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Concerten voor viool - Verschenen op 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Chouchane Siranossian is a rising star of the baroque and classical violin, Jakob Lehmann a virtuoso violinist and orchestral director who frequently conducts Anima Eterna. Together, they embody what the Bruges orchestra and its founder, Jos van Immerseel, have decided to call the ‘Next Generation Anima Eterna’... Today they are presenting Mendelssohn’s Violin Concerto in its original version. “We wanted to take a look into Mendelssohn’s workshop. He struggled with his self-diagnosed ‘revision disease’ and always strove to work hard on himself and his creations” says Jakob Lehmann. Chouchane Siranossian keeps on : “It was a fascinating experience for me to discover historical research and its implementation on period instruments in collaboration with Anima Eterna Brugge. In my interpretation, I used exclusively the fingerings, bowings and other performance markings of Ferdinand David and Joseph Joachim, both of whom rehearsed the work with the composer.” This recording is rounded off with the Octet, also in its original version, which is longer and has many alterations in instrumentation, harmony and articulation... © Alpha Classics
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Concerten voor viool - Verschenen op 22 juni 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 8 juni 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
The press is already in a spin about it: "The new Menuhin"; "a star is born"; "the enchanted bow"... Daniel Lozakovich, 17 years old, might have his head in the stars, but he has his feet firmling on the ground. He is shaping a dazzling career with stunning maturity. Born in Sweden to a family from the former USSR, he learned violin in 2007, at the age of 6. Two years later, he would play his first concerto, conducted by Vladimir Spivakov. There then followed the difficult quest to find a teacher who would "not change my musicality, but make me stronger." Daniel Lozakovich currently lives in Geneva, where he works with Eduard Wulfson, a private tutor that he met at the Verbier Festival. It was also at this festival, which showcases young talents, that the teenager met Valery Gergiev, who immediately took him under his protective and liberating wing. Signed to Deutsche Grammophon (DG), Daniel Lozakovich would soon record Beethoven's Concerto in D Major with his mentor, "a work whose structure is so clear", he said, "but whose music is so difficult". Daniel Lozakovich listened to a lot of records to perfect his playing and his musical knowledge. He learned a lot from listening to the great masters of the past, in particular Bruno Walter, who charmed him with his sense of detail, and the sound he gets from his orchestra, as well as his poetic phrasing. This preference says a lot about this very young musician, who we discover here on his first record, dedicated to Bach. Listening to the Second Partita (with its brilliantly-structured Chaconne) and the Concertos in E Major and A Minor, we are won over straight away by the solidity of his concept, the great beauty of the sonority with its long phrases and a discourse which is constantly expressive. His parents, who are not remotely musicians, would have preferred for him to be a great tennis player, but fate had other plans for this strong-willed teenager with a dazzling smile. © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 8 juni 2018 | Claves Records

Hi-Res Booklet
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Concerten voor viool - Verschenen op 1 juni 2018 | DOREMI

Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 4 mei 2018 | Accent

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Josef Mysliveček (1737-1781) also known as "Il Divino Boemo" (The Divine Bohemian) was one of the most celebrated opera composers in Italy in the 1770s. His instrumental works - symphonies, concertos, octets, quartets, and trios - were as popular as his vocal music. Certain features of his melodic style reflect his Bohemian origins, and Mysliveček's influence on contemporaries was significant. A close friend of the young Wolfgang Amadeus Mozart and a musical influence on him, Mozart described his character as "full of fire, spirit and life". All nine of the Mysliveček violin concertos that survive in complete form were probably written in a short period during the late 1760s and early 1770s when the composer maintained close contacts with the city of Padua and the composer and violinist Giuseppe Tartini. As a representative of Italian traditions that extended back to the early eighteenth century, Mysliveček’s violin concertos are all cast in three movements of the pattern ‘fast-slow-fast’. “From this music one can hear that the author was also a superb opera composer: the quickly alternating themes are well defined in character, whether sounding serious or boisterous, pleading or alluring, questioning or majestic, friendly or imperious. Figuratively, we find ourselves on the opera stage.” (Leila Schayegh) © Accent/Note-1
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Concerten voor viool - Verschenen op 27 april 2018 | Berlin Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz
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Concerten voor viool - Verschenen op 27 april 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
In 1994 John Adams composed his Violin Concerto, a work of breath-taking virtuosity written in an exhilarating and strongly rhythmic tone, sign that it was partly conceived for the New York City Ballet; even if the first movement is somewhat reminiscent − with its dreamlike atmosphere as well as fluid and elusive harmonies – of Berg’s Violin Concerto. It’s worth noting that the orchestra, in addition to its traditional elements, features a strong percussion section as well as two synthesisers that further add to the piece’s dreamlike and uncharted hue. That same year, violinist Leila Josefowicz (born in 1977) made her debut at Carnegie Hall in a concerto by Tchaikovsky conducted by Marriner: a big leap into what was to become an established international career. And it’s precisely for Josefowicz, small world indeed, that Adams wrote his dramatic symphony Scheherazade.2 for violin and orchestra: the bond between the soloist and the master is undeniably strong, and her interpretation couldn’t be more faithful to Adam’s original idea. © SM/Qobuz
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Concerten voor viool - Verschenen op 13 april 2018 | Ondine

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 9 maart 2018 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
The almost complete disappearance of Hjalmar Borgström’s music from the repertoire is fully explainable by reasons not related to the quality of the music, but rather concerning a mismatch between the composer and the dominating trends in Norwegian music. Like Grieg in the preceding generation, Borgström went to study in Leipzig as from 1887. However, in contrast to Grieg who returned from Germany firmly resolved to carve out an authentic, Norwegian idiom, Borgström remained in Germany for a long time, immersing himself in the aesthetics of contemporary music there. When he returned to Norway for good in 1903, he was a staunch proponent of new German symphonic music. This conviction – or rather, his lack of interest in developing a national idiom – hampered his career in Norway. Grieg himself reportedly expressed bafflement at the phenomenon of a younger Norwegian composer, so obviously gifted and well trained as a musical craftsman – but with nothing specifically ‘Norwegian’ about his music. Borgström’s Violin Concerto was first performed at the 1914 Jubilee exhibition, a celebration of the centenary of the Norwegian constitution. A cultivation of national identity in the 1800s had developed into a near frenzy around the time the union with Sweden was dissolved in 1905. The cultural climate was thus very much in favour of presenting new Norwegian music, and the concerto was well received. It did not establish itself in the repertoire, however, receiving only a few performances in the following decades. The concerto is in the conventional three movements and, in keeping with its neutral title, does not have any explicit programme. Shostakovich’s First Violin Concerto was composed a few decades later than Borgström’s Concerto. This work too is marked by the uneasy fit between its composer and his environment. The difficulties Shostakovich experienced at the time were quite literally a matter of life and death. The post-war years saw the official denouncement of music containing ‘formalistic distortions and anti-democratic trends alien to the Soviet people’, in the words of the infamous decree by Zhdanov from 1948. Shostakovich, Prokofiev and others – that is, almost every composer of any significance in the Soviet Union – were accused of negating the basic principles of classical music. Shostakovich’s reaction to the Zhdanov doctrine was to follow two paths simultaneously. In public, he wrote ‘light’ music and film scores, works that paid the bills and would cause no problems with the authorities. In private, he composed the music that he wanted to write, music that met his own high artistic and intellectual standards but would have no chance of being performed in public. The First Violin Concerto falls decisively into the second category. A champion of Norway’s rich musical tradition, Eldbjørg Hemsing has been performing on some of the world’s most prestigious stages since the age of 11, when she made her solo début with the Bergen Philharmonic Orchestra. Her star rose when she gave a globally televised performance at the Nobel Peace Prize Ceremony in Oslo. A regular guest soloist with some of the world’s top ensembles, she is honoured to count the MDR Leipzig Radio Symphony 8 Orchestra, NDR Radiophilharmonie Hannover, RTÉ National Symphony Orchestra (Ireland), Netherlands Symphony Orchestra, Oslo Philharmonic, Norwegian Radio Orchestra, Czech National Symphony Orchestra and Hong Kong Philharmonic Orchestra among her most active orchestral partners. © SM/Qobuz
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Concerten voor viool - Verschenen op 1 januari 1953 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Concerten voor viool - Verschenen op 1 januari 1955 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 étoiles de Classica
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Concerten voor viool - Verschenen op 13 oktober 2017 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Following Sergei Prokofiev’s works for violin and piano, Franziska Pietsch now presents an album featuring both Violin Concertos of the Russian composer, with whose oeuvre and idiom the artist – a former promising star of the GDR – has felt at home ever since her youth. Alongside Cristian Măcelaru and the Deutsches Symphonie-Orchester Berlin she presents a thrilling new recording. The two violin concertos represent two phases in, and two sides of, Prokofiev’s life and work. The first was written during an era of early successes, stylistically and temporally close to his Symphonie classique, but not premiered until he was in exile. The second mirrors the itinerant existence of his life as a musician in exile, but also his longing to return to Russia. © Audite
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Concerten voor viool - Verschenen op 25 augustus 2017 | harmonia mundi

Hi-Res Booklet
After the mystical Hebrides Overture and the masterly ‘Reformation’ Symphony, Mendelssohn embarked on his second violin concerto. After a long gestation in which he polished the orchestration and meticulously revised the solo part, the work was finally premiered in Leipzig in 1845. From David to Joachim, several virtuosos honed the violin part with the composer over successive revivals, leaving posterity traces of their playing style: fingerings, bowings, performance marks. This precious heritage has been scrutinised here for previously unexploited expressive resources. Isabelle Faust, accompanied by the Freiburger Barockorchester in top form under the direction of Pablo Heras-Casado, offers us a miracle of purity and lyricism in this freshly minted interpretation that fulfills Mendelssohn’s promise of ‘a concerto to make the angels rejoice in heaven’! © harmonia mundi
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Concerten voor viool - Verschenen op 21 april 2017 | Orchid Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 23 december 2016 | Neue Meister

Hi-Res Booklet
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Concerten voor viool - Verschenen op 25 november 2016 | Neue Meister

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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
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Concerten voor viool - Verschenen op 18 november 2013 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Le Choix de France Musique - Hi-Res Audio
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Concerten voor viool - Verschenen op 2 maart 2009 | naïve classique