Description

The title of this SAXISMTANGO album is “Pasión poética” – poetic passion. The cosmopolitan ensemble’s passion is the tango, which the three musicians grew up with in Buenos Aires and Montevideo.

The group adds saxophones and clarinets to the traditional tango instruments bandoneón, guitar, piano and double bass. That creates a unique instrumental sound which largely bears the stylistic stamp of Marcelo Nisinman’s composition and arrangements. Tango songs authentically interpreted by the singer Marcela Arroyo represent another focal point in the album.

Marcelo Nisinman’s comments on his composition INSECTS & HUMANS TANGO (2010):

“The idea came to me one day as I was looking at an anthill at my feet. I realized that there is no major difference between them (the ants) and me, a simple human being.

“Where is the anthill? Below what do I see it? Or could we be part of a greater sub-anthill? Perhaps the only difference between what we call ants and people is the symbolism.

“And the insects began to dance, and music came into my mind, a new tango …”

Description

Vibrant young cellist YuJeong Lee is emerging as a dynamic presence on the international concert stage and is one of the most sought-out Korean cellists of her generation. Ms. Lee’s warm, lush tone, tremendous musical sensitivity and adventurous performances have earned plaudits from audiences, critics, competition juries alike. Having started playing the cello at the age of nine, YuJeong Lee pursued her musical studies internationally at the Conservatoire National Supérieur de Musique de Paris (entering at the age of 15), Conservatoire Royal de Bruxelles, and graduated from The Juilliard School by completing her professional studies where she was a recipient of the Genevieve Hustead scholarship.

Rostock, one of the original members of the Hansaetic League, is the largest city in northeast Germany and the cultural and economic center of the region. Its geographical position as one of the largest harbors on the Baltic Sea has made it a crossroads for centuries.  Scandinavian, Russian and Baltic cultures have met there and intermingled with the traditions of Continental Europe.  Rostock is the home of north Germany’s oldest university, founded in 1418.

Born in 1978 in Vienna, the pianist and conductor Florian Krumpöck is designated General Music Director designate and Principal Conductor of the North German Philharmonic Orchestra and the municipal theatre in Rostock. “Forget Lang Lang and Arcadi Volodos. There are highly virtuosic masters of the keyboard in Austria too.” That was the considered opinion of the daily newspaper “die Presse” on the solo debut of this pianist at the Vienna Konzerthaus venue. The son of a cellist and an art historian was taking piano lessons at an early age with some of the most celebrated pianists of the day, such as Rudolf Buchbinder, Gerhard Oppitz and Elisabeth Leonskaja. The great Daniel Barenboim, after hearing Florian Krumpöck play, declared him simply “a wonderful pianist” and was instrumental in launching his very promising international career.

Description

Born in 1978 in Vienna, the pianist and conductor Florian Krumpöck is designated General Music Director designate and Principal Conductor of the North German Philharmonic Orchestra and the municipal theatre in Rostock. He gave a highly acclaimed solo debut at the Vienna Musikverein in 2008, playing two complete cycles of 32 piano sonatas by Ludwig van Beethoven for the first time.

The German piano manufacturer Blüthner has provided him with his own concert grand for life, and the instrument accompanies him on tours and to recordings.

To date, Florian Krumpöck has released six CDs featuring solo performances of works by Mozart, Schubert, Liszt and Weber.

Description

WORLD PREMIER RECORDING OF ALL BEETHOVEN’S CELLO SONATAS ON DOUBLE BASS (Volume 1)

In 1799 Beethoven himself played the piano part in his Sonata in G minor, Opus 5, no. 2 with the greatest double bass player of the day, Domenico Dragonetti. This fact made a strong impression on me even as a boy, and I dreamed that one day I too might play a Beethoven sonata on the double bass.
Beethoven’s work decisively shaped my musical development and career. I was sixteen years old when I first played a Beethoven symphony, his Seventh, in an orchestra. His music moved me profoundly, and I began to fall utterly and passionately in love with it.

Because of their high level of musical sophistication and the technical difficulties they pose, Beethoven’s works present a formidable challenge to any interpreter. For me, with my innate tendency to perfectionism, there was no question of a superficial approach to the sonatas. Accordingly, even after my first success playing Beethoven’s Sonata in A major, Opus 69 on the double bass in the year 2000, I immersed myself deeply in the details of style and technique and in perfecting my approach, until I arrived at the present outcome. Only at this point, after more than ten years, did I feel that I was sufficiently mature to take on this great project and realize my dream. I was now ready to perform all of Beethoven’s cello sonatas on the double bass.

I hope many people will experience my interpretation of these sublime works as a personal and enriching gift that enables them to feel this music even more profoundly than before.