide dynamic range. Nathalia Milstein matches him perfectly.And so it must be said: this debut CD is fully successful and highly recommended.”Remy Franck in pizzicato
Francis Poulenc:
Sonate for Violine & Klavier FP 119
La Reine de Coeur
Eugène Ysaÿe:
Rêve d’enfant
Poème élégiaque
Gabriel Fauré:
Sonate for Violine & Klavier No. 1
Les Berceaux
Black Pencil
Come out, Caioni!
catalog number 21135
Black Pencil:
Jorge Isaac, blockflute
Matthijs Koene, panflute
Esra Pehlivanli, viola
Marko Kassl, accordion
Enric Monfort, percussion
The monk Johannes Caioni (1629/1630 —1687, also known as Ioan Căianu, János Kájoni) worked and lived in Transylvania during a period of transition that led to the Enlightenment.
He worked as a copyist, organ builder and, it was recently discovered, a composer. In 1652 he received a collection of music from his teacher, Mátyás Seregély, as a prize for his good performance. Caioni re ceived this collection in an incomplete form and took over the task of adding compositions, an activity that he continued until 1671.
Transylvania had its golden age in the first half of the 17th century. Many activities and developments took place during this time in the fields of education and culture. The Caioni Codex portrays the very broad musical interests of the prosperous and cosmopolitan Transylvania. It contains an extensive and very varied collection of no fewer than 346 pieces.
In the 20th century, the Codex had a dramatic fate. It was considered lost for decades, but was eventually found bricked into a wall. Monks had hidden the manuscript from Russian soldiers during World War II. Thanks to an investigation led by the Romanian musicologist Diamandi Saviana in 1993, it emerged, miraculously, undamaged and intact.
Now, 350 years after the manuscript was originally compiled, we finally have the opportunity to become acquainted with it.
Flow
Kinan Azmeh & NDR Bigband
works by Kinan Azmeh
arranged and conducted by Wolf Kerschek
catalog number 21134
I was the Damascene in New York and the New Yorker in Damascus.
I am now more interested in being the New Yorker in New York and the Damascene in Damascus...
Both cities with all their contrasting qualities are intellectually stimulating to me. Places, people, nature, tragedies and celebrations, all of these elements have found their way into the music I create. Being in a constant state of FLOW is now my new zone of comfort.”
Kinan Azmeh
... Azmeh’s impressive 2021 album "Flow", recorded with the NDR Bigband from Germany ... is another example of the capacious mutability of American energies — with Ellingtonian orchestration fusing with melodic modes from the Middle East. Seth Colter Walls in New York Times
All truly great orchestras always resemble fascinating mythological animals. They are living organisms capable of abducting you with their pervasive powers, enveloping you in their mighty sound. The hero who can tame such a "beast" with its dozens of heads is an adept Odysseus-like "master of schemes", more skilful than the most powerful sorcerer. In today´s show, we give you our own wizard-hero, the superb musician, composer and clarinet player, Kinan Azmeh. In his most recent project, "FLOW", Kinan's music is presented in prodigious arrangements by Wolf Kerschek. Azmeh takes on the masters of jazz improvisation, the fantastic musicians of the legendary NDR Bigband and comes out triumphant. Together they reveal Azmeh´s compelling music in a completely new light: a soundscape of inexhaustible nuances. Maja Vasiljevic, Radio Clásica
Kinan Azmeh ist ein wunderbarer Improvisator, ein geistvoller Musiker und Komponist. In Flow schenkt er uns acht epische Erzählungen voller überraschender Wendungen; um es mit David Foster Wallace zu sagen: ein unendlicher Spaß. Ralf Döring in Jazzthetik Magazine
With 'Flow' Kinan Azmeh adds another pearl on his already impressive string of very special recordings. Henk Jansen in De Klarinet, The Netherlands
Gustav Mahler - Symphonies No 9 & 10 (fragment)
Dortmunder Philharmoniker
Stuttgarter Philharmoniker
Gabriel Feltz
Catalog number: 21133
Recording such a world-spanning oeuvre as Gustav Mahler's ten symphonies is truly a Herculean task and after 15 years of intensive musical work, Gabriel Feltz is the only German conductor of his generation to present such an impressive complete recording. Two orchestras, the Stuttgarter Philharmoniker and the Dortmunder Philharmoniker, are featured in this highly acclaimed CD cycle.
It reveals once again Feltz's flair for focusing on the essentials of Mahler's music in these exuberant works.
The German magazine Fono Forum praised him for "recordings conceived with a cool head," and the Stuttgarter Nachrichten exulted over "a production of unleashed sonic contrasts."
In September 2021, the project will come to a brilliant conclusion with the release of the overwhelming 9th Symphony and the original two-movement fragment of the 10th Symphony
Hommage à Dinu Lipattiworks by
George Enescu, Dinu Lipatti, Violeta Dinescu
George Enescu, Dinu Lipatti, Violeta Dinescu
Markus Schäfer, tenor
Mihai Ungureanu, piano
catalog number 21132
Dinu Lipatti – even today this name immediately elicits a murmur of admiration from musicians. Dinu Lipatti, one of the greatest pianists of the 20th century, whose interpretations, with their authenticity and clarity, have led to an admiration which borders on the mystical. “It was no longer piano playing, it was music, released from all earthly weight” (Herbert von Karajan). This CD leads us firstly from Lipatti, who was also a composer and whose two song cycles are the central works of this CD, to the Sept Chansons of his patron George Enescu. Secondly we come to Violeta Dinescu. Even today she is so fascinated by Lipatti’s playing and his “incredible richness of colours” that, in 2017 for his 100th birthday, she dedicated her Song Scene “Mein Auge ist zu allen sieben Sphären zurückgekehrt …” [My eyes returned through all the seven spheres …] to him. Thus, this CD, which comprises of works by these three Romanian composers, can be seen as a Hommage à Dinu Lipatti, whose fame as a pianist leads us easily to forget that he was also a notable composer.
Mevan Younes
Ether
catalog number 21131
Mevan Younes, buzuq
Anastasia Suvorov, piano
Mikail Yakut, accordion
Hogir Göregen, percussion
Dina Bolshakova, violoncello
Mevan Younes aims to persuade his audience to partake in an aesthetically artistic adventure with his instrument, the buzuq. This creates quite diversified and contradictory worlds. Various styles of music form a common thread and a context for this journey. They carry the music as the ether carries the light.
“The music on ETHER reveals Mevan Younes' mastery and finesse as an instrumentalist and composer, all the while forming a unique, symbiotic, vigorous new being with his own self as a man and musician.“ Maja Vasiljevic, Rumbo al Este - Radio Nacional de España
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Wu Man & Wu Wei Wu Man, pipa catalog number 21129 When acclaimed Chinese musicians pipa virtuoso Wu Man and sheng master Wu Wei performed together for the first time at the 2018 Morgenland Festival Osnabrueck, it was a joyous and memorable occasion for the artists. „Distant Mountains“ presents a live recording of this magical first encounter. Wu Man and Wu Wei, both exceptional Chinese musicians, had never performed together. Over the years they have kicked the windows and doors of their music wide open, have assimilated diverse influences and have taken their instruments and musical traditions all over the world. Their openness and the simply phenomenal mastery of their playing have brought Chinese music to millions of listeners. Wu Man’s elegant precision of attack meets Wu Wei’s Sheng, which at times has an almost transparent delicacy, and at others can pulse as forcefully as a power house.
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Oliver Mascarenhas plays Gulda & Kapustin catalog number 21126 Friedrich Gulda Oliver Mascarenhas, violoncello The very first audition brought Oliver Mascarenhas to the NDR Radiophilharmonie Hanover in 1997. This was followed by a busy concert schedule, radio and television productions, and successes at international competitions. On his first CD production, Oliver Mascarenhas presents himself as a highly virtuoso interpreter of the cello concerto by Friedrich Gulda as well as three pieces by the Ukrainian composer Nikolai Kapustin, who died in July 2020. As bonus tracks we hear Gulda with four jazz standards, recorded in 1958 at the NDR in Hamburg. On bass none other than the young Hans alias James Last.
Remy Franck in pizzicato |
consord
works by Elnaz Seyedi, Brigitta Muntendorf, Gordon Kampe
catalog number 21128
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Elnaz Seyedi (*1982)
frames I (2019)
Brigitta Muntendorf (*1982)
reinhören (2010)
Brigitta Muntendorf
HÖRZU für Ensemble (2009)
Gordon Kampe (*1976)
Schnulzen (2019)
Since 2016, the ensemble consord from Münster, currently with 15 musicians, has made a name for itself as an ensemble for new music with its own concerts, workshops, as well as through invitations to perform at festivals. Chamber music, with the full ensemble or in smaller constellations, interactive music, and crossing the boundaries between rock and new music, are the current focus of the 15-member ensemble.
On its first CD, the ensemble presents works by Gordon Kampe, Elnaz Seyedi and Brigitta Muntendorf.
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Sergej Rachmaninow
The Bells / Études tableaux
Olesya Golovneva, soprano
Maxim Aksenov, tenor
Luke Stoker, bass
Czech Philharmonic Choir Brno
Dortmunder Philharmoniker
Gabriel Feltz
Catalog number 21124
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The choral symphonic poem “The Bells” was written during Rachmaninoff‘s last years in Russia (first performance 1913, emigration 1917). It is, without a doubt, note- worthy that the Russian translation of a poem (“The Bells”) by Edgar Allan Poe was used. Rachmaninoff conducted the first performance in Saint Petersburg himself. In spite of already having a very successful career as a soloist behind him, composing was always more important to him than playing concerts. Respighi wrote to Rachmaninoff asking to be allowed to orchestrate some of the Etudes. Rachmaninoff helpfully suggested titles for some of the pieces, which provided a degree of insight with regard to their content. It is quite interesting that these titles are not included in the original piano version. In a way this somehow reveals Sergei Rachmaninoff’s inner world, something which he had not been willing to divulge earlier. Gabriel Feltz |
"Fulsome, luxurious and pacey, this live performance from 2019 recorded in the Dortmund Concert House is paired with a very fine, highly atmospheric interpretation of The Bells." Hannah French, BBC 3
Nataša Mirković & Michel Godard
Risplendenti, riversi
Nataša Mirković, voice
Michel Godard, serpent, e-bass
Luciano Biondini, accordion
Jarrod Cagwin, percussion
catalog number 21127
catalog number 21127
After the first, highly praised album En el Amor (German Record Critics’ Award) Nataša Mirković and Michel Godard present their new program “Risplendenti, riversi”, continuing the long-term collaboration with Jarrod Gagwin on percussion and with the amazing accordion-player Luciano Biondini.
recorded at Former synagogue of St. Pölten
"TRANSFIGURED by creativity and soul, this everlasting music sounds wholly new and yet eternal. The resonance of Nataša´s voice is mesmerizing, it stops you in tour track, you simply must listen and delight! The musical partnership has never been fuller or more natural with Godard´s masterful playing of the serpent, the joy of Biondini´s accordion and the fantastic, reliable, pulse of Cagwin´s versatile percussion. This CD is a rare gem destined to become a classic." Maja Vasiljevic. “Rumbo al este”, Radio Clásica. Spain"One of the best albums this period. Bravissimo!" Giorgos Markakis, Third Radio Channel of Greece
"Accompanied by Michel, Nataša, Luciano and Jarrod, we travel through lands and time, languages and sonorities on an unusual route spanning neighboring cultures: Albania, Kosovo, Serbia, Bosnia, Croatia, Italy, France. The journey circles lives to spark dances and loves, producing its own rites, its own encounters, and a profound sense of the sacred. It follows a perpetual pilgrimage over the centuries - each a trace of grace.“ Maurizio Bussia / Fabbrica Europa |
OLGA KONKOVA TRIO
Moscow Tears - live at bird's eye Basel
Olga Konkova - piano
Stephan Kurmann - bass
Bodek Janke - drums & tabla
catalog number: 21125
Few pianists can, in their biographies, name their place of study as being the famous Gnessin Music Academy in Moscow (piano and composition) as well as the Berklee College of Music in Boston. Olga Konkova was born in Moscow and studied at both legendary high schools. She has lived in Norway since 1994. She met the Swiss bass player Stephan Kurmann during a focus year at the Jazzcampus Basel. First concerts in Norway were followed by four concerts at the bird’s eye club in Basel in August 2019, together with the fantastic percussionist Bodek Janke.
"Moscow Tears is dedicated to my old piano in Moscow, which I got in 1974.) Mom and my grandmother had to borrow lots of money from the bank to be able to buy it, and it took many years to finish the paying back. The instrument itself is called 'Red October' and I practiced on it every day for at least 15 years - Johann Sebastian Bach Das Wohltemperierte Klavier, Die Kunst der Fuge, Schubert, Rachmaninoff and so much more - and then later jazz in different styles. When I was visiting my mother in September 2014, two hours before travelling back to Norway, I opened the piano lid and started playing. It was a heartbreaking and very emotional moment, my old beloved instrument was absolutely not playable; some keys did not work at all and the rest completely out of tune. I burst into tears with nostalgia and started composing a tune, writing on a blank piece of paper, then completed the coposition in Norway the next day. I never changed a note or a chord of it, it came out like I felt that very moment.“ Olga Konkova
Paratum cor meum
Hommage à Anatolijus Šenderovas
3 CDs
Catalog number 21123
Anatolijus Šenderovas, one of the most interesting voices of Lithuanian music, died in 2019. This edition is an remarkable homage to the composer, who was awarded the European Composer Prize in 2002. The composer was a life-long friend of the cellist David Geringas, who appears here as a cellist and as conductor of the Lithuanian Chamber Orchestra.
| David Geringas, cello Anatolijus Šenderovas, harpsichord & chimes String quartet Chordos Indrė Baikštytė, piano, celesta, harpsichord and synthesizer Marius Balčytis, trombone Joana Gedminaitė, soprano Pavel Giunter, percussion Arkadijus Gotesmanas, percussion Liora Grodnikaitė, mezzo-soprano Liudas Mockūnas, saxophone Andrius Radziukynas, flute Raimondas Sviackevičius, accordion Piano trio Fortvio Piano trio Kaskados Chamber choir „Jauna muzika“ Klaipėda Chamber Orchestra / Vytautas Lukočius St. Christopher Chamber Orchestra / Donatas Katkus Lithuanian Chamber Orchestra / David Geringas Lithuanian National Symphony Orchestra / Modestas Pitrėnas |
Margit Kern - TWO
Works for accordion and electronics
catalog number 21055
Two, strangeness and oneness, togetherness and alone again. Accordion alone and together with ‘live electronic’ are the playing situations in TWO. The inner tension of the CD is to be found in the alternation between the pair. The solo works have a direct relationship to shadow, thus broach- ing the issue of “two” on a completely different level, since the shadow always needs that some- thing which throws the shadow. Loneliness, togetherness - symbiosis - alienation, oneness - this is the intellectual space of this sound constellation, the gravitational point for the tonal diversity which is opened up by both sit- uations. The solo works by Samir Odeh-Tamimi and Edison Denisov are dualistic because of their theme, shadows. “Tslalim” is an Arabian term. It means shadows. The word only exists in the plu- ral, it always means lots. “Des ténèbres à la lumière” - from the shadows to the light - is the grand compositional theme to which Denisov dedicated himself in his last works.
Edison Denisov - Des ténèbres à la lumières (1995)
premier recording
Ali Gorji - Flatterflügel (2006)
premier recording
Joachim Heintz - Schlagschatten (2006)
premier recording
Samir Odeh-Tamimi - Tslalim (2007)
premier recording
Charlotte Seither - Inventaire de départ (2006)
premier recording
A co-production with Deutschlandfunk, Cologne
Bodek Janke - SONG2
Shishani Vranckx, vocals
Kristjan Randalu, piano
Phil Donkin, bass
Bodek Janke, drums & percussion
featuring
Bill Evans – soprano & tenor saxophones
Gilad Hekselman – electric guitar
Sebastian Studnitzky, trumpet
Atom String Quartet
Catalog number 21121
The internationally acclaimed drummer and composer Bodek Janke has launched a cross-genre experiment with his new project SONG.
SONG is a modern and acoustic, 21st-century response to the world of singer-songwriters, pop music culture and its songs, - both from our current times and the 20th century. A heavy clash of contrasting music cultures paves the creative space towards new rhythmic, melodic and harmonic structures, surprising the listener with fresh and new but catchy sounds from an exceptional drummer, composer and arranger.
“Sensitive and dramatic, Janke is a drummer with chops, feel and vision.“ Modern Drummer Magazine
"This music should find a wide range of listeners, who are sure to enjoy its beauty, both within the circles of Jazz connoisseurs and beyond. Wholeheartedly and highly recommended!" Adam Baruch
"Bodek Janke is a master of more musical dialects than anyone I can think of (...) Bodek tells a joyous music story by combining the world's musics in a personal and sophisticated way." John Riley, The Village Vanguard Orchestra/ New York City
Johann Sebastian Bach
Christmas Oratory
live recording
Agnieszka Tomaszweska
Manja Stephan
Catherine Wyn-Rogers
Clemens C. Löschmann
Phillip Langshaw
Bremer RathsChor / Neue Rathsphilharmonie Bremen
Wolfgang Helbich
catalog number 21047
a co-production with Radio Bremen
Programme tip, Deutschlandradio Kultur, Berlin
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AYNUR catalog number 21122 Contemporary Kurdish Folk Music with one of the richest voices of our times! #1 transglobal world music chart, 03/2020
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Gustav Mahler live recording Emily Newton, Michaela Kaune, Ashley Thouret - Soprano Dortmunder Philharmonic Orchestra catalog number 21118
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Elisaveta Blumina Werke von catalog number 21120 Probably one of the most personal recordings of award-winning pianist Elisaveta Blumina, who also provided the cover painting and the sleevenotes.
Including the world premier recording of Giya Kancheli's 'Miniatures for piano'
KLASSIK HEUTE recommendation 03/2020 |
Dreyer Gaido Musikproduktionen
Manfred-von-Richthofen-Str. 11
48145 Münster
Tel: +49 (0)251 1497465
Fax +49 251 2876834
Vertreten durch:
Michael Dreyer
Hugo Germán Gaido
Bankverbindung : Konto 230 698 600 BLZ 401 600 50
BIC GENODEM1MSC - IBAN DE81 4016 0050 0230 6986 00
Steuernummer: 337/ 5705/ 0993 TaxID: DE 233 207 352
Dreyer Gaido Musikproduktionen
Manfred-von-Richthofen-Str. 11
48145 Münster
Tel: +49 (0)251 1497465
Fax +49 251 2876834
Vertreten durch:
Michael Dreyer
Hugo Germán Gaido
Bankverbindung : Konto 230 698 600 BLZ 401 600 50
BIC GENODEM1MSC - IBAN DE81 4016 0050 0230 6986 00
Steuernummer: 337/ 5705/ 0993 TaxID: DE 233 207 352
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Gustav Mahler Stuttgart Philharmonic Orchestra catalog number 21045
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Friedhelm Döhl Edition Vol. 11 withChristiane Edinger, James Tocco, Judith Kamphues, Angela Firkins, Christian Ruvolo, Ulf Bästlein, Friedhelm Döhl, Hartmut Gerhold, Werner Selge, Trio Pleyel catalog number 21046 For Friedhelm Döhl chamber music and lyric are two perspectives which complement each other, one might almost say: necessitate each other. This has been clear ever since the ‘7 Haiku’ 1963 for Soprano, Flute and Piano or Soprano and Piano (friedhelm Döhl edition Vol. IV). However, the ‘lyrical’works are not merely parallel musical settings of the literary content, but rather autonomous musical compositions where text, voice and instrumentation are equally-weighted factors in the structure, each very individual and diverse, such as in the ‘Sonne-Hymnen’ or the ‘Celan-Liedern’. - On the other hand: The ‘Chamber music’ works are most certainly instrumental in their conception, instrumentally challenging and idiosyncratic, and yet, at the same time, they are interwoven with and characterised by lyrical aspects, even though these are quasi ‘unspoken’. The ‘Concerto a due’ has definite lyrical components: the song quotes in the first movement, the ‘Lied‘ and ‘Ballade’ in the third and fourth movements, ‘Abschied’ in the short, island-like third movement. The Duo for Flute and Cello ‘Der Abend/Die Nacht’ alludes in its title to a (verifiable) connection to poems by Trakl. (However, nobody needs to know the poems to ‘understand’ the music.) - As Döhl witnessed several productions of plays by Beckett in Berlin, the Beckett quote at the beginning of the (Berlin) score of ‘Sotto voce’ is most certainly not there just by chance. The Beckett text can surely lead one to draw a certain musical association, but this is by no means explicit, just as the Beckett text itself is not meant to be explicit. Conversely, the music can lead one to view the Beckett text in a new, unforeseen way. However, text and music can also well do without each other. They are as independent as they are ambiguous. It is remarkable that Döhl - as is apparent from the sketches - wrote the text after the composition of the score, perhaps as one possible perspective of the musical idea. |
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Friedhelm Döhl Edition Volume 17 Carlos Johnson, Violin catalog number 21076 Since 2003 Dreyer.Gaido has been working on the Friedhelm Döhl Edition. The result ist the maybe largest edition of recordings of a living German composer. The internationally great response proves the interest in Döhl’s oeuvre.
Volume 17 is dedicated to Döhl’s works for violin and cello. Next to the solo sonatas you find duos that were composed for Carlos Johnson und Hans-Christian Schwarz: Bruchstücke zur Winterreise, Bagatellen and Sinfonia a due. |
Qetiq. Rock from Taklamakan Desert
catalog number 21077
Dreyer.Gaido entdeckte die uigurische Band im Frühjahr 2010 in einer Bar in Urumqi, der Hauptstadt der Autonomen Uigurischen Provinz Xinjiang in Nordwest-China. Xinjiang, drei mal so groß wie Frankreich, ist die Heimat des Turkvolkes der Uiguren. Diese ethnische und religiöse Minderheit in China ist im Westen nahezu unbekannt.
Mit viel diplomatischen Geschick gelang es im Sommer 2010, die Band nach Deutschland zu Konzerten im Museum für Islamische Kunst Berlin (Pergamon-Museum) und zum Morgenland Festival Osnabrück einzuladen.
Bandleader der Band ist der Sänger Perhat Khaliq, der als Solist auch mit der NDR Bigband und dem Osnabrücker Symphonieorchester konzertierte.
Qetiqs Songs sind Eigenkompositionen und Bearbeitungen traditioneller kasachischer und uigurischer Musik, wie Dolan Muqam, eine jahrhundertealte Wüstenmusik Xinjiangs (Teil der Region ist die Wüste Taklamakan, nach der Sahara die zweitgrößte Sandwüste der Welt).
Die Aufnahmen zum ersten Studioalbum der Band entstanden in Osnabrück und Urumqi.
Entstanden ist eine äußerst abewechslungreiche Rockmusik-Produktion, die einen seltenen Einblick in die Musikwelt Xinjiangs erlaubt.
Friedhelm Döhl Edition Vol. 10
Music for Solo Strings
catalog number 21044
Friedhelm Döhl wrote music for all genres, from solo instruments to large numbers of participants, from the small lyrical form to symphonic cycles. If one looks closely at his complete compositional works it is apparent that the various principles are interconnected, the symphonic with the lyrical (e.g. ‘Winterreise. String Quartett’) and the lyrical in the symphonic (e.g. ‘Gesang der Frühe’ for large orchestra). Vol. 1-5 contain works for samller ensembles (Chamber Music, Piano, open Grand Piano, Song cycles, Song scenes and Microdramas) whereas in Vol. 6-9 his large-scale works can be found (Concertos, Requiem, orchestral works).
Vol. 10 is dedicated to his ‘music for solo strings’ – for violin, viola, cello, violin/cello, double bass, - performed by excellent specialists of their instruments, who were in close contact to the composer and with whom he enjoyed working: Zakhar Bron (violin), Corinna Golomoz (viola), Johannes Moser (cello), Christiane Edinger / Ulf Tischbirek (violin / cello), Jörg Linowitzki (double bass).
Balthasar Hens
Piecen for bass clarinet
Balthasar Hens, bass clarinet
Hsiao-Yen Chen, piano
Liliencron-Quartet
Works by Owen Elton, Eugène Bozza, Keith Ramon Cole, David Bennet,
Werner Heider, Edwin York Bowen
catalog number 21084
This recording collects pieces for the bass clarinet from the 20th century, which range in their diversity from the late romantic soundideal via the Broadway sound of the 1930’s, right up to contemporary, enthralling sound spectrums. Especially those pieces, which have become unjustly forgotten or which are unknown, have been tracked down here.
Yu Jung Yoon
plays Alexander Scriabin
24 Préludes Op.11
Sonate Nr.2 Op.19 ('Sonate-Fantaisie')
Sonate Nr.5 Op.53
catalog number 21080
Yu Jung Yoon was celebrated in her childhood as a child prodigy and won numerous competitions in her home country Korea. When aged 15 she became one of the youngest students ever at the renowned Conservatory in St. Petersburg. After seven years in St. Petersburg she moved – after a short intermezzo in Germany – to Paris. Her playing combines virtuosity with a deep natural musicality. On her debut CD she performs works by Alexander Scriabin whose music she describes as being her ‘musical home’, ever since she was in her teens.
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Friedhelm Döhl Edition Vol. 7 Mechthild Seitz, alto catalog number 21033
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About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 02/2009
Letters
Songs for Voice and Guitar
Scot Weir, tenor
Volker Niehusmann, guitar
catalog number 21078
This production of two of Benjamin Britten's most important song cycles for guitar and voice, 'Folksong Arrangements' and the 'Songs from the Chinese', is being released on the occasion of his 100th birthday. Britten wrote all these works for his long-time partner, Peter Pears, and the exceptionally talented guitarist Julian Bream. The works are amongst the most important compositions of the 20th Century for the combination voice/guitar and can be heard here in a superb interpretation on this recording.
The programme is completed with 'Letters from Composers' by the American composer Dominick Argento and John W. Duarte's 'Five Quiet Songs'.
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SHERINE featuring Kinan Azmeh, Moslem Rahal, Rony Barrak catalog number 21087 Live recorded and mixed by Walter Quintus A Co-production with NDR
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Dreyer Gaido Musikproduktionen wurde 2001 von Michael Dreyer und Hugo Germán Gaido gegründet und ist im nordrhein-westfälischen Münster ansässig. Durch seine exquisiten Produktionen hat sich das Label einen ausgezeichneten Ruf in der Klassik- und Weltmusik-Szene erarbeitet und erhält von der Presse und seinen Hörern enthusiastische Kritiken.
»Hinter dem Namen des Labels stecken nicht nur kluge Köpfe, sondern zwei umtriebige, eigensinnige und freie Geister. Unter dem Dach des kleinen, aber feinen Labels mit Sitz in Münster treffen Naher und Ferner Osten auf Jazz und Klassik sowie neue Konzertmusik.« (Jazzthetik, März/April 2016)
Beethoven in Stalingrad. A Concert Tour
A film by Claudia and Günter Wallbrecht
Tabea Zimmermann, Viola
Lina Liu, Soprano | Almerija Delic, Alto
Sergej Grankwist, Tenor | Michael Kansanzew, Bariton
Choir of the Kalmückien Republic
Philharmonic Choir Volgograd
Boys’ Choir Volgograd
Osnabrück Symphony Orchestra
Wolgograder Akademisches Sinfonieorchester
Conducted by: Andreas Hotz / Edward SerovWolgograder Akademisches Sinfonieorchester
catalog number 21083 (DVD)
In January 2013 the Osnabrück Symphony Orchestra started off on a very special journey: to Volgograd, the former Stalingrad – the city which, because of the events of the winter of 1942/43, has become a symbol of the horrors of war.
70 years after the end of the Battle of Stalingrad Russian and German musicians want to perform a joint memorial concert. Will the very different cultures of remembrance come together in “Alle Menschen werden Brüder”? With great sensitivity the filmmakers Claudia and Günter Wallbrecht accompany the musicians of both orchestras on their fascinating path towards a common goal.
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Laura Ruiz Ferreres catalog number 21049 As differing as the works on this CD at first appear, which, after all span a period from 1940 to 1987, almost 50 years, there are certain "threads" which can be spun between some of them, which endow them with loose connections: Berio and Stockhausen’s idea of polyphonic listening, Denisov and Donatoni’s extremely contrasting movements within the framework of a two movement work, Messiaen and Donatoni’s renunciation of a classical dramaturgy and perception of time, and Penderecki’s doing just the opposite, demonstrative virtuosity by Berio, Donatoni and Bucchi, lyrical quality by Penderecki and Denisov.
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Salman Gambaraov & Bakustic Jazz Salman Gambarov, piano
catalog number 21063 Baku, the capital of Azerbaijan, is a fascinating musical metropolis: traditional mugham, symphonic music (the first conservatory in the Soviet Republic was built here) and a lively jazz scene have made the city a musical epicentre in the Caucasus. One of the most important exponents on the jazz scene is the pianist Salman Gambarow. Together with the ensemble Bakustic Jazz, which he founded in 1996, he gave a highly acclaimed concert in 2009 at the Morgenland Festival Osnabrück which is now available on this fantastic CD.
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Ayshemgul Memet
The female voice of Uyghur muqam and folk songs
Ayshemgul Memet, vocals
Shohrat Tursun, tambur
Ilyar Ayup, percussion
catalog number 21067
Being one of the oldest cultures of Central Asia, Uyghur music has its special place among the Turkic nations of the mysterious Silk Road. Muqams, folksongs, religious songs are transmitted orally from generation to generation and have influenced (as well having been influenced by) different cultures around the area.
The Uyghurs are a Turkic ethnic group who live in North-Western China, in the region of Xinjiang which means 'New Territory' in Chinese. The Uyghurs are Muslims (Sunnites) but Shamanism, Buddhism and Manichaeism has had a marked influence on their culture. Belonging to Central Asia (although always forgotten to be mentioned as a part of Central Asia), Uyghurs share similar linguistic and cultural heritages with other Turkic nations such as Uzbeks, Kazakh and Kyrgyz.
Xinjiang is a mountainous and barren area with oases full of life. The old Silk Road attracted thousands of adventurers and tradesmen. Many traditional songs have swayed along the endless sandy tracks on journeys.
Music is an important part of Uyghur culture and Uyghur identity. From very early times Uyghur music has been mentioned in Chinese historical sources as a highly developed art. Uyghur music from the far west was considered by Chinese royal ensembles to be the most inspiring. Some musical instruments even traveled to the Tang dynasty and have been adopted in Chinese music. After its islamization, Uyghur music adopted the great tradition of Muqam (Maqâm, Mugham) and created a powerful musical heritage.
“I was 13 years old when I heard a Muqam for the first time. It was a short fragment from muqam Panjigah. The beauty of this music magnetized me. I knew that muqam was my destiny.” Ayshemgul Memet
Friedhelm Döhl Edition, Volume 15
MEDEA. Opera in three acts
Brenda Roberts (Medea)
Mario Taghadossi
Roar Wik
Attila Kovács
Margaret Russel
Hans Georg Ahrens
Helen Centner
Philharmonic Orchestra and choirs, Kiel
Conducted by Klauspeter Seibel
catalog number 21062
Unfortunately there is no professional studio recording of Döhl’s ‘Medea’. This CD documentation is based on an in-house live recording of the premiere - which fortunately still exists - with all the acoustic disadvantages which this brings with it - such as audience coughs and noises from the stage, which result from the somewhat unmusical stage direction. On the other hand the live recording reflects some of the musical freshness and directness of the premiere, as Klauspeter Seibel, the conductor of the premiere - whom Döhl asked for his opinion (some 20 years later) - explicitly confirmed. This approbation by the conductor was important for the composer as it was one of his central works, or better, the central work; the culmination of much that had preceded it, and from which much of what followed was developed. The live recording which documents the world premiere on 17th June 1990 can therefore, despite all the mentioned acoustic shortcomings, not be left out of the ‘Edition Friedhelm Döhl’.
"Today I finally had the chance to listen to the whole of ‘Medea’. I have just finished listening to it, and to say that I am intensely impressed by the piece, as well as the performance, is an understatement… Most of all I am astounded by the orchestra, because there is so much to be heard on the recording: colouring, atmosphere, dynamics, bravura etc. A lot of it sounds really good and I think we understood the music quite well at the time. It was very pleasing for me to be able to listen to it once again. I am very happy to give my permission for its publication. As you have mentioned, one has to emphasize that it is a live recording; but that is somehow also part of the live atmosphere."
Klauspeter Seibel in a letter to Friedhelm Döhl
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Johannes Brahms Bremen Philharmonic catalog number 21064 Live recording
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Gustav Mahler
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Gustav Mahler
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KO KÛ
New music from Japan and China
for Recorder and Percussion
Gudula Rosa, recorders
Haruka Fujii, percussion
catalog number 21039
While many western composers have been fascinated and inspired by Asian music, their counterparts in Asia have adapted their musical language to the western modern and have tried to interfuse this with Asian sensations. “Asia” is present in contemporary music in many ways. The recordings on this CD combine works by renowned composers who have each, in their own way, determined the face of contemporary Asian music. The first work is by John Cage who founded and left a lasting impression on the western way of viewing Asian thinking and Asian aesthetics.
A co-production with Radio Bremen
What shall we remember?
Scot Weir & Jan Czajkowski
American songs by
André Previn, Jake Heggie, John Duke, Ricky Ian Gordon
Scot Weir, tenor
Jan Czajkowski, piano
catalog number 21038
A co-production with Radio Bremen
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Friedhelm Döhl Edition Vol. 8
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None of Döhl’s orchestral works is like any of the others. Each is individual, not adhering to any scheme, neither ‘absolute’ nor ‘programmatic’. Each work moves freely in a sort of in-between world: between ‘purely musical’ form-genesis and ‘extra-musical’ association. This quasi ‘intermediary’ ambivalence is referred to in the titles or sub-titles of the works, they being, in chronological order of composition: 'Melancolia', 'Zorch', 'Ikaros', 'like an attempt to regain speech', 'Tombeau', 'Passion', 'Winterreise, 'Sommerreise', 'Gesang der Frühe'.
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality."
Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 02/2009
Sergej Rachmaninoff: Die Totensinsel & Der Fels
Alexandre Skrjabin: Prométhée Le poème du feu
Andreas Boyde, Klavier
Stuttgarter Philharmoniker
Philharmonia Chor Stuttgart
Gabriel Feltz
catalog number: 21035
SACD, stereo & multichannel (Hybrid)
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Yulduz Turdieva Yulduz Turdieva, vocals catalog number 21061
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Alim Qasimov & Fargana Qasimova Alim Qasimov & Fargana Qasimova, Gesang catalog number 21060
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Press releases and audiences reactions are enthusiastic when talking about Alim Qasimov, the singer from Azerbaijan. This was also the case with the concert which this extraordinary musician gave at the Morgenland Festival Osnabrück, now available on this recording.
riental music between the Levant and northwest China is based on modes called maqam, shashmaqam, muqam or mugham according to the region.
There is no music more complicated and or requiring more virtuosity than the mugam of Azerbaijan. These mugam have also spread into jazz, opera and symphonic music, something quite unique.
Alim Qasimov is the most outstanding exponent of traditional mugham. For several years now he has been performing together with his daughter Fargana, who was also his pupil. Concerts with the Kronos Quartet and the cooperation with Yo Yo Ma on his Silk Road Project have brought Qasimov an increasing audience in the west.
"Very occasionally, very very occasionally, a recording arrives that so transfixes that work stopps and pleasure, enlightenment and education take over. Intimate dialogue is one of those. ... If there is any finer vocal duo performing art music anywhere on the planet right now, please send the details to the usual address. Intimate dialogue is the sort of stuff to send shivers down your spine."
Ken Hunt in FolkRoots
"... and the results are spellbinding. ... what I heard on this CD really turned my head. Qasimov and his daughter perform with what devotees of flamenco often refer to as duende . (The English word “soul” approaches the meaning, but does not come close enough.) Both of these performers have remarkable voices - remarkable both in terms of range, flexibility, and expression - and when they get on a roll, it sounds as if their souls are being rent in two. Qasimov, a tenor by operatic standards, has an especially remarkable set of vocal cords. The highly melismatic vocal style might take some getting used to, but stick with it, and I think you will have a listening experience unlike any you have had before. ... The booklet notes tell you everything you need to know, and the English translations of the lyrics are blessedly provided. The live recording is atmospheric, and will involve you even more deeply in the performances."
Raymond Tuttle in Fanfarre Magazine
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Nader Mashayekhi Salar Aghili, vocals catalog number 21050 A ‘beginning’ with a new and highly individual aesthetic is something which most certainly characterises the orchestral songs by Nader Mashayekhi. fié ma fié II and moulana are two works from a series of compositions, whereby each in itself constitutes an innovative song cycle, because the lyric, which is the basis of each of the compositions, is in several parts or is taken from the works of various poets. A co-production with the Bayerischer Rundfunk
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Richard Strauss - Also sprach Zarathustra
A co-production with Radio Bremen |
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Friedhelm Döhl Edition Vol. 6 SYMPHONIE - for cello and orchestra Heinrich Schiff, cello
catalog number 21028 |
"It is the dark side of the Romantic era which is above all invoked by the ‘Symphony for Cello and Orchestra’. Döhl writes strong and expressive music. The piano concerto ‘Sommerreise’ is much lighter and has a rather happy, rhythmically-pointed quality. The virtuoso-playful character of the first movement is in stark contrast to the richly-coloured sounds with which the second and third movements open. Döhl himself speaks in this context of a summer sky-scape."
Martin Demmler in Fono Forum
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality."
Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
"Une voix des profondeurs dans le désert du présent"
Fred Audin/ ClassiqueInfo-Disque, 02/2009
Luigi Nono
Intolleranza 1960
One-act opera in two parts
German translation by Alfred Andersch
Libretto with texts of Angelo Maria Rippelino, Julius Fucik, Jean-Paul Sartre, Paul Eluard, Wladimir Majakowskij, Henri Alleg and Bertolt Brecht
Wolfgang Neumann
Maria Kowollik
Judy Berry
Ina Schlingensiepen
Armin Kolarczyk
Bartholomeus Driessen
Bremen Philharmonic Orchestra
Bremen Theatre Choir
Conducted by Gabriel Feltz
Intolleranza 1960 was Luigi Nono's first work for the opera stage and is a flaming protest against intolerance and oppression and the violation of human dignity. The year in the title refers to the time of the work's origin. It was commissioned for the 1969 Venice Biennale by its director Mario Labroca. The first performance was conducted by Bruno Maderna on 13 April 1961 at the Teatro La Fenice in Venice. The premiere was disrupted by neo-fascists, who shouted "Viva la polizia" during the torture scene. Nono's opponents accused him of poisoning Italian music.
A co-production with Radio Bremen
Diapason d'Or
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Rudolf Hindemith Edition Vol. 3 Rudolf Hindemith, cello
catalog number 21032 Frédéric Chopin Antonin Dvorák Benedetto Marcello Ludwig van Beethoven Igor Strawinsky |
Richard Strauss - Eine Alpensinfonie
Mikolajus Konstantinas Ciurlionis - Im Wald
Philharmonic Orchestra Altenburg - Gera
Gabriel Feltz
catalog number 21027
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The contemporary voice of Turkish music
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Robert Schumann - Herbstempfindungen
Lieder from 1850
Scot Weir, Tenor
Rainer Hoffmann, Klavier
catalog number 21025
Drei Lieder op. 83
Sechs Lieder op. 89
Fünf Lieder op. 96
Sieben Lieder op. 90
Des Sennen Abschied op. 79/23
During his last creative period from 1849 to 1852 Robert Schumann felt compelled to explore the boundaries of the relationship between words and music. Vocal compositions of whatever type became the centre of his attention and outweighed his interest even for his main instrument, the piano, as well as for symphonic compositions. Schumann’s vocal works from his final period were influenced by two divergent movements: on the one hand they were expansive and ranged from Piano-Lieder, opera, oratorio and choral works to melodrama, to piano-accompanied recitation of the poetic word; on the other, the relationship between word and music, which for Schumann, as an intellectual and man of letters, had been decisive from his younger days, now became extremely intensive and intimate, as can be noted by the declamatory style, whereby the literary conscience is equally as important as the musical. This fine-polishing of declamation, which is manifested in the oratorio-like “Scene from Goethe’s Faust”, as in the works for double choir and the Piano-Lieder, coincides remarkably with the tendencies of Schumann’s compatriot and antipode Richard Wagner and anticipates the overly-sensitive, richly thoughtful and allusive treatment of the words by Hugo Wolf, or even the speech-rhythm of Berg’s “Wozzeck”.
A coproduction with Radio Bremen
Friedhelm Döhl Edition Vol. 4
Lieder
„...wenn aber“ / 9 Hölderlin-Fragments
Trakl-Lieder
7 Haiku
Unterwegs
7 Stationen
Itke Songs
Dietrich Fischer-Dieskau, baritone
Aribert Reimann, piano
Eva Csapò, soprano
Mario Venzago, piano
Friedhelm Döhl, accordion
catalog number 21023
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality."
Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 02/2009
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Friedhelm Döhl Edition Vol. 5 June Card, sopran catalog number 21024 |
MEDEA-MONOLOG
SZENE ÜBER EINEN KLEINEN TOD’
A & O / Mikrodrama II
ANNA K
‚AUF SCHMALEM GRAT’ / Requiem for 6 voices
FRAGMENT SYBILLE after Hölderlin
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality."
Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
"Une voix des profondeurs dans le désert du présent"
Fred Audin/ ClassiqueInfo-Disque, 02/2009
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Orchestral works by Respighi & Suk Philharmonic Orchestra Altenburg - Gera
Ottono Respighi: catalog number 21022
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Rudolf Hindemith Edition Vol. 2
Piano music and chamber music
Seven preludes and fugues
Sonatinas Nr. 1, 2, 4, 5, 6
Waltz of the opera „Des Kaisers Neue Kleider”
Sextett (Serenade) for clarinet, string quartet and double bass
Mariangela Granata, piano
Ludger Maxsein, piano
Eduard Brunner, clarinet
Alfred Schopper, violin
Miwako Ninomiya, violin
Rhoda Lee Rhea, viola
Rudolf Hindemith, violoncello
Rudolf Knerer, double bass
catalog number 21018
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Fanny Hensel, Emilie Mayer, Luise Adolpha LeBeau Emilie Mayer (1812-1883)
- Symphonie Nr. 5 f-minor Maacha Deubner, soprano catalog number 21015
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Anatolijus Senderovas David Geringas, violoncello catalog number 21014 The first performance of the 'Concerto in Do' by the Lithuanian composer Anatolijus Šenderovas took place on August 11th 2002 in the Berliner Konzerthaus with David Geringas and the Lithuanian Music Academy Symphony Orchestra conducted by Robertos Servenikas. Susan Shineberg wrote in "International Art Manager":
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The work was a triumph and was awarded a prize for the best first performance at the Young Euro Classic Festival. The composer received the European Composer Prize 2002.
The 'Concerto in Do' was commissioned by Young Euro Classic for the European Music Summer 2002 and is dedicated to the cellist David Geringas. ("Do" is not only the key of the piece [i.e. "C"], it is also the name by which the cellist is known to his close friends and relatives.)
The artistic cooperation between David Geringas and Anatolijus Šenderovas goes back a long way. As far back as 1972 Šenderovas composed the Sonata for Cello and Percussion, and shortly after that, Four Pieces for Cello and Piano. Both works are dedicated to Geringas and are a standard part of his repertoire.
In 1975 the recording studio in Vilnius recorded these works for an LP production. As was standard practice at the time, the recording was sent to Moscow where it was to be endorsed by the "Arts Council" (in other words, the censors!).
On 21st July 1975 the recording was endorsed. However, it then became known that David Geringas, after winning the 4th International Tchaikovsky Competition and after many restrictions and prohibitions which made normal artistic activity almost impossible, had decided to emigrate.
He had departed on 17th July 1975.
For this reason, on 22nd July 1975, one day after it had been endorsed, the endorsement was rescinded. The word "endorsed" was crossed out and replaced by "recording rejected" and two illegible signatures…
That meant that the recording and the cover with the inscriptions should be destroyed. The original master-tape was indeed demagnetised. However, a good fairy, the editor Zinutė Nutatutaitė gave the cover back to the composer and managed to persuade the sound engineer Rimas Pupeikis (who is now director of the studio) to make a copy of the recording. This tape and the cover were kept in Anatolijus Šenderovas archives for 27 years….
This CD presents, for the first time, that historic archive recording which had not been made available to the public in soviet times. The restoration of the recording was done by Giedrius Litvenas of the "Lithuanian Recording Studio MA“.
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Quasi Improvisata - Works for Cello & Bajan David Geringas, cello catalog number 21008 Every interpretation is, to a certain degree, an improvisation of a text which remains unseen to the listener. This is true of the works performed on this CD in a very particular way, because they are only partly written down and rely for the rest on the will and fantasy of the player. The excellent duo - the cellist David Geringas and the Bajan (button accordion) player Geir Draugsvoll - draw their inspiration from quite different sources. But they also have something in common: they make each piece to an inspired "quasi improvisata" which is forever unique. Anatolijus Šenderovas - Songs of Sulamite
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LIEDER
Brahms & Schubert
Hidenori Komatsu, baritone,
Jörg Demus, piano
catalog number 21007
Live recorded at Musikhalle Hamburg, 2002
La Bellina
Silke Meyer, recorder
Claudia Krawietz, harpsichord
catalog number 21006
Works by Pandolfi Mealli, Francois Couperin, Anne Dancian Philidor, Joseph Bodin de Boismortier, Louis Couperin, Angelo Berardi
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Double Talk Gudula Rosa - recorders, voice, tam-tam catalog number 21005 Michiharu Matsunaga - Time of Winds, The Interval of Strings
A co-production with Sender Freies Berlin |
Das Treffen in Telgte
A musically-literary program
Helene Grass, Günter Grass – recitation
RIAS Kammerchor, Capella de la Torre (Katharina Bäuml)
conducted by Risto Joost
Catalog number 21089
In his story “Das Treffen in Telgte” [“The meeting in Telgte”] Günter Grass has created a fable in which he describes the situation of literature from the point of view of a critical observer and commentator of the historical events. The story about an encounter between authors in 1647, which was initiated by the poet Simon Dach from Königsberg, takes place in a mill in Telgte, Westphalia, not far from Münster, where the Treaty ending the Thirty Year War was signed one year later.
After almost 30 years of war the plea for peace in the middle of the 17th century was the one which dominated all others. Whether in poetry or in music, it was omnipresent. (Bernhard Heß/ RIAS Kammerchor)
The author and his daughter, the actress Helene Grass, read from the story “Das Treffen in Telgte”. Poems and instrumental and vocal works by the 17th century poets and composers named in the text, such as Claudio Monteverdi, Heinrich Schütz, Michael Praetorius, Johann Crüger and Heinrich Albert, can also be heard.
“What we have heard today is a wonderful collaboration between words and music.”
Günter Grass
A co-production of Deutschlandradio Kultur and Dreyer Gaido Musikproduktionen
Eternal Love
Şimdi Ensemble
Michel Godard
catalog number 21095
Şimdi reflects this approach by embracing the traditional repertoire of Sufi music as well as the music composed by band members. Whether composed hymns, songs or instrumental works. Amazing French tuba and serpent player Michel Godard is joing this Simdi ensemble on its first recording.
"Recording with Simdi Ensemble was nothing less than a whirl of pleasure." Michel Godard
East Drive & Tamara Lukasheva
Savka i Griška
A Journey to an Eastern European Childhood
Catalog number 21101
Childhood is place of myths. A place full of miracles, fairy tales and adventures. The heritage of Eastern European childrens´ songs provides a sheer inexhaustible source of graceful, imaginative, mystical and humorous stories, of which East Drive collected the most beautiful ones to present in a new way on Savka i Griška, featuring the outstanding Ucrainian singer Tamara Lukasheva.
"'Savka i Griška' is an album dedicated to East European children's songs from Russia, Poland or the Balkans; songs which oscillate between childish gaiety and Slavic melancholy. Lukasheva, with her wonderful voice, obviously has great fun and approaches them with impulsive verve and delightfully exuberant improvisations. And East Drive open up new worlds of sound in the 13 songs, at times accompanied by a string quartet."
Rolf Thomas in Jazzthing
Rudolf Hindemith Edition, Vol. 1
Five Piano Pieces / Sonatina Nr. 7
Theme and Variations on „Ich hab’ die Nacht geträumet“
Der Spiegel for string quartet
Sextett – Serenade
Suite for piano and orchestra
Jutta Müller-Vornehm, piano (Five Piano Pieces, Sonatina)
Kolja Lessing, piano (Suite)
Members of Philharmonisches Staatsorchester Bremen (String Quartet, Serenade)
Philharmonisches Staatsorchester Bremen
George Alexander Albrecht
Catalog number 21009
„Kolja Lessing as the soloist and Alexander Albrecht as conductor present the Suite for Piano and Orchestra as a very entertaining composition, …, which betrays the influence of Spanish folk music and jazz and is characterised in all its differing types of genre and movements by a laconic shortness. Rudolf Hindemith reveals a quite amazing originality and bubbly temperament.”
NEUE MUSIKZEITUNG
Bronius Kutavicius
The Gates of Jerusalem
St. Christopher Chamber Orchestra/ Aidija Chamber Choir / Donatas Katkus
Catalog number 21003
In this work the Lithuanian composer Bronius Kutavicius, sometimes ironically called the “last pagan composer”, presents a geographical panorama of religious rites from various parts of the world, taking as his starting point the cultural influences on the city of Jerusalem, which has three city gates on each of its four sides.
“Bronius Kutavicius is gradually winning a group of fans in the centre of Europe.”
Martin Demmler in FonoForum:
“The artistic interpretation of these “echoes of the ancient world cultures” by the St. Christopher Chamber Orchestra and the Aidija Chamber Choir from Vilnius has a high degree of authenticity.”
Lutz Lesle in NEUE ZEITSCHRIFT FÜR MUSIK
Johannes Brahms
Vier ernste Gesänge, Lieder
Hidenori Komatsu, baritone
Jörg Demus, piano
Catalog number 21002
Vier ernste Gesänge, Lieder
Hidenori Komatsu, baritone
Jörg Demus, piano
Catalog number 21002
„You won’t be able to play these songs right now since the words will be too moving for you. But I ask you to look at them and to keep them as a true sacrifice for your beloved mother’s death.“
From a letter of Johannes Brahms, who was a longtime friend of Clara Schumann, to Clara’s daughter Marie.
Recorded at Museo Cristifori, Austria, with a Steinway C from 1913
Fatum
Roman Viazovskiy, guitar
Catalog number 21001
Works by: Konstantin Vassiliev , Leo Brouwer, Antonio José, Egberto Gismonti
“… Certainly Fatum is one of the best recordings I have reviewed over recent years, the playing is immaculate, the programme has no low points: what more could one ask for? The undoubted highlights for the reviewer are the two works by Konstantin Vassiliev. … This is wonderful writing for the instrument – some of the best of our times. Highly recommended.”
Steve Marsh in Classical Guitar Magazine
...cette ville étrange
a re-imagination of Claude Vivier's
"...et je reverrai cette ville étrange…"
Ensemble Constantinople & Guests
Sandeep Bhagwati
catalog number 21119
In 2014, ten Montréal musicians, each from another tradition, came together to re-imagine an iconic work by Claude Vivier.
They re-arranged Vivier's score, rendered his melodies in their own manner, improvised around his music, remembered their own traditional music through Vivier's composition.
This album is a composite selection of live recordings from various concerts of this project since 2015.
From Land of Fire
Chamber Music works by Khadija Zeynalova
Ensemble Bridge of Sound
Catalog number 21117
A Co-production with Deutschlandfunk
"Many of my chamber music compositions are inspired by nature and, often hostile, forces of nature of my homeland Azerbaijan, without embodying 'tone-painting' in the true sense of the word. Myths often form the background of my works, myths that at the same time build an obvious bridge between the Caucasus region and Central Europe". Khadija Zeynalova
Gustav Mahler
Symphony No. 2 c-minor / ”Resurrection Symphony"
live recording
Chen Reiss, Soprano
Tanja Ariane Baumgartner, Mezzosoprano
Czech Philharmonic Choir Brno
Stuttgart Philharmonic Orchestra
Gabriel Feltz
catalog number 21116
The ouevre of Gustav Mahler has been a focal point of the ten year cooperation between the Stuttgart Philharmonic Orchestra and Gabriel Feltz (2003 - 2013). The last recording made during this period is Mahler’s “Resurrection Symphony”.
“the most unusual and controversial cycle of the last few years.“
infodad.com
Dima Orsho
Hidwa. Lullabies for Troubled Times
Dima Orsho, voice
Jasser Haj Youssef, violin & viola d'amore
Manfred Leuchter, accordion
Salman Gambarov, piano
Robert Landfermann, double bass
Bodek Janke, drums & percussion, tabla
catalog number 21115
"These songs are more than lullabies to calm children and put them to sleep... they are songs to put an anxious mind at ease ...lullabies for our troubled times." Dima Orsho
"Dima Orsho paints a dreamlike soundscape out of this world with a voice full of serene passion." Maja Vasiljevic, Radio Clásica
”Her singing is the most beautiful thing human vocal cords can produce." Hamburger Abendblatt
Kinan Azmeh - Uneven Sky
Kinan Azmeh, clarinet
Yo-Yo Ma, violoncello
Deutsches Symphonie-Orchester Berlin
Manuel Nawri
Works by Kinan Azmeh, Kareem Roustom, Zaid Jabri, Dia Succari
catalog number 21114
"Uneven Sky is about home, the multitudes of homes, and it was made with lots of optimism and love. Syria may not be on the cover of this album but it is present in every detail of the music, and certainly in my heart." Kinan Azmeh
"Home is ever-present and elusive. There and here. Then and now. Lost and found. Listening to this album, we find both the search for home and home itself." Ara Guzelimian
OPUS KLASSIK 2019 - Best instrumental concerto recording
CD-Tip of the month - Fono Forum
"Absolutely one of the best albums of the last years!" - RAI Radio
Sandeep Bhagwati
Miyagi Haikus
Gabriel Dharmoo/ Jieun Kang/ Matthias Bauer
Peter Evans/ Dave Taylor/ Felix Del Tredici
Vincent Royer
Felix Borel/ Scott Roller/ Michael Kiedaisch/ Jürgen Kruse
Martin Losert
catalog number: 21113
The catastrophe of Fukushima in March 2011 prompted Sandeep Bhagwati to spontaneously write 17 haiku compositions as musical elegies - in memory of the victims, but also as a "meditation on the thin skin of our civilization on this restless planet" (Bhagwati).
This edition presents 5 complete versions of the Miyagi Haikus in different instrumentations.
It includes 5 cycles of poems by Yoko Tawada, Yang Lian, Monika Rinck, Ranjit Hoskote, and Christian Filips written in response to these recordings.
Reinhold Glière
Sinfonie No. 3 - Ilya Murometz
Beogradska filharmonija
Gabriel Feltz
Multilayer SACD
catalog number 21112
The world premiere of Reinhold Glière's monumental third symphony in March 1912 was a culture-political event of the utmost importance in Russia. abriel Feltz presents this remarkable work in cooperation with the Beogradska filharmonija and makes it clear that this most interesting late-romantic composer is well worth a closer look.
Bodek Janke
Song
Melissa Mary Ahern, vocals
Kristjan Randalu, piano
Philip Donkin bass
Bodek Janke, drums & percussion
with
Sebastian Studnitzky, trumpet
Kinan Azmeh, clarinet
Andy Stack, guitar
Alexey Malakhau, saxophone
Atom String Quartet
catalog number 21111
Bodek Janke is one of the most interesting and versatile jazz drummers and percussionists of our time. Together with the American singer and songwriter Melissa Mary Ahern, an album was created which contains both her own pieces and cover versions. Thanks to the artist's extraordinary voice and the fantastic instrumentalist ensemble this recording has become an enchanting song album.
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Morgenland All Star Band
Live in Beirut
Dima Orsho, voice
Ibrahim Keivo, Gesang, bouzouk
Frederik Köster, trumpet
Moslem Rahal, ney
Kinan Azmeh, clarinet
Michel Godard, tuba & serpent
Salman Gambarov, piano
Andreas Müller, bass
Rony Barrak, percussion
Bodek Janke, drums
Children Choir Yalla! Pour les Enfants & Mohannad Nasser
catalog number 21110
The Morgenland All Star Band unites some of the greatest musical talents of the Middle East with European jazz stars, such as Frederik Köster, Michel Godard and Bodek Janke. The Band has thrilled audiences at the Bimhuis in Amsterdam, as well as in the Pierre Boulez Saal in Berlin, the Philharmonic Hall in Almaty, the Saygun Culture Centre in Izmir or on their tour of China. This recording presents a concert in the Madina Theatre in Beirut and radiates virtuosity and a joy of playing.
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Omaggio a Francesco
West-Eastern Reflections on Landini
MIXTURA
Katharina Bäuml, shawms
Margit Kern, accordion
Guests
Ehsan Ebrahimi, Santur
Arsalan Abedian, Santur
catalog number 21109
Since their first joint CD project in 2011 Katharina Bäuml (shawm) and Margit Kern (accordion), as the ensemble Mixtura, have developed programmes, which combine music of the Middle Ages or the Renaissance with specially commissioned pieces of New Music. Their precept is the examination of one certain starting point, which, in the course of the programme, combines both musical fields with each another. Their present album looks at a musical icon of the Trecento and examines to what extent the themes of the 14th century are compatible with today’s attitudes and aesthetics.
New Goldberg Variations
David Geringas, violoncello
Ian Fountain, piano
Works by Bach, Corigliano, Danielpour, Lieberson, Busoni, Rouse, Frazelle, Schickele
catalog number 21108
David Geringas heard about the existence of the New Goldberg Variations in 1997, shortly after the first performance, and integrated into his project ‘Bach Plus’ excerpts from John Corigliano’s Fancy on a Bach Air as an introduction to Bach’s Cello Suite Nr. 1. In 2014, while planning a CD with works by American composers, he remembered about the New Goldberg Variations, and in 2015 he performed the piece, which is exactly the length a one half of a recital, in Parma, Italy, together with the pianist Ian Fountain, who is also the pianist on this recording. One year later, while being interviewed for his 70th birthday, he concretized the idea for this CD.
Des cloches sonores
Catalin Serban
George Enescu - Suite No. 2 D major op. 10
Franz Schubert - Sonata G major op. 78, D 894
Alexander Scriabin - Sonata No. 5 op. 53
catalog number 21107
"While looking for exciting correlations and comparisons of works and composers who, for a long time, have touched and inspired me, I discovered these three compositions – stylistically completely different, and yet united by their bell-like motifs and sounds. George Enescu’s Suite op. 10 No. 2 even has the title “Des cloches sonores” (Eng. “Sonorous Bells”), and the bell sounds are unmistakeably audible in all four movements of the Suite, albeit in very differing dynamics and atmospheric sound colours. The G major Sonata op. 78 D 894 by Franz Schubert is a piece with which I have a long and close association. What greatly influenced my interpretation of the famous first movement was my contemplation of the long, expansive chords – these sound as if they are produced by a faraway bell in a quiet, profound landscape. The impressive ending and the highlight of the Sonata No. 5 op. 53 by Alexander Scriabin uses the very gentle harmonies and individual notes of the beginning, which develop from distant tolling bell to become an overpowering, mighty peal of bells." Catalin Serban
Alois Bröder
The wives of the dead
Oper in zwei Versionen nach einer Erzählung von Nathaniel Hawthorne
Marisca Mulder | Mireille Lebel | Marwan Shamiyeh
Florian Götz | Opernchor des Theaters Erfurt
Philharmonisches Orchester Erfurt | Johannes Pell
catalog number 21106
"Bröder manages to musically capture the ambiguity, which is the earmark of this piece, giving it atmospheric form. This is exactly as opera music should be: individual and autonomous, bang up to date, striking in its expressivity, but always orientated towards the goal of portraying a gripping story in a dramatically coherent way." Werner Häußner in Der neue Merker
Sergej Rachmaninoff
Symphony No. 3, a-minor op. 44
Dortmund Philharmonic Orchestra
Gabriel Feltz
Catalog number 21105
"Rachmaninoff’s third symphony communicates, in a very moving way, the life-long struggle of one of Russia’s greatest musicians with this genre. The result is… absolutely magnificent: the musical inspiration is overflowing; the themes and melodies are, as always by Rachmaninoff, inimitable; but more especially, the many changes of mood, achieved by an extremely artistic instrumentation, are unique." Gabriel Feltz
TREATISES
on Trans-Traditional Aesthetics
Ensemble Extrakte
Sandeep Bhagwati
Sören Birke - Ravi Srinivasan
Cathy Milliken - Deniza Popova
Wu Wei - Ji-eun Kang
Hoo Yong - Farhan Sabbagh
Gregor Schulenburg - Klaus Janek
Sandeep Bhagwati
catalog number: 21104
"Ensemble Extrakte – this name outlines a musical program. The thirteen treatises in this album are seismographic soundscapes of uncommon encounters. When we brought together the eleven musical polyglots of Ensemble Extrakte in music, they came from widely different musical backgrounds and cultures; some were virtuosos in more than one genre or tradition. To each of us, music meant something else, they made their music for different communities and contexts. But they all lived in Berlin – and our idea was to create a music that would truly reflect this new ensemble, its roots and its global aspirations." Sandeep Bhagwati
VON MÜTTERN UND TÖCHTERN
Dorothe Ingenfeld, mezzo soprano
Anita Keller, piano
Katrin Dasch, piano
catalog number 21103
"How did I come to make a CD just with songs about mothers and daughters? My daughter was away for three weeks during the summer holidays and I wanted to use the creatively to record a CD. I looked at my favourite songs and discovered that three of them had this thematic connection. The obvious thing to do was to take this as a theme, so I sat down with both of my pianists and we looked for other such songs. We found over thirty of them, from which we chose the most beautiful songs and those we thought the most fitting. It was to be the most poetic summer of my life! I devoured books on the subject, watched films and talked to mothers and daughters about this most enthralling of all relationships. It was a source of infinite joy for me to slip into the roles of all these mothers and daughters and I wish you just as much joy while listening!" Dorothe Ingenfeld
Anatolijus Šenderovas
Music for Strings
Art Vio | FortVio
Ingrida Rupaitė-Petrikienė | Kristijonas Venslovas
Tomas Petrikis | Povilas Jacunskas
Indrė Baikštytė
Catalog number 21102
The CD Music for Strings of Anatolijus Šenderovas, one of the most prominent Lithuanian composers, the laureate of the Lithuanian National Prize for Culture and Art, embraces fifteen years (2000-2015) of his chamber oeuvre and reveals the most typical features of his music, i.e. profound emotionalism, temperate modernism and intense dramaturgy.
The recording offers the possibility to hear one of the most significant pieces of Lithuanian music of the recent years – the String Quartet No.3 by Šenderovas – and reflects the creative friendship of the composer with the noted ensembles established firmly in the Lithuanian music elite – the piano trio FortVio and string quartet Art Vio.
The CD also includes the versions of the two pieces dedicated to world-famous Lithuanian German cellist David Geringas to mark the extraordinary friendship and long-standing cooperation of these two artists.
Sergej Rachmaninow
Sinfonie Nr. 1 in d-moll
Dortmunder Philharmoniker
Gabriel Feltz
Catalog number 21100
Right up to the present day Sergei Rachmaninoff’s works are all too easily characterised as being “romantic salon music”. Especially just after the Second World War Rachmaninoff’s long melodic phrases and the voluptuous sound of his compositions were often regarded as being somewhat dubious. Even today many critics hold his music to be sentimental and ornate. These judgements and characterisations are, however, often made taking only a very small part of Rachmaninoff’s complete oeuvre into account. A large part of this is, even today, scarcely known in Germany. The First Symphony, which he composed at the age of 22, is one of these works. It gives us a completely new perspective on this supposedly well-known composer.
"This may well be the best performance yet.“ Steven Kruger in New York Arts
"Gabriel Feltz and his Dortmunders play as if the ink on the score were still wet.. .The playing is outstanding.“ Kal Rubinson in stereophile
Peter Gahn - Meinten Sie: RED
ensemble reflexion K
Conducted by Gerald Eckert
catalog number 21097
The multi-perspective art of cubism and Bernd Alois Zimmermann’s “pluralistic” compositional style were some of Peter Gahn’s earliest impressions. That he was also receptive for inspiration from other art forms is still a characteristic of his music today: Many of his works open themselves to visual arts, to architecture, literature, dance, theatre and film, which are often directly integrated into the performance. However, Peter Gahn also practices these changes of context and perspective within the internal musical structures: Within a work or in
groups of works whose individual parts can be simultaneously performed in differing constellations.
A co-production with Deutschlandfunk
David Geringas
The Sound of Lithuania
David Geringas, cello
Indrė Baikštytė | Justas Dvarionas
Petras Geniušas | Jurgis Karnavičius
Birutė Vainiūnaitė | Rokas Zubovas, piano
Works for Cello & Piano by
K. Banaitis - V. Bartulis - B. Budriūnas - M.K. Čiurlionis
B. Dvarionas - B. Gilin - V. Jakubėnas - J. Karnavičius
J. Karosas - B. Kutavičius - F. Latėnas - A. Šenderovas
E. Balsys - S. Vainiūnas
Catalog number 21099
Lithuania is my home country. I was born and raised in Vilnius. But what does Lithuania sound like? This double CD is a recollection of the country and the sentiments of its people. Lithuania does not only sound in Lithuania, but everywhere where people remember Lithuania.
David Geringas
Bruchstücke
Eine Annäherung an den Komponisten Friedhelm Döhl
A film by
Günter Wallbrecht, Hugo Germán Gaido und Michael Dreyer
Catalog number 21098
This is not a film biography - more an empathetic portrait of the restlessly productive, prolific composer and cultural initiator Friedhelm Döhl, embedded in the history of the German New Music movement over the past decades. Filmmaker Günter Wallbrecht and the two longtime producers, Michael Dreyer and Hugo Germán Gaido let not just companions of the composer from the worlds of music and politics have their say, but, above all, the composer himself.
Aragats. The Arrival
Jivan Gasparyan jr., duduk
Armen Hyusnunts, sax.
Vahagn Hayrapetian, piano
Alex Baboian, guitar
catalog number 21096
Finest Jazz from Armenia!
live recorded at
Yerevan Jazz Night / Morgenland Festival Osnabrück
by Walter Quintus
Eos Trio
Streichtrios von
Gideon Klein | Józef Koffler | Ernst Naumann
Elena Tsaur: Violin
Elen Guloyan: Viola
Verena Sennekamp: Violoncello
Catalog number 21091
The Moravian-born Jewish composer Gideon Klein (1919-45) composed his final work, the String Trio (1944) while interned in Theresienstadt. Quite a few of his works written there are based on Czech folksongs; his string trio falls into this category. Jewish composer Josef Koffler (1896-1944) suffered a similarly tragic fate as Klein. His Trio, op. 10 (1928) was written, however, when he was Prof. of Harmony and Atonal Composition in Lviv (Lemberg). The Trio in D Major by Ernst Neumann (1832-1910) is a work from 1883. The Eos Trio Frankfurt is keen to bring forgotten or unknown works back to audiences.
Qetiq. Rock 'n Ürümchi
The Discovery of Perhat Khaliq
A Film by Mukaddas Mijit
Catalog number 21093
Ürümchi - capital city of Xinjiang Uyghur Autonomous Region in China and home to the Turkic people, the Uyghurs, is the departure point for this film. The city, which is marked by the ambivalence between its Uyghur tradition and global modernity, is home to the musician Perhat, who like many other musicians from the region had no ideas about ever leaving the city.
Since his appearance in 'China the Voice‘ in 2014 Perhat Khaliq is a famous rock star in China and the first Uyghhur rock star touring big theaters in the country.
A film about music that, just like the city, is caught up in the tension between tradition and modernity, about friendship that needs no words and about boundless optimism, which made not just one dream come true.
Perhat is receiving the Prince Claus Award in the Royal Palace in Amsterdam in December 2015.
"His rich voice and poetic lyrics are making minority culture accessible to millions, while also conserving and expanding a unique cultural heritage.“ (Prince Claus Award)
Des Todes Tod
Song cycles of Mahler, Mussorgskij, Hindemith
Barbara Höfling
Helian Quartett
Sophie Lücke
Amanda Anderson
Catalog number: 21092
"This CD is the most personal I have ever made.
Mahler's Kindertotenlieder have always been dear to my heart and I wanted to show how near the different composers are to each other while approaching the same subject from totally different angles. Death is always terrible and brutal, but at the same time releasing, comforting and even human. For me, by reducing these versions to chamber music, the songs obtain intimacy, which creates these very personal, fragile and moving moments." Barbara Höfling
Sergej Rachmaninow
Sinfonie No. 2 e-minor
Dortmund Philharmonic Orchestra
Gabriel Feltz
Catalog number 21090
Rachmaninow at its finest!
With this brilliant recording of the 2nd Symphony the Dortmund Philharmonic, under its conductor Gabiel Feltz, has started off its recording cycle of all Rachmaninow’s symphonies.
In Gabriel Feltz, winner of the “Prix Rachmanonow”, the orchestra has a recognized authority on Rachamaninow’s music. The orchestra has put in a magnificent performance and the recording team from Tritonus has done fantastic work. A wonderful start, captured on SACD. Mr. Feltz's extensive discography continues to show him as one of the outstanding conductors of his
Ludwig van Beethoven
Sinfonie No. 3 „Eroica“ | Sinfonie No. 5
Stuttgart Philharmonic Orchestra | Gabriel Feltz
catalog number 21088
The Third and Fifth symphonies do not each include the discursive spirit so typical for Beethoven, moreover they seem, in some way, to communicate with one another. In the “Eroica” the four movements are all independent and very different, whereas the individual movements of the Fifth are connected by the ‘knocking motif’ which appears in differing form, but is always clear and meaningful. Looked at in this way both works represent two differing answers by Beethoven to the question which is posed in each musical epoch as to what actually constitutes a symphony.
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Dastan featuring Amir ElSaffar, trumpet Recorded by Walter Quintus A co-production with NDR catalog number 21086 The Morgenland All Star Band unites several of the most outstanding musical personalities from the Near Orient with Jazz greats such as Frederik Köster or Bodek Janke. Traditional Kurdic music meets Uighur Funk-Rock from north-west China and jazz from Azerbaijan. Special guest is the jazz trumpeter Amir ElSaffar, who combines his musical biographical roots - Iraqi Maqam and American jazz: a global sound web full of tension, juxtapositions and surprises. Live from the NDR Concert Hall in Hanover |
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Markus Becker Pictues at an Exhibition & Markus Becker - piano catalog number 21085 This is not a crossover album! Two musical worlds are juxtaposed to shed new lights upon one other: 'Kiev' stands for the Russian Romanticism of the late 19th century, 'Chicago' for the cosmos of Jazz. How do these two vastly different worlds relate? When I was considering the concept for this album I found two aspects of the relationship between these worlds very interesting: one ‘external’, such as the 'groove' in some of the 'Pictures at an Exhibition' or the somewhat jazzy harmonies in the Scriabin Préludes. I was especially interested in the ‘internal’ connections between 'Kiev' and 'Chicago': it is the compositional or improvisational freedom, colours, generosity, temperament, potential for surprise and sensuality, which is the bridge between both parts of the programme. |
Gustav Mahler Sinfonie No. 1
Stuttgarter Philharmonic Orchestra
Gabriel Feltz
catalog number 21082
Ottorino Respighi. Belkis, Queen of Sheba
Julia Jentsch: narratress
Stella Doufexis, mezzosopran
Metodi Morartzaliev, tenor
Czech Philharmonic Choir Brno
Gabriel Feltz
catalog number 21079 (DVD) / 21081 (BluRay Disc)
In June 2012 Ottorino Respighi’s ballet music “Belkis, Queen of Sheba” was given its German premiere in Stuttgart – this was only the second performance of the work ever, almost 80 years after its first performance at La Scala in Milan. It was one of Respighi’s last great works and the ballet was considered difficult to produce at the time it was written. Some 600 participants let one realize why the work had to wait more than half a century for a second chance. The Stuttgart Philharmonic helped bring the long-silent masterpiece to a triumphal come-back in a concert performance with Julia Jentsch as narratress, the mezzo-soprano Stella Doufexis and the Czech Philharmonic Choir, Brno. This is a unique music film, which goes way beyond the scope of the normal concert recording and tells the mythical story of the legendary Queen of Sheba. She undertook an arduous journey of many years through the desert and wastes to follows the call of King Solomon – a fairy-tale from a thousand and one nights, about beauty, power and wealth.
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Renaissance goes Jazz live recording Capella de la Torre catalog number 21075 Renaissance ensemble Capella de la Torre on the one side, tuba player and composer Michel Godard and pianist Markus Becker on the other, combine jazz with the alien distance of the renaissance instruments by letting the past and the present meet and collide. They give worlds of differing memories a new form and let the heterogeneous become something new and homogenous. A co-production with NDR 1
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Ahmed Adnan Saygun Osnabrueck Symphony Orchstra The Oratory consists of three main and one intermediate part, amounting to a collage, however, with a coherent meaning. The first part consists of five sections, in which Yunus Emre discovers the love for life, yet falls into thinking about death, starts wondering about the afterlife, and finally recoils from his fate and suffers. The second part, again with five sections, depicts his rebellion against god, followed by Emre seeking refuge with god. In the intermediate part, his love for god takes contours. In the final part, made of two sections, Emre enters a union with god and finds eternal peace. Death becomes the beginning of being with god. In his Oratory, Saygun created an oeuvre to reflect his own ideas through the poems of Yunus Emre. By slightly adapting, shortening or repositioning the poems, he created a libretto of sorts. And indeed, Saygun wrote himself and his life experience into most of his works. There is no doubt that from the view of his personal advancement as composer, the Yunus Emre Oratory constitutesda major turning point. After years of introspection, his engagement with Yunus Emre and the Oratory led to a rediscovery of his music both in Turkey and abroad. In this discovery, his ideas and spiritual world took center-stage. His ode to humanity was noticed. After this, Saygun impregnated his following works with fervor and enthusiasm, characteristics, which he had held back due to his initial humility and dark days during World War II. Despite setbacks and personal attacks, he kept his peace and patience. No clearer is this than in his last recorded statement, which shows the deep influence of his engagement with Yunus Emre:
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Hewar Kinan Azmeh - clarinet featuring: Jivan Gasparyan (Duduk), Rony Barrak (Darbouka), Morgenland Chamber Orchestra catalog number 21073 guest: Andreas Müller - double bass The Syrian trio Hewar combines traditional Arabic music with jazz, scat and classical music, breaks open traditional genre borders and unifies elements of different musical cultures into a unique and distinctive sound. Hewar is the Arabian word for dialogue and for years now these three musicians have practised this, not just among themselves, but also with varying guests. At the Morgenland Festival Osnabrück 2011 they performed together with the legendary Armenian Duduk player Jivan Gasparyan, the Lebanese Darbouka virtuoso Rony Barrak and the Morgenland Chamber Orchestra. Andreas Müller joined the ensemble as guest on the Double Bass. The concert was one of those rare musical highlights (Ludolf Bauke). It is now available on this recording. Letters to a homeland – this is the title the musicians gave their CD. The recording is dedicated to those people who have lost their lives in Syria in the past years.
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Gustav Mahler Stuttgart Philharmonic Orchestra catalog number 21072
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Sofia Gubaidulina Barbara Höfling, mezzosopran
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“This recording is wonderful. The multitude of emotions in this 14-part compilation … is as astonishing as it is enjoyable.
And that Gubaidulina takes Morgenstern so seriously is a further plus for this music, which should even delight those classic lovers not well versed in New Music.”
Aachener Zeitung
"The fact is that in Galgenlieder Gubaidulina is clearly playing games of her own. ... one probably needs a substantial amount of background knowledge to appreciate those games. (One might almost suggest that she has done for music what James Joyce did for literature.) On the other hand one can abandon that quest for knowledge and simply take Galgenlieder ... as an irresistible journey through the rhetorical powers of sonority that is almost independent of any semantic level being expressed through the rhetoric."
Stephen Smoliar. examiner.com
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Shourouk live at Morgenland Festival Osnabrück catalog number 21070 Works by Daniel Schnyder and Nader Mashayekhi & The Morgenland Festival Osnabrück has dedicated itself since 2005 to the fascinating music of the Near East. It regards itself as a co-working space for musicians from various cultures. In 2010 a very special summit meeting took place: The NDR Bigband from Hamburg and the Osnabrück Symphony Orchestra met amazing soloists from Syria, Lebanon and the autonomous region of Xinjiang in northwest China. It was also the first time that this legendary Bigband had worked together with a symphony orchestra. Daniel Schnyder arranged some of his works especially for this event. Wolf Kerschek transcribed two songs from the repertoire of Ibrahim Keivo, an exceptional singer from the region Al Jazira in northeaster Syria. |
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Eastern Voices Alim Qasimov & Fargana Qasimova, Yulduz Turdieva, catalog number 21069
In 2010 Dreyer.Gaido Musikproduktionen started the new series EASTERN VOICES. The series is featuring outstanding musicians from the Middle East and Central Asia. Recordings with Alim Qasimov, Yulduz Turdieva and Ibrahim Keivo received an outstanding echo between the US and Australia. The compilation "Eastern Voices" presents highlights of the first productions. A vocal culture that is "spellbinding" (FRoots), also for lovers of classical music. |
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Friedhelm Döhl Edition, Volume 16 Angela Firkins, flute catalog number 21068 Along with his symphonic, chamber music, vocal and scenic works Döhl also wrote many works for solo instruments (www.friedhelm-doehl.de), especially for piano, string instruments and the flute. |
Ibrahim Keivo
The voice of ancient Syria
Ibrahim Keivo: vocals, baglama, buzok, oud, saz, al junbosh
Catalog number 21059
Ibrahim Keivo - The beholder of the ancient Syrian musical heritage
Ibrahim Keivo was born in 1966 in a small village in the region of Hassakeh, in Northern Syria. Son of an Armenian family who survived the genocide, he was raised in the land where ancient Syrian (Al-Jezireh, meaning ''the island''), Mesopotamian and Western Asian cultures meet and create one of the richest and most diverse societies in the region, in term of practiced religions, spoken languages and dialects, and verbal heritage.
Since his early age, Keivo's mother introduced him to the Armenian hymns she carried with her from her motherland. She has also played a major role in familiarizing him with the Turkish, Kurdish and Mardalli (the Arabic dialect of Mardin) singing traditions of the region of Mardin – Southeastern Turkey – where many Armenians have stopped before finding shelter in other places all around the world.
Landing in Northern Syria brought other cultures to the family; in addition to the Bedouin tradition, Keivo found great inspiration in the ancient civilizations and religions that remained alive in this region: the Assyrian which main language is the Aramaic, the Syriac language and Christianity, and the Yezidism, an ancient Kurdish religion which most important holy place is Lalish temple in Mosul (old Nineveh in Iraq).
Jumana Al-Yasiri
Friedhelm Döhl Edition Vol. 11
Chamber Music - Lyric
HIOB - MISSA - POSAUNEN IM RAUM (Medea-Material)
catalog number 21046
If one looks through the works by Friedhelm Döhl, it is apparent that there is hardly any ‘sacred’ music in the narrowest sense of the word. There are many compositions where there is a sacred (spiritual) element, such as in some of the songs or ‘subcutaneously’ in some of the instrumental or orchestral works e.g. in ‘Melancolia’ , ‘Tombeau’, ‘Passion’, - and, above all, in ‘Requiem’, but even here this is not with reference to the traditional Christian liturgy, rather more as a query from the wings, as it were ‘extra muros’, moreover, it is an ‘inner dialogue’ between Celan and Nelly Sachs. The ‘Orgelmesse’ [Organ Mass] - with its movements Kyrie, Gloria, Offertorium, Agnus dei and Ite missa est, all composed over the space of 25 years - bears the subtitle ‘Fragment’, which expresses something breakable, where there are more unanswered questions than conclusive statements.
The works on this CD are in a way also ‘extra muros’, and yet each of them - in completely different ways - was originally conceived for the church, in the concrete external sense (Church building) as well as in the figurative spiritual sense. HIOB [engl. JOB] as the juxtaposition of lamentation and theodicy, MISSA as the ‘Passion’ of an ‘outcast’ (Medea) and POSAUNEN IM RAUM [engl. TROMBONES IN SPACE] (Medea-Material) as a sounding ‘cosmos’, archaic and ritualistic. - The 3 compositions are also conceivable outside the church, and have - in the case of ‘Missa’ and ‘Posaunen im Raum’ - been so performed many times.
Alois Bröder - Chamber music with guitar mit Gitarre
Christopher Brandt, guitar
Olaf Van Gonnissen, guitar
Eva Lebherz-Valentin, soprano
Martin Hummel, baritone
Friederike Richter, piano
Johannes Fischer, alto recorder
Linda Bangs, baritone saxophone
Christoph von Erffa, violoncello
catalog number 21043
Alois Bröder is a composer who knows how to bring together intellect and belly in his works. He writes pieces which have to be comprehended well for the open-minded listener. As a trained guitarist he has a faible for this instrument whose possibilities he exhausts. He revives the song accompanied with guitar (in the 19th century often usually), possibly in his both haiku cycles which were recorded with the soprano Eva Lebherz-Valentin, the baritone Martin Hummel and Christopher Brandt and published together with other works as Chamber Music with Guitar.
Bröder writes fascinatingly for the respective instruments. The haiku songs are vocal in the disposition and also follow the meaning of the texts. The sounding of the instrumental music is enjoyed thoroughly in an ingenious way, and absorbing connections originate, possibly in the Abbozzi for guitar and piano, whereby the listener is astonished that both instruments fit so well. Similar happens in Drei Spiele for guitar, baritone saxophone and cello.
Heinz Zietsch
(in: Darmstädter Echo, 23.07.2008)
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Friedhelm Döhl Edition Vol. 9
TOMBEAU
Sinfonieorchester des Norddeutschen Rundfunks Hamburg
/ Hans Zender
catalog number 21042
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About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 02/2009
Gustav Mahler
Symphony No. 7
Stuttgart Philharmonic Orchestra
Gabriel Feltz
catalog number 21041
The seventh symphony somehow does not fit in with this commonly held view of the composer. The jubilant tone of the finale, the adulating and tender atmosphere of the nocturne and the modern scurrility of the scherzo seem to be something different and new among his works. “It is my best work and its character is mainly jovial”. This remark by Mahler about his seventh symphony should be seen in contrast to Theodor W. Adorno’s terse judgement of the finale, written in the year of the premiere (1908): “The movement is theatrical: only the canopy above the stage on the all too near fairground is that blue.” Taking Mahler’s optimism seriously? Is that possible?
Annette von Droste-Hülshoff
Da floss ihr grünes Blut. Gedichte
Carola von Seckendorff, concept and recitation
Juliane Ankele, violoncello and composition
catalog number 21040
Tehran Symphony Orchestra live in Osnabrück
Works by Hassan Riahi, Pjotr Tchaikovsky, Nader Mashayekhi
Salar Aghili, voice
Harir Shariatzadeh, daf
Amir Sarraf, Klavier
Tehran Symphony Orchestra
Nader Mashayekhi
catalog number 21036
This Time The Dream's On Me
Scot Weir, tenor
Jan Czajkowski, piano
Catalog number 21034
Scot Weir has made a name for himself especially as a Lied and Oratorio singer. For this recording with the young pianist Jan Czajkowski he withdrew to his house in the Rocky Mountains and recorded American “classics” by Cole Porter, George Gershwin, Harold Arlen and Jerome Kern. The result is a very personal interpretation which shows Weir to be a wonderful performer of popular music as well.
“Jan Czaikowski was certainly not all too challenged as a piano accompanist on this CD. However the arrangements, which are all by him, serve to underline the compositional demands of such ‘entertaining’ pieces. Weir crowns them with the noblesse of a Lied singer, while at the same time giving the production a pronounced ‘American’ feel.“
La note d’or
Verena Rein
Ciurlionis Stringquartet, Vilnius
Sergej Okrusko
Catalog number 21031
Works of the Belle Époque (Ernest Chausson, Guillaume Lekeu, Maurice Ravel, Gabriel Fauré)
for soprano, string quartet and piano
“At the end of the 19th century the French Mélodie managed to break away from foreign, above all, German Lied role-models. French composers sought and found their own language of sound which is marked by a subtle balance and extreme differentiation. This recording with Vera Rein, the Lithuanian Čiurlionis-Quartet and the Ukrainian pianist Sergej Okruško presents all these characteristics of French song with temperament and passion. The vocal works by Chausson, Lekeu and Fauré are rounded off by Ravel’s String Quartet in F major. Just like the performances, the quality of the sound recording is at an exceedingly high level.”
klassika.info
Friedhelm Döhl Edition Vol. 3
Music for open grand piano
Catalog number 21021
CADENZA for 2 open grand pianos
ODRADEK for 2 open grand pianos
7 HAIKU for open grand piano
NACHTFAHRT for open grand piano and drums
Friedhelm Döhl,
Marianne Schroeder, piano
Janos Döhl, drums
Cover by Günther Uecker
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009
L’invitation au voyage
Scot Weir, tenor
Karola Theill, piano
Catalog number 21020
| Henri Duparc: L’invitation au voyage Gabriel Fauré: Dans le foret de septembre, Au bord de l’eau, Claire de lune, Hymne Claude Debussy: Ariettes oubliées Henri Duparc: Phidylé, Chanson triste Francis Poulenc: Tel jour, telle nuit Maurice Ravel: Deux mélodies hébraiques Henri Duparc: La vie anterieure |
Trivium
Hermann Hudde, guitar
Joaquin Turina: Garrotin y soleares; Rafaga
Rubén Riera: Melancolía, Monotonía, Nostalgia
Federico Mompou: Suite Compostelana
Reneé Eespere: Trivium for guitar, flute and violin
with
Burkhard Schmidt, violin
Gary Wolf, flute
Catalog number 21017
”Dear Mr. Hudde, you gave me an enormous surprise. You and your chamber music partners have wonderfully recorded my piece of music Trivium.
Rene Eespere”
”It’s nice to see the three pieces by Rubén’s late father, which I published with Universal Edition 19 (!) years ago. He is rarely remembered now, but as he was a modest man I don’t suppose he feels badly about it!. Minimalism is not my favourite musical idiom, but on hearing Trivium my worst fears proved groundless!. Trivium is a delightful piece with a contemplative stillness that is very north European - not least that of Finland. Sincerely, John Duarte”
... wie ein Cherub aus den Wolken
Hommage à Bettine von Arnim
Lieder and spoken texts (in German language)
Verena Rein, soprano
Axel Bauni, piano
Catalog number 21016
Friedhelm Döhl Edition Vol. 1
Chamber Music
Catalog number 21013
Sound of Sleat. String quartet
Winterreise. String quintet
Bruchstücke zur Winterreise for piano
Notturno for accordion and double bass
LaSalle-Quartet
, Auryn-Quartett, Boris Pergamenschikow, James Tocco, Hugo Noth, Ovidiu Badila
"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'
About the Friedhelm Döhl Edition
"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009
"Performances and supporting documentation are admirable."
Cambridge University Press
„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009
David Geringas - My Recollections
Lithuanian contemporary music for cello and piano
David Geringas, violoncello
Tatjana Schatz-Geringas, piano
Petras Geniusas, piano
Catalog number 21012
Vytautas Barkauskas: Suite de concert, op.98 (1993)
Bronius Kutavicius: Rhythmus – Arhythmus (1993)
Anatolijus Senderovas: Due canti (1993)
Osvaldas Balakauskas: Dal vento (1999)
Mindaugas Urbaitis: Reminiscences (1999)
All recordings made under the supervision of the composer
"My Recolections is a collection of virtuoso show pieces and blissfully tuneful character pieces. These present a richly varied panorama of fine-sounding perspectives and are all marked by the memories of a common past which was corrupted by the political state of affairs." Die Welt
A co-production with the Lithuanian Music Information and Publishing Centre
Edvard Grieg
Romanser. Lieder
Silke Schimkat, alto
Frank-Thomas Link, piano
Catalogue number 21011
Haugtussa op.67 and other Lieder
“As far as the subtlety of her presentation is concerned the contralto can very well compete with Anne Sofie von Otter’s prize winning CD of works by Grieg. … Schimkat’s intensive study of the Norwegian language as well as Franck-Thomas Link’s delicate sounding accompaniment are further plus factors of the production.”
A co-production with Sender Freies Berlin
Works for piano solo by female composers
Judith Pfeiffer, piano
Catalog number 21004
Marianne Martinéz: Sonata in E major
Josepha von Auernhammer: Six variations on a hungarian theme
Fanny Hensel: Notturno g minor
Clara Schumann: Ballade from Soirées musicales op. 6 & Variations on a theme of Robert Schumann, op. 20
Cécile Chaminade: L’Ondine, op. 101
Germaine Tailleferre: Partita
Lili Boulanger: D’un vieux jardin; D’un jardin clair, Cortège
Elena Firsova: Elegie, op. 21
Dorothee Eberhardt: Time changes I-III
“She (Judith Pfeifer) takes the pieces as seriously as they deserve to be taken, attunes herself exactly to the style required and enchants with her naturalness, whereby she lacks nothing in technical competence. She thus makes the rather supercilious world of men aware of composing women and also those who play the piano.”
Sebastian Loskant in Nordwestdeutsche Zeitung