​

Here you can read the full review text:​

Die intensive, konzentrierte Aufnahmezeit im August vergangenen Jahres hat sich für Cappella Murensis/Les Cornets Noirs weidlich gelohnt. Sie haben wiederum tolle Schätze aus dem Frühbarock gehoben, Musik von zwei Zeitgenossen, die unterschiedlicher nicht sein konnten: einerseits der musikalische Globetrotter Georg Muffat, andererseits der Kaiser des Römischen Reiches und große Widersacher Ludwigs XIV., der Habsburger Leopold I. Leopold war Musikliebhaber und ein begabter Komponist. Die eingespielten Sakralwerke unter dem Titel 'Paradisi Gloria' legen Zeugnis vom soliden Handwerk und feinen Geschmack des Herrschers ab.

Cappella Murensis/Les Cornets Noirs bestechen in ihrer Interpretation durch die klare Strukturierung der musikalischen Abläufe, sind stimmlich und instrumental ohne Fehl und Tadel.

Zu echter Hochform laufen beide Ensembles unter der Leitung von Johannes Strobl aber in Georg Muffats 'Missa in labore requies' auf. Der gebürtige Savoyarde hat diese Messe wohl für den Salzburger Dom geschrieben, während seiner Tätigkeit als Domorganist. Muffat nutzt konsequent die architektonische Disposition des Kirchenraumes mit vier Emporen.

Die gleichen Bedingungen bietet die Abteikirche Muri im schweizerischen Aargau, wo die herausragende Aufnahme dieses Meisterwerkes entstand. Die Wucht des Klanges, die musikalische Prachtentfaltung sind schlichtweg überwältigend. Man kann sich diesem packenden Naturereignis nicht entziehen.

Cappella Murensis/Les Cornets Noirs machen hier nicht einfach 'l'art pour l'art', sie ziehen keine Show ab, sondern stürzen sich mit Leib und Seele in diese Musik, deren intimen Momente sie keineswegs verächtlich wegwischen. Gerade in der klugen Balance von strahlender Glaubensverkündigung (etwa zu Beginn des Gloria) und dem Rückzug ins stille Innehalten (Laudamus te) liegt eine der Stärken dieser Produktion.

Die andere Stärke ist die klangliche Ausgewogenheit, die fein aufeinander abgestimmten Vokalparts, das Spiel mit den Klangeffekten, ohne dass die Musik an Transparenz verliert, sich alles in einem einzigen Rausch vermischt - nicht zuletzt auch ein Verdienst der Aufnahmeleiter.

Here we have two magnificent recordings with Capella Murensis and Les Cornets Noirs. The sheer sound experience in Muffat's Missa in labore requies is amazing, and the musical quality is no less convincing: Conductor Johannes Strobl is demonstrating the enormous variety of expressions in all the works on the program. Overall admirable!

​

Musical Transformations for Piano Duo

The latest release of the PianoDuo Takahashi|Lehmann - their third recording for audite - presents transcriptions of pre-existing works as well as new compositions permeated by musical quotations and allusions to the works of other composers. Drawing on musical history, existing works are approached in diverse ways, from using almost original material through to dissolving of the classical understanding of time and tradition.

György Kurtág's arrangements of Bach's chorale preludes and Max Reger's transcription of the Fifth Brandenburg Concerto transfer a piece from one medium (orchestra or organ) to another (piano duo) without changing the original composition; Kurtág chose sacred works, Reger a secular concerto. Kurtág's translations for two pianists were the result of a contemplative immersion in Bach's pieces; Reger managed to retain the concerto character whilst creating a transparent opus for two players at one piano.

Brahms' Haydn Variations and Bernd Alois Zimmermann's Monologues also exist in alternative versions for orchestra, written by the composers themselves. In Zimmermann's case, the two versions differ to such a degree that the second one for two pianos, recorded here, should be considered a new composition - a new, second reflection on the idea of the work and the musical material. Bernd Alois Zimmermann integrated numerous quotations, thus displaying the process of transformation of historic music in his Monologues, as well as showing the tension between sacred and secular music. For Zimmermann, "music about music" does not just mean tracing the long arc of time stretching from Bach's era to our present day, but also separates the traditional understanding of time and epochs out of its linearity.

The PianoDuo Takahashi|Lehmann once again illuminate the multi-faceted cosmos of piano music for four hands at one or two pianos. With their familiar insightful and virtuoso piano technique, the two players manage to combine scholarly programming with passionate expressiveness. Their music-making, both sophisticated and touching, makes even seemingly abstract works accessible to their audience.

​Here you can read some press reports:

​

​

​Watch the video of Sounds of Evolution, the audite debut album of Salaputia Brass.
The CD will be presented in a release event in Hamburg on October 13th, release date is October 14th. The second album Signals from Heaven with Jeroen Berwaerts (trumpet) as a soloist will follow in 2017.

Seven commissioned works, eight world premieres and first recordings - the new pieces for brass ensemble (2015/14) for and with Salaputia Brass are worth listening to at every moment, always enjoyable, and never aloof or elitist. As dedicatees and performers of the works they themselves commissioned, Salaputia Brass significantly enriches the repertoire and range of recordings for brass ensemble. They make use of their many international connections along the way, performing music by Swiss, Catalan, German, Brazilian, British, and American composers, including such renowned composers as Daniel Schnyder and Derek Bourgeois. Consisting of four trumpeters (plus one alternate trumpeter), four trombonists, a French hornist, a tuba player, and a percussionist, the ensemble provides convincing evidence that „today's music" can indeed be fun, and all we can say is: They got rhythm!

The members of Salaputia Brass met already as young musicians while playing for the Bundesjugendorchester (German National Youth Orchestra), before forming the ensemble in 2007. Their success story began when they won First Prize at the Jugend musiziert national competition, continuing with a prize at the International Competition for Brass Ensembles in Passau. Scholarships from the Deutsche Stiftung Musikleben (German Foundation for Musical Life) and Erwin Fricke Foundation followed in addition to numerous concert and festival performances.

Today many of the ensemble's members hold solo positions in such leading German orchestras as the Gewandhausorchester Leipzig, Gürzenich-Orchester Köln, Konzerthausorchester Berlin, Hessisches Staatsorchester Wiesbaden, Philharmonisches Staaatsorchester Hamburg, and Augsburger Philharmoniker.

The remarkable artistic development the musicians and ensemble have undergone can now be heard on their debut CD with audite; their next release is already being planned.

Since 16 years, Sébastien Singer has been the cellist of the Swiss Piano Trio. Because of a long-term ailment of his right wrist, he had unfortunately to leave this position in summer. We are very sorry about this and wish him all the best. We would also like to thank him for the long and nice period together with many successful concerts, many CD recordings and many exciting experiences during our trips! The Swiss Piano Trio found a brilliant successor with cellist Alexander Neustroev who stands for continuity within the change. Alexander Neustroev was a student of David Geringas and was "Best Russian cellist" in the 1997 Rostropovich competition in Paris. One year later, he was awarded a diploma of the Tchaikovsky competition in Moscow and a first prizewinner of the 4th International Australasian Adam Cello Festival & Competition in Christchurch, New Zealand. Since 1999, he is second solo-cellist in the Tonhalle Orchestra in Zurich and has appeared regularly as a chamber musician. We welcome Alexander as a new member of the Swiss Piano Trio and we are looking forward to all projects to come!

A young duo introduces itself. The interpretations of Cheng² Duo are steeped in a rare balance of unfiltered youthful joy and enthusiasm in their playing on one hand, and mature, historically informed, and profound interpretations on the other, commanding attention from the very first note. With their debut CD, Bryan and Silvie Cheng present a panorama of French chamber music written between 1860 and 1916.