Neuigkeit Mar 11, 2015 | Wencke Wallbaum News & Rezension & Release "Kulturspiegel" dignifies remastering of audite
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Neuigkeit Apr 17, 2015 | Sabine Wiedemann News Video for Transcriptions and beyond - Works and Transcriptions for Piano Duo
In May audite releases the follow-up album of the PianoDuo Takahashi|Lehmann with works and transcriptions for piano duo. For a preview watch the video with impressions and interviews from the recording session.
The PianoDuo Takahashi|Lehmann combines intellectual programming with passionate expressivity. Original and adaptation - the lines are blurred: in his Concerto for Two Pianos, Stravinsky has the performers appear both as virtuoso soloists and representatives of an imagined orchestra. The composer's arrangement of Le Sacre for four hands is a masterpiece in its own right. Herrmann's Hausmusik turns the relationship between original and arrangement completely upside down, whilst the music which drove Nancarrow to compose for player pianos has been retranslated for four hands by Mikhashoff.
The PianoDuo Takahashi|Lehmann combines intellectual programming with passionate expressivity. Original and adaptation - the lines are blurred: in his Concerto for Two Pianos, Stravinsky has the performers appear both as virtuoso soloists and representatives of an imagined orchestra. The composer's arrangement of Le Sacre for four hands is a masterpiece in its own right. Herrmann's Hausmusik turns the relationship between original and arrangement completely upside down, whilst the music which drove Nancarrow to compose for player pianos has been retranslated for four hands by Mikhashoff.
Neuigkeit Apr 23, 2015 | Sabine Wiedemann News Mandelring Quartett to change line-up for 2015/16 season
After 16 years of collaboration which has been fulfilling both artistically and personally, viola player Roland Glassl has decided to shift his focus to other areas of his musical life from the start of the 2015/16 season. As a new partner the quartet has found Andreas Willwohl who possesses all necessary qualities to continue the collaboration in a positive manner and, at the same time, will enrich the quartet with fresh input.
Andreas Willwohl was principal viola with the Berlin Radio Symphony Orchestra from 2001 to 2012, and in 2011 was appointed professor at the Nuremberg Musikhochschule. Born in Erfurt, he studied in Weimar and Berlin with Alfred Lipka. He received important musical stimulus from Christoph Poppen and Kim Kashkashian and, as a member of the Faust Quartet, further support from Eberhard Feltz, the Amadeus Quartet, the Alban Berg Quartet and the La Salle Quartet. He has won prizes at numerous national and international competitions including the Joseph Joachim Chamber Music Competition in Weimar, the Charles Hennen Competition in Heerlen (Netherlands) and the Concours International de Bordeaux. Andreas Willwohl brings with him 14 years' experience of quartet playing as well as an extensive knowledge of the repertoire.
The Mandelring Quartet looks forward to the coming years with the prospect of exciting projects such as the CD recording of the string quintets and sextets of Johannes Brahms, in which both viola players will be taking part. The two will also be heard together in the context of a Mendelssohn Cycle in the Radialsystem, Berlin, on 13 and 14 November, in a concert that includes the composer's string quintets. Highlights in the diary for the near future include the HAMBACHERMusikFEST, the quartet's festival in Neustadt/Weinstrasse from 3 to 7 June, and appearances at the Festival du Luberon (France) on 16 and 18 August.
Andreas Willwohl was principal viola with the Berlin Radio Symphony Orchestra from 2001 to 2012, and in 2011 was appointed professor at the Nuremberg Musikhochschule. Born in Erfurt, he studied in Weimar and Berlin with Alfred Lipka. He received important musical stimulus from Christoph Poppen and Kim Kashkashian and, as a member of the Faust Quartet, further support from Eberhard Feltz, the Amadeus Quartet, the Alban Berg Quartet and the La Salle Quartet. He has won prizes at numerous national and international competitions including the Joseph Joachim Chamber Music Competition in Weimar, the Charles Hennen Competition in Heerlen (Netherlands) and the Concours International de Bordeaux. Andreas Willwohl brings with him 14 years' experience of quartet playing as well as an extensive knowledge of the repertoire.
The Mandelring Quartet looks forward to the coming years with the prospect of exciting projects such as the CD recording of the string quintets and sextets of Johannes Brahms, in which both viola players will be taking part. The two will also be heard together in the context of a Mendelssohn Cycle in the Radialsystem, Berlin, on 13 and 14 November, in a concert that includes the composer's string quintets. Highlights in the diary for the near future include the HAMBACHERMusikFEST, the quartet's festival in Neustadt/Weinstrasse from 3 to 7 June, and appearances at the Festival du Luberon (France) on 16 and 18 August.
Neuigkeit Apr 28, 2015 | Sabine Wiedemann Release & Artists & Rezension Supersonic for Quartetto di Cremona – Beethoven Complete String Quartets Vol. IV
Read the full length review here:
Ludwig van Beethoven: Complete String Quartets Vol. IV. Quartett F-Dur op. 18/1, Quartett cis-Moll op. 131; Quartetto di Cremona; 1 SACD Audite, 92683, 03/2014 (67'45)
Rezension von Guy Engels
Der mögliche Einbruch bleibt aus. Das 'Quartetto di Cremona' hat den langen Atem, weicht nicht von seiner kompromisslosen, aufwühlenden, packenden Lektüre der Beethoven-Quartette ab. Diesmal haben die vier Musiker das frühe F-Dur-Quartett und das späte cis-Moll-Quartett miteinander konfrontiert. Die zeitliche, vor allem aber die künstlerische Distanz zwischen Opus 18 und Opus 131 ist nicht zu überhören. Dennoch bleibt ihnen eines gemein: die Beethovensche Unrast, die fiebrige Romantik, die emotionale Unwucht. In Opus 18 mag das wohl noch etwas klassisch ummantelt sein. Vor allem der lyrische 2. Satz enthält manche Reminiszenzen an Haydn. Aber auch da setzt das 'Quartetto di Cremona' immer wieder Ausrufezeichen, bricht aus dem wiegenden, wohlgeformten Duktus aus - wie ein Ausbruch aus einem wohlbehüteten Leben, ein Aufbruch zu neuen Ufern. Das Spiel der Cremoneser bleibt immer griffig, zupackend - auch im leichtfüßig und transparent vorgetragenen Schlussallegro.
Opus 131 unterscheidet sich vom Frühwerk schon allein durch die reifere Anlage, durch Beethovens tiefes Durchdringen musikalischer Gedanken, mit denen die Interpreten vollauf im Einklang sind. Dem brillanten Klang im Andante stellen sie in den schnellen Ecksätzen ein vulkanisches Aufbäumen entgegen, ein emotionales Beben, bei dem sich die tiefen Streicher im 7. Satz an einem seelischen Abgrund bewegen. Dem Sog dieser Interpretationen kann man sich kaum entziehen.
Restlessness, feverish romanticism and emotional force characterize the Beethoven performances by Quartetto di Cremona. The four Italians are deeply penetrating the composer's musical thoughts and several times kind of an emotional quake brings the music into ebullition.
Ludwig van Beethoven: Complete String Quartets Vol. IV. Quartett F-Dur op. 18/1, Quartett cis-Moll op. 131; Quartetto di Cremona; 1 SACD Audite, 92683, 03/2014 (67'45)
Rezension von Guy Engels
Der mögliche Einbruch bleibt aus. Das 'Quartetto di Cremona' hat den langen Atem, weicht nicht von seiner kompromisslosen, aufwühlenden, packenden Lektüre der Beethoven-Quartette ab. Diesmal haben die vier Musiker das frühe F-Dur-Quartett und das späte cis-Moll-Quartett miteinander konfrontiert. Die zeitliche, vor allem aber die künstlerische Distanz zwischen Opus 18 und Opus 131 ist nicht zu überhören. Dennoch bleibt ihnen eines gemein: die Beethovensche Unrast, die fiebrige Romantik, die emotionale Unwucht. In Opus 18 mag das wohl noch etwas klassisch ummantelt sein. Vor allem der lyrische 2. Satz enthält manche Reminiszenzen an Haydn. Aber auch da setzt das 'Quartetto di Cremona' immer wieder Ausrufezeichen, bricht aus dem wiegenden, wohlgeformten Duktus aus - wie ein Ausbruch aus einem wohlbehüteten Leben, ein Aufbruch zu neuen Ufern. Das Spiel der Cremoneser bleibt immer griffig, zupackend - auch im leichtfüßig und transparent vorgetragenen Schlussallegro.
Opus 131 unterscheidet sich vom Frühwerk schon allein durch die reifere Anlage, durch Beethovens tiefes Durchdringen musikalischer Gedanken, mit denen die Interpreten vollauf im Einklang sind. Dem brillanten Klang im Andante stellen sie in den schnellen Ecksätzen ein vulkanisches Aufbäumen entgegen, ein emotionales Beben, bei dem sich die tiefen Streicher im 7. Satz an einem seelischen Abgrund bewegen. Dem Sog dieser Interpretationen kann man sich kaum entziehen.
Restlessness, feverish romanticism and emotional force characterize the Beethoven performances by Quartetto di Cremona. The four Italians are deeply penetrating the composer's musical thoughts and several times kind of an emotional quake brings the music into ebullition.
Neuigkeit May 12, 2015 | Sabine Wiedemann News Video for Tientos y Glosas
The video gives impressions of the recording session with Martin Neu (organ) and the ensemble officium (chorals) for Tientos y Glosas. The production presents Iberian Organ and Choral Music from the Siglo de oro, the Spanish Golden Age. Recorded at the organ of San Hipólito Church in Córdoba the works are played on an organ that comes as close as possible to the sound aesthetics of the period during which they were composed.
The Golden Age (Siglo de oro) of Spain began during the rule of Emperor Charles V (1516-1556). Spain's political and economic power also led to an artistic and cultural heyday. The most important musicians of this period included Francisco Correa de Arauxo and Manuel Rodrigues Coelho. During this period, the most important genre in keyboard music was the Tiento. Originally an imitative form, it became a symbol of baroque freedom in the hands of Correa de Arauxo, thanks to his creativity in the use of harmony, rhythm and the art of ornamentation. The art of diminution of a work (Glosas) - the dissolution of the composition in smaller note values - is impressively shown by Correa, too.
The organ of San Hipólito Church in Córdoba was built by Joseph Corchado in 1735. Over the course of the centuries, the organ was subjected to various alterations, but no fundamental changes were made in its structure and disposition. In 2006 the entire instrument was subjected to a complete restoration. The main concern of this careful restoration was to preserve the character and aesthetic of this unique instrument and to restore its originally tuning and temperament. The works recorded here are thus played on an organ that comes as close as possible to the sound aesthetics of the period during which they were composed. The alternating choral singing is interwoven with the sound of the organ, revealing aspects of the vocal writing style of the epoch.
Release date of the production (Germany) is July 3rd 2015.
The Golden Age (Siglo de oro) of Spain began during the rule of Emperor Charles V (1516-1556). Spain's political and economic power also led to an artistic and cultural heyday. The most important musicians of this period included Francisco Correa de Arauxo and Manuel Rodrigues Coelho. During this period, the most important genre in keyboard music was the Tiento. Originally an imitative form, it became a symbol of baroque freedom in the hands of Correa de Arauxo, thanks to his creativity in the use of harmony, rhythm and the art of ornamentation. The art of diminution of a work (Glosas) - the dissolution of the composition in smaller note values - is impressively shown by Correa, too.
The organ of San Hipólito Church in Córdoba was built by Joseph Corchado in 1735. Over the course of the centuries, the organ was subjected to various alterations, but no fundamental changes were made in its structure and disposition. In 2006 the entire instrument was subjected to a complete restoration. The main concern of this careful restoration was to preserve the character and aesthetic of this unique instrument and to restore its originally tuning and temperament. The works recorded here are thus played on an organ that comes as close as possible to the sound aesthetics of the period during which they were composed. The alternating choral singing is interwoven with the sound of the organ, revealing aspects of the vocal writing style of the epoch.
Release date of the production (Germany) is July 3rd 2015.
Neuigkeit May 18, 2015 | Wencke Wallbaum Award & Rezension & Release & Artists audite production nominated for German Record Critics’ Award
The quarterly and annual awards of the German Record Critics' Award (PdSK) are sought-after prices in the German music scene. The winners of the quarterly awards are included in the Quarterly Critics' Choice ("Bestenliste") of the German Record Critics' Award. The lists recommend new releases which merit special attention for the quality of interpretation and for their value to the repertoire. These lists provide a candid picture of new releases which, in the jury's opinion, are of outstanding importance when judged on purely artistic and audiophile grounds.
Neuigkeit May 22, 2015 | Sabine Wiedemann News CD Release Concert Piano Duo Takahashi | Lehmann
Read the newspaper review from the Lippische Landeszeitung here:
Neuigkeit Jun 8, 2015 | Wencke Wallbaum Award & Rezension & Release & Artists Audiophiles Highlight
Here you can read the complete review:
Die frühen Beethoven-Quartette wirken in manchen Aufnahmen - gerade im Vergleich mit den mittleren und späten Werken - noch ein bisschen brav. Nicht so beim Quartetto di Cremona.
Die Streicher aus der Welthauptstadt des Geigenbaus gehen im Quartett op. 18,1 mit einem (typisch italienischen ?) Temperament zur Sache, das den Hörer unmittelbar packt. Umwerfend, wie sich die vier im eröffnenden Allegro gegenseitig befeuern. Im Gesang des anschließenden Adagio sind dann die Leidenschaft und Ergriffenheit, die Beethoven mit der Vortragsbezeichnung „affettuoso ed appassionato" einfordert, so deutlich zu spüren wie in nur wenigen Einspielungen. Das 26 Jahre später entstandene cis-Moll-Quartett op. 131 kommt aus einer ganz anderen Sphäre. Hier hat Beethoven die Formen der klassischen Tradition längst hinter sich gelassen und eine Tonsprache geschaffen, die bis heute nichts von ihrer eigenwilligen, mitunter widerborstigen Rätselkraft verloren hat. Viele Musikhistoriker und Interpreten haben immer wieder den vermeintlich abstrakten und weitabgewandten Charakter des Spätwerks hervorgehoben.
Das Quartetto di Cremona rückt die Musik dagegen in ein sehr menschliches Licht. Auch im cis-Moll-Quartett steht der Ausdruck für die vier Italiener im Vordergrund. Das zeigen sie etwa mit ihrer expressiven Wärme, die den eröffnenden Fugensatz ebenso beseelt wie die Variationenfolge im zentralen Andante, aber auch mit der Leidenschaft, die das ganze Finale vorantreibt wie in einem Höllenritt. Auch ein Komponist, der sein Gehör verloren hat, bleibt ein Mensch aus Fleisch und Blut: So lautet die zentrale und überzeugende Botschaft des Cremoneser Ensembles zu Beethoven. (Marcus Stäbler, Stereo 7/2015)
Die frühen Beethoven-Quartette wirken in manchen Aufnahmen - gerade im Vergleich mit den mittleren und späten Werken - noch ein bisschen brav. Nicht so beim Quartetto di Cremona.
Die Streicher aus der Welthauptstadt des Geigenbaus gehen im Quartett op. 18,1 mit einem (typisch italienischen ?) Temperament zur Sache, das den Hörer unmittelbar packt. Umwerfend, wie sich die vier im eröffnenden Allegro gegenseitig befeuern. Im Gesang des anschließenden Adagio sind dann die Leidenschaft und Ergriffenheit, die Beethoven mit der Vortragsbezeichnung „affettuoso ed appassionato" einfordert, so deutlich zu spüren wie in nur wenigen Einspielungen. Das 26 Jahre später entstandene cis-Moll-Quartett op. 131 kommt aus einer ganz anderen Sphäre. Hier hat Beethoven die Formen der klassischen Tradition längst hinter sich gelassen und eine Tonsprache geschaffen, die bis heute nichts von ihrer eigenwilligen, mitunter widerborstigen Rätselkraft verloren hat. Viele Musikhistoriker und Interpreten haben immer wieder den vermeintlich abstrakten und weitabgewandten Charakter des Spätwerks hervorgehoben.
Das Quartetto di Cremona rückt die Musik dagegen in ein sehr menschliches Licht. Auch im cis-Moll-Quartett steht der Ausdruck für die vier Italiener im Vordergrund. Das zeigen sie etwa mit ihrer expressiven Wärme, die den eröffnenden Fugensatz ebenso beseelt wie die Variationenfolge im zentralen Andante, aber auch mit der Leidenschaft, die das ganze Finale vorantreibt wie in einem Höllenritt. Auch ein Komponist, der sein Gehör verloren hat, bleibt ein Mensch aus Fleisch und Blut: So lautet die zentrale und überzeugende Botschaft des Cremoneser Ensembles zu Beethoven. (Marcus Stäbler, Stereo 7/2015)
Neuigkeit Aug 20, 2015 | Sabine Wiedemann News Video UNESCO Artist for Peace Elisso Bolkvadze
The video gives impressions of the recording session with Elisso Bolkvadze. The Georgian pianist, an UNESCO Artist for Peace and a local hero in her native Georgia, presents Prokofiev's Second Piano Sonata and Schubert's Impromptus D 899 in glowing and lyrical interpretations.
Sergei Prokofiev and Franz Schubert - a highly intelligent combination, highlighting the position of the two composers between tradition and innovation. Prokofiev's sonata oeuvre is signifi¬cantly more present in Russia and the states of the former Soviet Union than in Central Europe where, at best, his Seventh Sonata is only occasionally programmed. Yet with his nine complet¬ed sonatas, spanning his career from his youth up to the period shortly before his death in 1953, Prokofiev created a musical cosmos similar in range to Shostakovich's string quartets. Hailing from the Geor¬gian capital Tbilisi, Elisso Bolkvadze has chosen the Second Sonata (1912), where Prokofiev adopts an incredibly delicate tone which, at the same time, appears aggressive in its motoric energy, reflecting the modernist spirit of the Russian capital of St Petersburg before the First World War.
Elisso Bolkvadze has complemented this with Schubert's four Impromptus D. 899, a popular cycle whose innova¬tion is often underestimated. For, alongside his great piano sonatas, Schubert always put new forms to the test with compact, and sometimes also programmatic, messages. This also holds true for the Impromptus, where pure colour is combined with lyrical, dramatic and gestural aspects.
Georgian pianist Elisso Bolkvadze was selected as a UNESCO Artist for Peace in January 2015. She has won numerous international piano competitions, including the Van Cliburn, Vianna da Motta and Dublin Interna¬tional Piano Competitions. She is regularly invited to perform as a soloist alongside international orchestras, and also gives recitals in major concert halls across Europe and the United States. A superstar in her home country, she was awarded the prestigious national "Medal of Honour of the Georgian Government" in 1993. In 2013, Elisso Bolkvadze founded her own charitable foundation, "Lyra", which supports talented young Georgian pianists. She is the Artistic Director of the Batumi Music Festival in Georgia.
Release date of the production (Germany) is August 14th 2015.
The second audite-album with Elisso Bolkvadze is planned for 2016.
Sergei Prokofiev and Franz Schubert - a highly intelligent combination, highlighting the position of the two composers between tradition and innovation. Prokofiev's sonata oeuvre is signifi¬cantly more present in Russia and the states of the former Soviet Union than in Central Europe where, at best, his Seventh Sonata is only occasionally programmed. Yet with his nine complet¬ed sonatas, spanning his career from his youth up to the period shortly before his death in 1953, Prokofiev created a musical cosmos similar in range to Shostakovich's string quartets. Hailing from the Geor¬gian capital Tbilisi, Elisso Bolkvadze has chosen the Second Sonata (1912), where Prokofiev adopts an incredibly delicate tone which, at the same time, appears aggressive in its motoric energy, reflecting the modernist spirit of the Russian capital of St Petersburg before the First World War.
Elisso Bolkvadze has complemented this with Schubert's four Impromptus D. 899, a popular cycle whose innova¬tion is often underestimated. For, alongside his great piano sonatas, Schubert always put new forms to the test with compact, and sometimes also programmatic, messages. This also holds true for the Impromptus, where pure colour is combined with lyrical, dramatic and gestural aspects.
Georgian pianist Elisso Bolkvadze was selected as a UNESCO Artist for Peace in January 2015. She has won numerous international piano competitions, including the Van Cliburn, Vianna da Motta and Dublin Interna¬tional Piano Competitions. She is regularly invited to perform as a soloist alongside international orchestras, and also gives recitals in major concert halls across Europe and the United States. A superstar in her home country, she was awarded the prestigious national "Medal of Honour of the Georgian Government" in 1993. In 2013, Elisso Bolkvadze founded her own charitable foundation, "Lyra", which supports talented young Georgian pianists. She is the Artistic Director of the Batumi Music Festival in Georgia.
Release date of the production (Germany) is August 14th 2015.
The second audite-album with Elisso Bolkvadze is planned for 2016.
Neuigkeit Jul 7, 2015 | Wencke Wallbaum News & Award & Release & Artists Another nomination by German Record Critic's Awards for audite
The quarterly and annual awards of the German Record Critics' Award (PdSK) are sought-after prices in the German music scene. The winners of the quarterly awards are included in the Quarterly Critics' Choice ("Bestenliste") of the German Record Critics' Award. The lists recommend new releases which merit special attention for the quality of interpretation and for their value to the repertoire. These lists provide a candid picture of new releases which, in the jury's opinion, are of outstanding importance when judged on purely artistic and audiophile grounds.