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Klassiek - Verschenen op 26 juni 2020 | audite Musikproduktion

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Klassiek - Verschenen op 19 juni 2020 | audite Musikproduktion

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Klassiek - Verschenen op 12 juni 2020 | audite Musikproduktion

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Klassiek - Verschenen op 29 mei 2020 | audite Musikproduktion

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Klassiek - Verschenen op 8 mei 2020 | audite Musikproduktion

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The second album by Franziska Pietsch and her Spanish piano partner Josu De Solaun is dedicated to the multifaceted world of French violin sonatas. With their usual aplomb and artistic intensity, the duo explore emotional landscapes complementing those of their previous album. Moving on from the exuberant revelry, serious tragedy and brutal reality of the sonatas by Strauss and Shostakovich, the musicians are now roving between the poles of dream and reality. Real experiences and emotions are reflected in a visionary dream world, external reality is mirrored internally. Inner emotions and images become reality via the music, triggering new emotions: dream and reality mirror each other. Fauré, Debussy, Ravel and Poulenc create this mirror world in diverse ways. The common theme is the fantastical, the magic of imagination, the poetic distance to reality and the intensive engagement with inner emotions. Thus the dream world becomes a retreat for listeners and artists alike. © Audite
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Klassiek - Verschenen op 6 maart 2020 | audite Musikproduktion

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Andrea Lucchesini is discreet and his career is sometimes overshadowed by the other Italian pianists, whose works are more favored by the press. Lucchesini studied under the masterful Maria Tipo. He was one of her most brilliant students, along with Nelson Goerner. In Italy, he performed many concerts and recorded numerous albums. He first achieved recognition with his performance of Luciano Berio’s music, the concerto Echoing Curves in particular that he played under the conduction of the composer himself. Lucchesini also recorded Beethoven’s sonata collection for the label Stradivarius. In recent years, Lucchesini found in Schubert a travel companion that he sometimes refers to as his “true love.” Andrea Lucchesini is fascinated by Schubert and Beethoven, two composers who, at the beginning of romanticism, remained so different. His album, a second volume of recordings, is dedicated to Schubert’s late work. The pieces mark Schubert’s return to sonatas, after a long period of composing lieder. At that time, Schubert and Beethoven lived in the same city. For Lucchesini, Schubert remains a mystery. He left almost no writing. He never settled and no one understood his shyness, constant agitation and latent homosexuality. “Rediscovering his late work has shown me the difference between the artist who entertained his friends and the composer working in solitude, without any hope of being published or performed.” After an album dedicated to the Sonata in A Major, D. 959, Lucchesini returns with Schubert’s ultimate sonata. The composer wrote the piece at the dusk of his life, a life destroyed by sickness and disappointment. Nevertheless, in the midst of tears and sorrows, Schubert still managed to bring smiles into the music. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 februari 2020 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 10 januari 2020 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Klassiek - Verschenen op 4 oktober 2019 | audite Musikproduktion

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Johann Bernhard Bach's four Orchestral Suites, composed for the court orchestra of the cultured duke of Saxony-Eisenach, are amongst the most varied and sophisticated musical works of the high baroque period in Middle Germany. It was not by chance that Georg Philipp Telemann, a one-time Kapellmeister at Eisenach, commented retrospectively: "I have to praise this orchestra, arranged for the most part according to the French style, for it surpassed the very famous Parisian opera orchestra". From 1703, Bernard Bach was engaged as harpsichordist in this noble orchestra. His Orchestral Suites provide the only surviving "soundtrack" of the illustrious musical life at the Eisenach court during the 1710s and 20s. And what a soundtrack: cosmopolitan, and truly European, with sparkling virtuosic brilliance, as if written by a fiery Italian, whilst displaying the elegant taste of a noble Frenchman. In other words, the "mixed taste", for which the best German composers of the late baroque period were famous, in its finest form. Little wonder then that Bernhard Bach's suites became core repertoire for Johann Sebastian Bach's Leipzig Collegium Musicum, also influencing his compositions. All this provides sufficient motivation for the Thuringian Bach Collegium to continue their exploration through the Middle German courts for their second recording and, with unbridled enthusiasm in their music-making, to bring these jewels of the early Thuringian orchestral music back to life. Bon Appétit! © Audite
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Symfonische muziek - Verschenen op 6 september 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 6 september 2019 | audite Musikproduktion

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Klassiek - Verschenen op 6 september 2019 | audite Musikproduktion

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The Trio Lirico has programmed three composers who lived and worked on the Eastern side of the Iron Curtain until 1989: for Franziska Pietsch and Sophia Reuter this is music which - paraphrasing Goethe - they "search with their souls". "As children, we both lived in East Berlin and were close friends already", Franziska Pietsch explains about her violist colleague. "We therefore share personal history, a similar style of playing and a similar non-verbal way of communicating about this music. We just feel it". This personal form of perception, into which the Bremen cellist Johannes Krebs blends empathetically, is not irrelevant for this music which becomes accessible not just via the text but also to a high degree via the cultural and political environment in which it was written. Of course Krzysztof Penderecki (b.1933), following the political liberalisation of Polish music from 1956, had the opportunity to tie in with avant-garde developments in the West and to create his very own and unique modernism. On the other hand, his generational colleague Alfred Schnittke (1934-1998) and the older Mieczysław Weinberg (1919-1996) had, until the end of the Soviet Union, to assert their music in the face of massive harassment from the authorities which, in Weinberg's case, went as far as being arrested for anti-Semitic reasons. Born in Warsaw, Weinberg, who fled to the Soviet Union during the Second World War, kept in close contact with his friend and mentor Dmitri Shostakovich. Nonetheless, Weinberg's music is entirely unique, and his string trio of 1950 strikes a balance between popular tunes and references to Yiddish music. Alfred Schnittke, who found it hard gaining acceptance on account of his (Volga) German and Jewish heritage, composed his trio in 1985 for the birthday of his illustrious colleague Alban Berg - and, shortly after completing the work, suffered a life-threatening stroke, retrospectively lending this work a tragic note. The most recent work recorded here is by Poland's most eminent living composer, Krzysztof Penderecki: in 1991 he wrote his string trio as a great improvisation for three performers with a strict and wild fugue. © Audite
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Liederen (Duitsland) - Verschenen op 6 september 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or
The grace and natural charm of her iridescent, silvery soprano voice was inescapable: Edith Mathis shaped the Mozart sound of her time. But her performances of the Bach passions, Haydn oratorios, as Ännchen in Weber’s Der Freischütz or as Sophie in Strauss’ Der Rosenkavalier were met with equal enthusiasm. She also set the benchmark as a song recitalist, including in the summer of 1975 in her home city of Lucerne. © Audite
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Klassiek - Verschenen op 2 augustus 2019 | audite Musikproduktion

Hi-Res Booklet
In the history of music, György Kurtág is a figure apart. Born in Hungary in 1926, he stood aside from the great ideological movements of his time and created his own personal language in solitude, thinking of music as he put it, "as an ongoing search". But while doggedly independent, he was also a man of culture whose language developed in the shadow of two great teachers: Bartók and Beethoven, the former following on largely from the latter. A champion of the small form, Kurtág also drew inspiration (when he wasn't revisiting them explicitly) from Bach, Schubert and Schumann.This thrilling album offers a journey through the composer's private world, with pieces that take in song (a leitmotif of his oeuvre), violin, cimbalom and double bass – instruments of Hungarian folk tradition.From the poetic highlights of Stsenï iz romana ("Scenes from a novel on poems by Rimma Dalos") sung in Russian, to the Homage to his friend, the painter Berényi Ferenc, this perfectly-performed recording follows the trail of a particularly secret and captivating composer. The Eight Duets for Violin and Cimbalom, Op.4 are taken in hand by a Hungarian virtuoso playing one of his favourite instruments, the cimbalom, which is at once typical of Magyar culture and a link to the medieval psalter. The Seven Songs, Op.22 evoke Japanese haikus through their brevity and content, and conjure up the stunning final image of a snail ascending Mount Fuji. Egy Téli alkony emlékére ("In memory of a Winter evening") is a very expressive and moving rendering of long evenings spent at the fireside.The Russian poet Rimma Dalos summed up Kurtág's personality: "Kurtág always chose the minimalist and the romantic. The poetry of the small form, the aphorism, a weightlessness which is at the same time very weighty. To speak without saying it all, to graze but not break, to penetrate without betraying." We couldn't put it better. © François Hudry/Qobuz
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Klassiek - Verschenen op 5 juli 2019 | audite Musikproduktion

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Klassiek - Verschenen op 7 juni 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Andrea Lucchesini’s career continues discreetly in the shadow of more mediatized Italian pianists. The star pupil, like Nelson Goerner, of the great Maria Tipo, Lucchesini has invested a lot of his time into concerts and recording. After becoming known for his interpretations of Luciano Berio’s music, in particular his concerto Echoing Curves directed by the composer himself, he has recorded the integrity of Beethoven’s sonatas for the label Stradivarius.Over the last few years, Lucchesini has concentrated on Schubert, “my great love”, he calls him. These two very different composers on the cusp of romanticism fascinate Andrea Lucchesini who presents here his first volume dedicated to the late works of Schubert. These works were written at a time when the composer of Lieder returned to composing sonatas amidst greats like Beethoven who also coincidentally lived in the same town.For Lucchesini, Schubert remains an enigma. The man left behind almost no written documents, he never stayed put in one precise residence and no one could understand his shyness, agitation, nor his latent homosexuality. “Rediscovering his final works”, says Andrea Lucchenini, “showed me the difference between the artist who entertained his friends and the composer who worked in solitude without any prospect of being published nor played.” Such solitude that longs to break free can be heard clearly in this album, particularly in the interpretation of Andantino of Sonata D. 959 through which troubling phantoms move. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 3 mei 2019 | audite Musikproduktion

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After forays to Spain and France, the Cheng2 Duo ventures to Russia for their third audite album. The "Süddeutsche Zeitung" described Bryan and Silvie Cheng's last CD, dedicated to Spanish music, as an "event of austere and severe, but also dreamy beauty", and praised the siblings' interpretation for "finding the correct idiom which manages to raise the temperature". Their new double album centres on the three great sonatas for cello and piano by Dmitri Shostakovich, Sergei Rachmaninov and Sergei Prokofiev. The Cheng2 Duo contrasts these with a series of shorter pieces by Anton Arensky, Piotr Ilyich Tchaikovsky and Alexander Glazunov. This comprehensive programme represents a short history of Russian cello music which began with the foundation of the great music conservatoires in Saint Petersburg and Moscow in the middle of the nineteenth century. Cellist Bryan Cheng is hailed internationally for his "absolutely astonishing" (La Presse, Montréal) command of the cello, and "abundant facility, innate musicality, and sense of joy" (New York Concert Review). He made his solo debut at age 10 with the Orchestre de chambre I Musici de Montréal, his Carnegie Hall recital debut at 14, and most recently, his Elbphilharmonie solo debut with the Deutsche Kammerphilharmonie Bremen and conductor Joshua Weilerstein in 2018. Lauded for her "extraordinarily varied palette" (WholeNote Magazine) and "purely magical" playing (New York Concert Review), pianist Silvie Cheng illuminates musical works with her exquisite touch at the keyboard. Since her Carnegie Hall solo debut in 2011, she has performed as both soloist and collaborative pianist across the globe. As guest soloist with orchestra, Silvie most recently made her debut with the New Amsterdam Symphony Orchestra in 2018 and will debut with Symphony Nova Scotia in the 2019-20 season. © Audite
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Kamermuziek - Verschenen op 5 april 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 5 april 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 8 maart 2019 | audite Musikproduktion

Hi-Res Booklet
As a reflection of the rise of a young 23-year-old musician with a bright future, Richard Strauss’ Violin Sonata in E-flat major, Op. 18 dates back to 1887-1888. As a protégé of Hans von Bülow who saw in him the great musician of the future, the young man made his debut as a conductor, an activity he would combine with composing throughout his life. Strauss studied the piano and the violin; here, he uses them both to purely expressive ends, dismissing any vain attempt at virtuosity. The writing is lyrical above all else, as evidenced by the harmonic and melodic turns that clearly prefigure his later lyrical works’ expression and convoluted melisma. Shostakovich’s Sonata for Violin and Piano in G major, Op. 134 is the complete antithesis of Strauss’. Composed in 1968 as a 60th-birthday present for great violinist David Oistrakh, it is the work of a sick composer, partially paralysed and suffering from lung cancer due to smoking. Accused of “formalism” and taxed as “enemy of the people” by Soviet leaders, Shostakovich wrote a painful, austere piece, the implacable and tragic confession of his own sadness. Born in the GDR in 1969, violinist Franziska Pietsch studied in Germany, then at the Juilliard School in New York before perfecting her craft with Ruggiero Ricci and Zakhar Bron. Her partner, Spanish pianist Josu de Solaun, has won several international prizes (Valencia, New York, Prague, Bucharest) and performs all around the world. © François Hudry/Qobuz

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