Isabelle Faust is one of the most impressive violinists of the generation that emerged in the 1990s. She is known for exceptional technique and strong interpretive instincts. She began taking violin lessons when she was five years old. By the time she was in her teens, she studied with the teachers Denes Zsigmondy and Christoph Poppen. She began entering major international competitions and in 1987 won the International Leopold Mozart Competition of Augsberg (Leopold Mozart's hometown). Although she was the youngest entrant, she won the First Prize. In 1990, the City of Rovigo granted her its Premio Quadrivio Prize. In 1993, she entered the Paganini Competition of Genoa and took First Prize, becoming the first German violinist ever to win it. A busy concert career ensued. Over the next few years, she appeared with the Hamburg Philharmonic Orchestra under Lord Yehudi Menuhin, the Berlin Radio Symphony Orchestra, the Munich Chamber Orchestra, the Württemberg Chamber Orchestra Heilbronn, the German Chamber Philharmonic of Bremen, the Royal Liverpool Philharmonic, the Netherlands Philharmonic Orchestra, the Salzburg Camerata, the London Philharmonic, the Radio Symphony Orchestras of Stuttgart, Cologne, Hannover, and Saarbrücken, and the orchestra of the Mozarteum in Salzburg. She made her U.S. debut in 1995 with the Utah Symphony Orchestra under Joseph Silverstein. Faust is also an avid recitalist and chamber musician and has performed in Berlin, Stuttgart, Munich, Paris, Bonn, Bratislava, Brussels, Zürich, Milan, Tokyo, London, and Osaka and locations in the United States and Israel. Among her recital partners have been Clemens Hagen, Pierre-Laurent Aimard, Bruno Canino, Stephen Isserlis, Bruno Giuranna, Boris Pergamenschikov, and Joseph Silverstein. One of her regular partners -- both in performance and in recordings -- is pianist Alexander Melnikov. She has appeared at several major music festivals, including the Lockenhaus, Bad Kissingen, Berlin, Delft, Colmar, Schleswig-Holstein, the Rheingau Music Festival of Wiesbaden, Schwetzingen, Lyon, Sarasota (Florida), and Lanaudière Canada. She made her debut album in 1997, playing the Bartók Solo Violin Sonata and Sonata No. 1 for Violin and Piano, with Ewa Kupiec, on the Harmonia Mundi label. This recording won the Gramophone Award of that year for "Young Artist of the Year," citing her "combination of musical intuition and technical finesse. Harmonia Mundi followed that success by engaging her to record other Bartók violin music, including the Second Violin and Piano Sonata. She recorded the complete Haydn Violin Concertos on the PAN Classics label with the Munich Chamber Orchestra conducted by Christoph Poppen (her former teacher), and planned to record the complete violin sonatas of Robert Schumann. Her instrument, loaned by the Landeskreditbank Baden-Württemberg, is the Stradivarius violin of 1704 known as the "Sleeping Beauty Violin."
2 albums gesorteerd op Best verkocht en gefilterd op Wolfgang Amadeus Mozart
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Concerten voor viool - Verschenen op 28 oktober 2016 | harmonia mundi
Hi-Res Booklet Onderscheidingen Gramophone Record of the Year - Gramophone Award - Choc de Classica - Choc Classica de l'année
"Not another complete recording of Mozart's violin concertos!", some might complain, and in absolute terms they wouldn’t necessarily be wrong. Except that this complete edition is signed by star violinist Isabelle Faust, accompanied by Il Giardino Armonico (who plays on instruments from Mozart’s time, including natural horns, nine-key bassoons, six-key flutes, two-key oboes), and – last but not least – the cadenzas are signed by Andreas Staier, since Mozart has left us no cadenzas for his violin concertos (unlike several piano concertos, as well as his Sinfonia concertante for violin and viola). Far from playing the star, Isabelle Faust prefers to blend in with the whole orchestra, a kind of primus inter pares attitude quite refreshing in this repertoire which, in fact, does not require so much emphasis of the part of soloist – the sound engineering and balance itself favours an overall sound rather than an opposition between solo violin and orchestra. This is a new and very original interpretation, whatever the abundant discography of these works may already be. In addition to the five concertos, Faust plays the three single movements for violin and orchestra – two Rondos and one Adagio – which are actually "spare" movements for one or the other of the concertos written on request for soloists of that time. One wonders what Mozart would have written had he had Isabelle Faust by his side! © SM/Qobuz
Duo´s - Verschenen op 9 november 2018 | harmonia mundi
Hi-Res Booklet Onderscheidingen 5 de Diapason
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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