Berger/Pushkarev/Beliaev: Bach Frequencies 60-90

What a title? What can the two numbers 60 – 90 mean?
The reference to numbers plays a fundamental role in Bach’s work. Johann Sebastian Bach build an incredible incredible structure and communication into his works on the foundation of numbers, in the spirit of Soli Deo Gloria – Glory to God alone.
All the works on this album are by Johann Sebastian Bach, or have a direct link to him. For example, he arranged the oboe concerto by Alessandro Marcello for solo keyboard, and we use Bach’s ornaments in our performance of it. Piazzolla and Shostakovich make reference to The Well-Tempered Clavier. The main work presented here is Bach’s Concerto in D minor BWV 1052, which he transcribed for his own use as a harpsichord concerto. The original version no longer exists, but was for a string instrument: violin or violoncello piccolo, an instrument Bach used in his cantatas. Julius Berger and Andrei Pushkarev have made an arrangement of this piece for violoncello piccolo, a cello tuned a fifth higher. The orchestral part is played by vibraphone and marimba. The transfer to other instruments corresponds to the practice of Bach himself. A special feature of our recording is the continuous peaceful pulsation of about 60 beats per minute, a rhythm that calms and brings introspection The instrumentation used here reflects our deeper objective: vibraphone and marimba giving the heartbeat, to which the cello crafts a life-melody – keeping the spirit of the works performed but in a modern interpretation. The close relationship between rhythm in the music and human pulse creates an atmosphere in this recording that we believe and hope corresponds to what Bach noted in his Lutheran Bible: ‘Where there is devotional music, God with his grace is always present.’ (Bey einer andächtigen Musique ist allezeit Gott mit seiner Gnaden Gegenwart).
For more than 40 years, it has been impossible to imagine musical life without the Augsburg-born cellist Julius Berger. He is a wonderful interpreter, whom the well-known music critic
Wolf-Eberhard von Lewinski called a ‘prophet of the cello’, after hearing Berger’s second recording of the Bach cello suites. His most recent recording won the prized ‘Supersonic Award’. Andrei Pushkarev (vibraphone) is a permanent member of the Kremerata Baltica Chamber Orchestra in addition to his solo activities. To this day, he has the status of a recognised soloist as well as a principal percussionist of this ensemble. The world-famous violinist Gidon Kremer founded the orchestra in 1997, and since 1999 Andrei has toured the world with Kremerata Baltica, taking part in countless concerts. Pavel Beliaev (marimba) is a freelance musician. In addition to playing as a soloist, he is particularly passionate about playing in chamber music formations. He also plays very often together with the Kremerata Baltica on numerous tours.

Release: 09.04.2021

Voyager Quartet – Boten der Liebe

Artist: Voyager Quartet

Title: Schubert – Boten der Liebe

Catalogue No.: SM 358

Release: 26.03.2021

Description

A string quartet by Richard Wagner or Gustav Mahler? Isn’t that what the music world has always wanted? The Voyager Quartet goes on a soul-searching tour. From „Villa Wahnfried“, sounding love letters, coded messages and secret messages are delivered, written by Richard Wagner and Gustav Mahler, addressed to their muses Alma and Mathilde.

A psychogram in beguiling tones about the unspeakable in those days.

Andreas Höricht, violist of the quartet, who received the highest international acclaim for his transcription of Schubert’s „Winterreise for String Quartet“, goes one step further. Wagner’s Wesendonck Lieder, Mahler’s Piano Quartet, movements and fragments from his 5th and 10th symphonies are „recomposed“ for string quartet – the medium for spiritual messages.

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Jean-Nicolas Diatkine – Beethoven Piano Sonatas

Künstler: Jean-Nicolas Diatkine

Titel: Beethoven Piano Sonatas

Katalog Nr.: SM 344

Veröffentlichung: 26.03.2021

Produktbeschreibung

Jean-Nicolas Diatkine stammt aus einer Familie anerkannter Ärzte und betrachtet das Engagement für Andere als Grundlage seines Berufs. Es schien ihm unmöglich, auf diese Grundhaltung bei seiner Berufsausübung zu verzichten, weshalb er seine künstlerische Entwicklung stets als eine Rückkehr zu den wesentlichen künstlerischen Werten versteht, denen er sich in den letzten dreißig Jahren verschrieben hat.

Gleichzeitig macht er das eingehende Studium und tiefere Verstehen des Narrativs der jeweiligen Komponisten zu einer absoluten Priorität und zu einem unverzichtbaren Schritt vor jeder öffentlichen Aufführung eines Werkes.

Diatkine über Beethoven: Die Notwendigkeit für einen Künstler, die von ihm gespielten Werke verbal zu erläutern, könnte wie eine Versagenserklärung wirken, so als ob die Darbietung der Musik an sich nicht genüge, um das Stück verständlich zu machen.

Goethes Verärgerung über Schuberts Vertonung seiner Gedichte entsprang derselben Kategorie, nur im umgekehrten Sinne: Goethes Ansicht nach war Musik in den Gedichten bereits enthalten. Ebenso schuf Beethoven eine so weite Klangwelt, so durchorganisiert, dass er – so wie im übrigen auch Bach – jeder Form der literarischen Ausdeutung widerstand, wissend, dass es dazu keinerlei Notwendigkeit gab – das Paradoxon der folgenden Präsentation.

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Turban & students – Henri Mateau “24 Capricen for Violin Solo” (2 CDs)

Künstler: Turban & students

Titel: Henri Mateau “24 Capricen for Violin Solo”

Katalog Nr.: SM 348

Veröffentlichung: 12.03.2021

 

Description

If a composer writes 24 caprices for the violin, and if he himself is also a uniquely virtuoso violinist, then a comparison with the 24 caprices by Paganini is inevitable: Henri Marteau was not only appreciated and revered as one of the greatest violinists of his time, but his compositional work was lost in the background. He shared this fate with Niccolò Paganini, who was also experienced during his lifetime more as a “warlock” of the violin than as a serious composer and musician. So, if this comparison is almost inevitable, it must be mentioned that Paganini himself, with his main work published in 1820, also took up the example of other composers, such as the Etudes and Caprices of Rodolphe Kreutzer. The subtitle of Henri Marteau’s Caprices: “d’exécution transcendante” is also very revealing. Moreover, Marteau has his miniatures accompanied throughout by the piano, unlike Paganini, who uses the violin alone.

The violin virtuoso Ingolf Turban considered his own violin class at the Hochschule München predestined for this first recording of all 24 of Marteau’s caprices. So together they dared to do the almost unbelievable: all twelve students in his class were involved in this mammoth task, the absolute peak of which, of course, lies in the very elaborate piano accompaniment. Here he engaged the pianist Tomoko Nishikawa, who confidently took on this mammoth task! Ingolf Turban also described himself as the “13th student”, so to speak, so he took the caprices for his own playing from the “rest”, which for hidden reasons was rather spurned, and gladly took part in it. The present recording is the result of a live concert on 12 December 2017 in the large hall of the Munich Musikhochschule and a smaller event on 7 October 2019.

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Walter Grimmer & 3G-Quartett – Schubert & Racine

Walter Grimmer & 3G-Quartett – Schubert & Racine

Künstler: Walter Grimmer & 3G-Quartett

Titel: Schubert & Racine

Katalog Nr.: SM 331

Veröffentlichung: 04.03.2021

Produktbeschreibung

Der Komponist Philippe Racine über sein ADAGIO Für Streichquintett (2018/2019):

Dieses Adagio für Streichquintett habe ich auf die Anfrage meines Freundes Walter Grimmer komponiert; es sollte im Konzert vor dem grossen Streichquintett in C von Schubert gespielt werden. Was für eine Geschichte! Was für einen Hügel würde ich neben dem Himalaya der Kammermusik gebären? Nun, ich habe eine Musik geschrieben, in der ich versuche, mich selber zu bleiben. Doch der Satz beginnt mit dem Schlusstriller der beiden Celli bei Schubert und immer wieder taucht ein C-Dur Akkord auf, oft filigran, einmal nur sehr explizit. Und ich gebe dem zweiten Cello einige wiederholte Pizzicati zu spielen, ein Bezug auf das Adagio des grossen Österreichers. Ein Geschenk an den Auftraggeber: eine kurze Kadenz des zweiten Cellos, gefolgt von einer Coda, in der die beiden Violinen zwei Oktaven höher die Pizzicati des Anfangs wiederholen. Und der Satz endet mit einem langen tiefen C, welches den Anfang von Schubert einleiten soll. Und hier betreten Sie eine neue Dimension…

Das 3G-Quartett wurde 2014 für eine Reihe von Konzerten und die Aufnahme der zwei Streichquartette von Klaus Huber gegründet. Die grosse Resonanz (Coup de cœur Charles Cros) bewog die vier Musiker weitere gemeinsame Herzensangelegenheiten zu verwirklichen: die Streichquartette von Heidi Baader-Nobs und Werke von Schumann, Haydn und Mozart. Mit der Einspielung der Quintette von Franz Schubert und Philippe Racine schliesst sich ein Kreis. Seit 1965 unterrichtete Walter Grimmer mehr als zwei Generationen junger Cellisten, zuerst an der Hochschule der Künste in Bern, dann bis 2002 an der Zürcher Hochschule der Künste. Er ist Herausgeber der „Kunst des Cellospiels“, des musikalischen Testamentes seines Lehrers Maurice Gendron, wie  auch seiner virtuosen Version des „Pezzo capriccioso“ von Tschaikowsky.

www.dreigenerationenquartett.ch

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Bernard & Adolfsen – Nachklang

Artists: Luca Bernard & Hans Adolfsen

Title: Nachklang

Catalogue No.: SM 341

Release: 26.02.2021

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Description

This is a selection of Lieder by Swiss composers – to give a superficial description of the songs recorded for this album. Making such a selection involves making decisions. What is important? What is essential? Are the chosen songs gems or rarities? Do they exemplify the work of the respective composers?
A selection can be both a winnowing-out and a compilation. Each of these actions applies to the Lieder presented here. The recordings (re)present debut or early works, and also rarely heard works by established composers. This album centres on the “Seven Winter Songs” op. 1 by Hans Schaeuble (1906-1988). The words and music of the Lieder have now appeared in print, and this premiere recording was made in consequence. The music edition of the Sieben Winterlieder Op. 1 is based on a calligraphic manuscript in the Zurich Central Library, which is clearly a fair copy illustrated by Schaeuble’s brother Erich.

The singer Luca Bernard is a study prize winner of Migros Kulturprozent. From the 2019/20 season he became a member of the International Opera Studio at Zurich Opera House.

At the Zurich University of the Arts, pianist Hans Adolfsen has a Lied class together with pianist and composer Daniel Fueter, whose encounters with music and literature have provided him with a new source of inspiration.

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Heinzen & Mead: „Les Six“ – Works by Auric, Durey, Honegger, Milhaud, Poulenc and Tailleferre

Artists: Franziska Heinzen & Benjamin Mead

Title: „Les Six“ – Works by Auric, Durey, Honegger, Milhaud, Poulenc and Tailleferre

Catalogue No.: SM 357

Release: 12.02.2021

Description

Then as now, the music of „Les Six“ is a fascinating kaleidoscope of musical ideas and friendship; an idiosyncratic preciousness full of musical avant-garde, everyday melancholy, profound curiosities, virtuosity and passion that is in need of rediscovery.

The collaborative work „L’Album des Six“ was created in 1920, to which each of the six composers Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc and Germaine Tailleferre contributed a piece. Arranged alphabetically, the album summarises the composers through their connection with various aesthetic ideas, different personalities and lifelong friendship. 100 years later, the „L’Album des Six“ is expanded with corresponding song cycles from their oeuvres: In addition to well-known compositions by Francis Poulenc and Darius Milhaud, the first releases of the song cycles by Georges Auric (1940) and Louis Durey (1920) enrich the CD in a special way.

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Quartett des Kammerorchester Basel: Der Struwwelpeter [Premium Edition]

Artist: Quartett des Kammerorchester Basel 

Title: Der Struwwelpeter [Premium Edition]

Catalogue No.: SM 355

Release: 29.01.2021

Description

Der Struwwelpeter – a (hairy) radio play, played and sung by a quartet of the Basel Chamber Orchestra

„Look, here it is. Fie! The mophead…“ The eight famous stories from the timeless children’s book in witty, theatrical settings and arrangements by Konstantin Timokhine as an audio CD: Directed by Salomé Im Hof, the musicians Ewa Miribung (violin, banjo), Georg Dettweiler (cello), Konstantin Timokhine (horn) and Jan Wollmann (trumpet) from the Basel Chamber Orchestra play, sing and tell the popular stories in a colourful, rhythmic and groovy, profound and poetic way: for young and old, recommended from 5 years on. The four stories „Der böse Friedrich“, „Paulinchen mit dem Feuerzeug“, „Zappel-Philipp“ and „Hans-Guck-in-die-Luft“ were arranged for the CD and extended with the four other stories „von den schwarzen Buben“, „Daumenlutscher“, „Suppen-Kaspar“ and „Zappel-Philipp“. The original chronological order of the original book has been retained, so it is easy to read along and follow the pictures. Between the episodes, questions are asked in short intermezzi – spoken by and for children. Stimulating to form one’s own thoughts and valuable as a mediating aspect of the audio CD!

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Estelle Revaz – Journey to Geneva

Künstlerin: Estelle Revaz & François Killian

Titel: Journey to Geneva

Katalog Nr.: SM 345

Veröffentlichung: 15.01.2021

Produktbeschreibung

Das Genfer Kammerorchester (Orchestre de Chambre de Genève – OCG) zeichnet sein leidenschaftlicher Einsatz für renommierte Genfer Komponisten wie Ernest Bloch, Frank Martin, Emile Jaques-Dalcroze, Xavier Dayer oder auch Michael Jarrell aus. Die Cellistin Estelle Revaz ist seit der Saison 2017-2018 Wahl-Genferin und Artist in Residence beim Genfer Kammerorchester. Für ihre CD BACH & FRIENDS (Solo Musica), die Johann Sebastian Bachs berühmte Suiten für Violoncello solo in den Dialog mit Werken bedeutender Komponisten des 20. und 21. Jahrhunderts setzte, betraute sie den Genfer Komponisten Xavier Dayer mit einer neuen Komposition Cantus II für ihr Instrument.

Die Idee lag natürlich nahe, Frank Martins Werke für Cello und Orchester im Rahmen von Estelle Revaz‘ Residenz beim Kammerorchester aufzunehmen, insbesondere, da Arie van Beek, Generalmusikdirektor des Orchesters, die Verbindung zwischen den Schweizer Ursprüngen des Komponisten und seiner Heimat Holland herzustellen vermochte. Ebenso lag es nahe, eine Komposition von Xavier Dayer mit diesem Programm in Verbindung zu bringen. In der Tat war die Zusammenarbeit zwischen dem Komponisten und der Solistin um das Stück Cantus II für Solocello sehr fruchtbar, die internationale Strahlkraft von Xavier Dayer weitere Legitimation für diese einzigartige Kombination.

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