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Yours, Andreas Otto Grimminger

Vol. 02: The most beautiful Concert Highlights 1999

Track

Cover
EUR 19,00
The 20th Anniversary of the Maulbronn Monastery Edition
The most beautiful Concert Highlights
from Maulbronn Monastery 1999

The 50th Anniversary of the Maulbronn Monastery Concerts
Anniversary Series, Vol. 2

Highlights from:
Franz Schubert: String Quartet No. 14 in D Minor, D. 810 "Death and the Maiden" (July 3, 1999)
Franz Danzi: Wind Quintet in G Minor, Op. 56, No. 2 (September 4, 1999)
George Frideric Handel: Samson, HWV 57 (September 25 & 26, 1999)
The Choral Music Release: "The Tradition of the Liturgy of the Hours" (October 1999)
Live recordings from the church of the UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 100 Minutes
Digital Album (here: MP3/320kBit/sec.) · 23 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Maulbronn Monastery Edition - A Series by Josef-Stefan Kindler and Andreas Otto Grimminger, K&K Verlagsanstalt, Germany

W

e have been documenting for 20 years the concerts at the UNESCO World Heritage Maulbronn Monastery. The concerts supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Josef-Stefan Kindler & Andreas Otto Grimminger, K&K Verlagsanstalt

Schubert: Death and the Maiden

The String Quartet No. 14 in D Minor, D. 810 "Death and the Maiden" by Franz Schubert (1797-1828)

"Der Tod und das Mädchen" ("Death and the Maiden") by Franz Schubert gives us dramatic, passionate elation paired with an alarmingly serene wisdom. It was composed during Schubert's late phase (1826-28), which also includes such works as the song-cycle Winterreise ("A Winter's Journey"). Schubert's dance of death, based on the poem by Matthius Claudius poem, inspires few clear moments of comfort and confidence, and then only in a major key variation and in the Trio. There is nothing programmatic about it, even though the listener is granted considerable insight into Schubert's frame of mind in his later years.

Wind Quintet in G Minor, Op. 56, No. 2 by Franz Danzi a.o.

The Wind Quintet in G Minor, Op. 56, No. 2 by Franz Danzi (1770-1827)

Franz Danzi, a contemporary of Beethoven, is the son of the Italian cellist Innocenzo Danzi, a member of the famous Mannheim court orchestra under Johann Stamitz. Already at the age of 15, Franz Danzi joined the orchestra as cellist. In 1798, after spending several years traveling with his wife, the singer Margarethe Marchand, to other European countries, Danzi was appointed vice conductor to Munich, where he premiered for example his opera "Iphigenie in Aulis". From 1807 to 1812 Franz Danzi worked as a court conductor and teacher of the Royal Institute of Art in Stuttgart, before he followed a call to Karlsruhe in 1812, where a new court theater was built in the classicist style shortly before. Under his leadership in Karlsruhe he conducted Weber's "Freischütz" as well as works by Mozart, Beethoven and Cherubini. The wind quintet in g minor, op. 56/2, was written during Danzi's time in Karlsruhe. Like the other two works of op. 56, this quintet is dedicated to his composer colleague Anton Reicha, who lived in Paris during that time. As with all of his wind quintets, Danzi strictly uses here to the four-movement sequence. A particular focus lies on the minuet. It has a remarkably fast tempo and has stripped the last bond to the typical court-dance-movements. In addition, there is room for a trio with customary folk music intonations.

Handel: Samson

Samson by George Frideric Handel (1685-1759)

Immediately after the "Messias", which was created within the 24 days between august, 22. and september, 14. 1741, Händel started to compose "Samson." At october, 29. 1741 he finished the last act, which means that those two biggest oratories, the "Messias" and "Samson," came into being within ten successive weeks only. Samson's dramaturgical fundament comes from the book "judges" of the bible. John Milton, England's most important baroque poet, has formed his epos "Samson Agonistes" by following freely the outlines of the bible. Newburgh Hamilton transformed it for Händel's oratory. It descibes the betrayal, the remorse and the victory of Samson, the israelean army commander, whose power grew with his hair, as the legend tells us. The work starts one year after the capture and blinding of Samson, when the priests of the pagan god Dagon are celebrating their greatest triumph. In his last struggle Samson, accompained by his father Manoah and his friend Micah, has to stand the temptations of the seductress Dalila and the giant Harapha, which are both followers of god Dagon and his priests. When his strenghs returns, Samson smashes the pillars of Dragon's temple and buries the enemies and himself under the rubble. Come, come and liter your moaning now, for our hero, Samson, died as Samson. In death and life winner, he gave ruin to our enemies, never ending glory to himself.... This live recording of Samson is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composer's lifetimes (this performance is tuned in a' = 415 Hz).

The Tradition of the Liturgy of the Hours

The Tradition of the "Liturgy of the Hours" (Liturgia Horarum)

The tradition of horary prayers (particularly Complet) is still cultivated for certain occasions today at the Evangelical Seminary, supporter of the cloister concerts and the Maulbronn Chamber Choir. It therefore stands to reason that the liturgical form of the horary prayers be transfused to a musical, clerical programme. Of course, it is not possible to feature the complete horary prayer texts as choir compositions. In such, the programme's concept is based on the adoption of integral liturgy components from every horary prayer by textually identical or paraphrased choir compositions. Each horary prayer contains an hourly text, a psalm prayer, and a canticle from the New Testament. The programme implies particular suspense by posing 19th century compositions vis-à-vis stylistically contrary 20th century compositions and monophonic orthodox cantos.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

Franz Schubert (1797-1828):

String Quartet No. 14 in D Minor, D. 810

"Death and the Maiden"

performed by the Amati Quartet:
Willi Zimmermann & Katarzyna Nawrotek (Violin)
Nicolas Corti (Viola) · Claudius Herrmann (Cello)
on July 3, 1999

1. I. Allegro [11:50] · 2. II. Andante con moto [10:33]
3. III. Scherzo: Allegro molto [3:39] · 4. IV. Presto [8:43]


Franz Danzi (1770-1827):

Wind Quintet in G Minor, Op. 56, No. 2

performed by the Berlin Chamber Consort (Kammervereinigung Berlin):
Iris Jess (Flute) · Gudrun Reschke (Oboe) · Alexander Roske (Clarinet)
Bodo Werner (French Horn) · Mathias Baier (Bassoon)
on September 4, 1999

5. I. Allegretto [3:46] · 6. II. Andante [4:31]
7. III. Menuetto allegretto [2:39] · 8. IV. Allegretto [2:37]


George Frideric Handel (1685-1759):

Samson

The English Oratorio HWV 57,
performed according to the traditions of the time
by the Maulbronn Chamber Choir
and the Monastery Baroque Orchestra,
conducted by Jürgen Budday
on September 25 & 26, 1999
Words by Newburgh Hamilton

9. Overture [4:21]

10. Act 1: This day, a solemn feast to Dagon held [0:35]
Recitative of Samson
Soloist: Mark Le Brocq (Tenor)

11. Act 1: Awake the trumpet's lofty sound [1:53]
Chorus (Priests and Worshippers of Dagon)

12. Act 1: Then long eternity shall greet your bliss
Joys that are pure, sincerely good
[6:04]
Air of Micah
Soloist: Michael Chance (Countertenor)

13. Act 2: Return, O God of Hosts [13:36]
Air of Micah with Chorus of Israelites
Soloist: Michael Chance (Countertenor)

14. Act 2: With plaintive notes and am'rous moan [4:32]
Air of Dalila
Soloist: Sinéad Pratschke (Soprano)

15. Act 3: With thunder armed, great God, arise [2:59]
Chorus of Israelites

16. Act 3: Proceed we hence to find his body [0:40]
Recitative of Manoah
Soloist: Raimund Nolte (Bass-Baritone)

17. Act 3: A Dead March [3:20]
for Orchestra

18. Act 3: The body comes [0:51]
Recitative of Micah
Soloist: Michael Chance (Countertenor)
There shall all Israel's valian youth resort
Recitative of Manoah
Soloist: Raimund Nolte (Bass-Baritone)

19. Act 3: Let the bright Seraphim in burning row [2:58]
Air of Israelitish Woman
Soloist: Sinéad Pratschke (Soprano)

20. Act 3: Let their celestial concerts all unite [2:54]
Chorus of Israelites


Choral Music, A Cappella:

The Tradition of the Liturgy of the Hours

(Liturgia Horarum)

performed by the Maulbronn Chamber Choir,
conducted by Jürgen Budday
in October 1999

21. Laudate omnes gentes [3:28]
by Anonymous

22. Verleih' uns Frieden gnädiglich, WoO 5, MWV A 11 [1:41]
by Felix Mendelssohn (1809-1847)

23. Bleib' bei uns, denn es will Abend werden [3:31]
Evening Song (No. 3) from 'Geistliche Gesänge', Op. 69
by Josef Gabriel Rheinberger (1839-1901)



Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography: Josef-Stefan Kindler

Artwork & Coverdesign: Josef-Stefan Kindler

Vol. 01: The most beautiful Concert Highlights 1998-1999

Track

Cover
EUR 16,15
The 20th Anniversary of the Maulbronn Monastery Edition
The most beautiful Concert Highlights
from Maulbronn Monastery 1998-1999

The 50th Anniversary of the Maulbronn Monastery Concerts
Anniversary Series, Vol. 1

Highlights from:
George Frideric Handel: Jephtha, HWV 70 (September 26 & 27, 1998)
Charles Gounod: Messe solennelle de Sainte-Cécile, CG 56 (June 12 & 13, 1999)
Gioacchino Rossini: Stabat Mater, IGR 67 (June 12 & 13, 1999)

Live recordings from the church of the UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 80 Minutes
Digital Album (here: MP3/320kBit/sec.) · 16 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Maulbronn Monastery Edition - A Series by Josef-Stefan Kindler and Andreas Otto Grimminger, K&K Verlagsanstalt, Germany

W

e have been documenting for 20 years the concerts in the UNESCO World Heritage Maulbronn Monastery. The concerts supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Josef-Stefan Kindler & Andreas Otto Grimminger, K&K Verlagsanstalt

George Frideric Handel: Jephtha

JEPHTHA by George Frideric Handel (1685-1759)

Jephta was Handel's last work of great dimensions. It was written in 1751 in London. It was performed for the first time at Covent Garden at february, 26. in 1752. Händel's last dramatical work was in the same time the most poetic of his oratories. The tension is not created by action but by the inner aspect of Jephta's unsolvible solitude. Expelled from Gilead by his half-brothers, he grows up in exile and becomes a godfearing army commander, while Gilead is suppressed by the Ammonites. After 18 years of slavery, the eldest of Gilead ask Jephta to free them from their tyrants. As army commander, Jephta swears his god Jehova to sacrifice to him the first creature he will meet after victory. He can't see that it's his own daughter Iphis to take this burdon upon her shoulders. The desperation of Jephta, mother Storge and lover Hamor is met by the courage of Iphis, who comes to show herself as a true heroine. The tragical conflict of the sacrifice of his own daughter is turned to a good end, inspite of the outlines of the old testament. The music is of an overwhelming forcefulness and beauty. Jephta's importance is based in the first place on the imposing choir scenes. The choir has double function: at one hand he takes part in action actively, on the other hand he stays in the backround and comments on the story. Jephtha is the illegitimate son of the Israelite leader, Gilead. On Gilead's death (over eighteen years before the action begins) Jephtha was scorned and thrown out of Israel by his half-brothers. He has been living in Tob with his wife, Storgè, and their daughter, Iphis, who was born in exile. Soon after Jephtha's exile the Ammonites attacked Israel and began a long and bitter war.
Act One: The Israelites have been at war with the Ammonites for the past eighteen years. All their military leaders have been killed, and the people have begun to turn away from Jehovah and worship false gods. In desperation they ask the exiled Jephtha to return and lead their forces in a final offensive against the Ammonite occupation. Jephtha agrees to lead the army on condition that he is allowed to lead the country if he wins the battle. The Israelites, led by Jephtha's half‑brother, Zebul, agree to his demand. He says goodbye to his wife and daughter. Iphis then says goodbye to the Israelite, Hamor, to whom she is engaged and who will fight alongside her father in the forthcoming battle. Jephtha is worried about the outcome of the battle and privately makes a deal with God: if he returns victorious, he will sacrifice the first living thing that he sees on his return. Meanwhile his wife is afraid that some misfortune will happen, and is comforted after a nightmare by her daughter and servants. Jephtha, who has failed to secure a peace by treaty, prepares his Israelite forces for the battle.
Act Two: Hamor informs Iphis of her father's victory, and describes the miracle of the battle, in which an army of angels signalled the enemy's defeat. She asks her servants to prepare to welcome her father back. Jephtha returns triumphant and commends the bravery of his officers, Zebul and Hamor, but says that God deserves the real credit for the victory. Iphis then appears unexpectedly to greet her father with her servants. Jephtha is horrified to realize that it his daughter who is the subject of his rash promise to God. He is forced to tell everyone of his vow, and all try to persuade him to change his mind. He refuses. Iphis herself convinces him that she will go ahead with the with the sacrifice for the sake of her country and family. The community wrestles with the nature of the goodness of a God who asks for the murder of a child.
Act Three: Jephtha, his wife and the community prepare for Iphis's sacrifice. She is very frightened and says goodbye to everyone. The whole community appeals to God for guidance. Just as Iphis is being dragged off to her death an angel appears and forbids the sacrifice to proceed: Iphis must dedicate herself to a life of chastity and the service of God. Jephtha and the community thank God for sparing Iphis's life. Storgè and her servants prepare for Iphis to leave. lphis and Hamor say a final goodbye to each other. Everyone tries their best to rejoice at the happy and strange end to their troubles, and the peace which Jephtha's military leadership has secured.
This live recording of Handel's Jepthta is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, tuned in the pitch, which was customary during the composer's lifetime (this performance is tuned in a' = 415 Hz).

Charles Gounod: Messe solennelle and Gioacchino Rossini: Stabat Mater

MESSE SOLENNELLE DE SAINTE-CÉCILE by Charles Gounod (1818-1893)

Charles Gounod has become famous for his opera "Margarete" above all. It is hardly known that his first passion was clerical music. The "Messe solennelle de Saint-Cécile" is worth to be called the most beautiful among his numerous clerical compositions. The work is distinguished by a maze of marvellous melodies, an extremly lined-up orchestra and the harmonious interconnection of solists and choir. The first staging of the mass was in November, 22. 1855 at St. Eustache in Paris. Gounod wrote the work for the celebration of St. Cecile, who is the patroness of clerical music. With certain instinct he combined the dramatic counterparts of clerical music and motifs and melodies of the Grand Opera. The plain covering figures of the orchestra above all give a uniform mood to the sets of the mass, which manifests itself in sacral dignity.

STABAT MATER by Gioacchino Rossini (1792-1868)

Heinrich Heine described Ronssin's Music as "deeply experiences and yet naive, adequate to the enormous martyrdom but in the same moment childlike". He felt gracefulness within the very terror and thus understood its visionary character. Only after his carrer as an opera composer, Rossini turned to clerical music. In his compositions he used to mix up traditionel stiles with opera-like gesture to mark the dramatical content of the lyrics. According to the Italian tradition of clerical music Rossine devided the mediaeval sequenz of "Stabat Mater" clearly into solo- and ensemble-sets. The "Stabat Mater" covers as well opera-like as traits of clerical music: sweeping melodies and drifting rhythms combine with sections, composed in old stile.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

George Frideric Handel (1685-1759):

Jephtha

The English Oratorio HWV 70,
performed according to the traditions of the time
by the Maulbronn Chamber Choir
and the Monastery Baroque Orchestra,
conducted by Jürgen Budday
on September 26 & 27, 1998
Words by Thomas Morell

1. Overture [4:18]

2. Act 1: It must be so - Pour forth no more [4:45]
Accompagnato & Air of Zebul
Soloist: Stephen Varcoe (Bass)

3. Act 1: No more to Ammon's god and king [3:12]
Chorus of Israelites

4. Act 1: Dull delay, in piercing anguish [3:53]
Air of Hamor
Soloist: Charles Humphries (Countertenor)

5. Act 2: In glory high, in might serene [3:10]
Chorus

6. Act 2: Why is my brother thus afflicted? [1:09]
Recitative of Zebul
Soloist: Stephen Varcoe (Bass)
O Zebul, Hamor and my dearest wife
Recitative of Jephtha
Soloist: Julian Podger (Tenor)

7. Act 2: First perish thou - Let other creatures die [2:27]
Accompagnato & Air of Storgè
Soloist: Melinda Paulsen (Mezzo-Soprano)

8. Act 3: Waft her, angels, through the skies [3:23]
Air of Jephtha
Soloist: Julian Podger (Tenor)

9. Act 3: Ye house of Gilead, with one voice [3:31]
Chorus of Israelites

Charles Gounod (1818-1893):

Messe solennelle de Sainte-Cécile, CG 56

performed by Svetlana Strezeva (Soprano),
Willi Stein (Tenor), Nikita Storojev (Bass),
the Maulbronn Cantor Choir
and members of the SWR-Symphony-Orchestra Baden-Baden & Freiburg,
conducted by Jürgen Budday
on June 12 & 13, 1999

10. Kyrie: Kyrie eleison, Christe eleison [5:17]
for Soloists (STB), Choir and Orchestra

11. Credo: Credo in unum Deum [12:59]
for Soloists (STB), Choir and Orchestra

12. Offertorium [3:39]
for Orchestra

13. Agnus Dei: Agnus Dei qui tollis peccata mundi [5:02]
for Soloists (ST), Choir and Orchestra


Gioacchino Rossini (1792-1868):

Stabat Mater, IGR 67

performed by Svetlana Strezeva (Soprano),
Jolanta Michalska-Taliaferro (Mezzo-Soprano),
Willi Stein (Tenor), Nikita Storojev (Bass),
the Maulbronn Cantor Choir
and members of the SWR-Symphony-Orchestra Baden-Baden & Freiburg,
conducted by Jürgen Budday
on June 12 & 13, 1999

14. Introduzione: Stabat Mater dolorosa [10:04]
for Soloists (SSTB), Choir and Orchestra

15. Quartetto: Sancta Mater, istud agas [6:44]
for Soloists (SSTB) and Orchestra

16. Finale: In sempiterua saecula. Amen. [6:16]
for Soloists, Choir and Orchestra



Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography: Josef-Stefan Kindler

Artwork & Coverdesign: Josef-Stefan Kindler

Royal Christmas: Joy to the World

Track

Cover
EUR 16,75
Royal Christmas
Joy to the World

Baroque Christmas at the English Court,
performed according to the traditions of the time by the Ensemble Nel Dolce

Works by Henry Purcell (1659-1695), George Frideric Handel (1685-1759),
Nicola Antonio Porpora (1686-1768), Nicola Matteis (1650-1713),
John Dowland (1563-1626), Heinrich Ignaz Franz von Biber (1644-1704),
Gottfried Keller (1650-1704), Pierre Prowo (1697-1757) & Arcangelo Corelli (1653-1713)

Stephanie Buyken (Recorders & Vocals) · Olga Piskorz (Violin)
Harm Meiners (Cello) · Flóra Fábri (Harpsichord)

HD Recording · DDD · Duration: 58 Min. 02 Sec.
Digital Album · 29 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Castle Concerts

In castles and palaces - Romance through the centuries

Castles and fortresses, kings and dukes have always stimulated the imagination and stand for romance through the centuries. Aristocrats and lords of the manor as patrons of arts, the emotional music culture at the courts and legendary castles are programmatical subjects, which dedicates the series "Castle Concerts" from many aspects. The fact, that romance in music encompasses much more than the so named epoch, makes many of the compositions from different centuries and their interpretation by outstanding artists, which are presented in this series, palpable.
Listen to that also in the concert here. The fact, that even Baroque composers put a lot of emotion into their mostly formal rigorous compositions, can be experienced during our festive Advent concert. The concert, titled "Royal Christmas - Joy to the World", provides an insight into the music culture at the English court during the Baroque period, when all kind of musical art in Europe was unthinkable without the king's and ruler's role as patron of arts. The German landgraves of Hessen-Homburg has also encouraged arts. But above all, they have left us with the castle church in Bad Homburg vor der Höhe a wonderful place, where the four musicians of the ensemble "Nel Dolce" virtuosly performed strongly different compositons on reconstructed historical instruments. Let yourself be carried away to a glorious time and enjoy baroque joie de vivre.
Decisive for the conception of this concert was a performance schedule, which could have sounded like this or similar like this at the English court in London as a Christmas concert at the time of the High-Baroque era. Almost without exception, composers were selected, who were either born in England or emigrated from other European countries to London to create and perform in this cultural metropolis during the Baroque period. At that time London's cultural life was characterized by a mixture of many different regional music styles of Europe, brought by many immigranted musicians and composers from numerous countries (especially from France, Italy and Germany) from their homeland. The various Christmas aspects in the selected compositions are expressed, among other things, by the selected keys, which had a strong meaning in the Baroque period. The bow spans from D Major as a happy-shining key over the contemplatively warm key F Major (the Baroque musician Johann Mattheson wrote: "The noblest and highest feelings are as simple as the feelings of a beautiful person, who succeeds everything.") to B-Flat Major, which Mattheson ascribes the affects "joyful", "great" and "with sweet modesty".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

Henry Purcell (1659-1695)
1. Prelude in D Major [1:52]
for Recorder, Violin, Cello & Basso Continuo

George Frideric Handel (1685‐1759)
Trio Sonata in F Major, Op. 2 No. 4, HWV 389
for Alto Recorder, Violin & Basso Continuo
2. I. Larghetto [2:08] ~ 3. II. Allegro [2:50]
4. III. Adagio [2:15] ~ 5. IV. Allegro [1:59]
6. V. Allegro [2:11]

George Frideric Handel (1685‐1759)
7. Joy to the World [1:34]
for Soprano, Violin & Basso Continuo
Lyrics by Isaac Watts (1674-1748)

Nicola Antonio Porpora (1686-1768)
Cello Sonata No. 1 in C Major
for Cello, Violin & Basso Continuo
8. I. Amoroso [1:40] ~ 9. II. Allegro [1:54]
10. III. Tempo giusto [1:43] ~ 11. IV. Allegro [2:40]

Nicola Matteis (1650‐1713)
12. Sonata "Ad imitatione della Trombetta" in D Major [4:52]
for Recorder, Violin, Cello & Basso Continuo
from: "The Second Book of Aires for two Violins & Bass"

John Dowland (1563-1626)
13. Awake sweet love thou art return'd [2:57]
for Soprano, Violin & Basso Continuo
No. 19 from "The Firste Booke of Songes or Ayres"

Heinrich Ignaz Franz von Biber (1644‐1704)
14. Sonata III in B Minor, C 92 "The Nativity" [5:43]
from the "Mystery Sonatas" for Violin & Basso Continuo

Gottfried Keller (1650-1704)
Trio Sonata in B-Flat Major
for Recorder, Violin & Basso Continuo
15. I. Adagio - Allegro [1:49] ~ 16. II. Allegro [1:16]
17. III. Adagio [1:25] ~ 18. IV. Allegro [1:00]

Arcangelo Corelli (1653-1713)
Concerto Grosso in G Minor, Op. 6, No. 8
"Fatto per la Notte di Natale" · "Christmas Concerto"
for Alto Recorder, Violin & Basso Continuo
19. I. Vivace - Grave [1:13] ~ 20. II. Allegro [2:27]
21. III. Adagio - Allegro - Adagio [3:02] ~ 22. IV. Vivace [1:00]
23. V. Allegro [2:00] ~ 24. VI. Pastorale ad libitum: Largo [3:48]

Pierre Prowo (1697-1757)
25. IV. Presto from the Trio Sonata in D Minor, Twv 42:d10 [1:43]
for Alto Recorder, Violin & Basso Continuo
(formerly attributed to Georg Philipp Telemann)

26. Applause [0:49]



A concert recording to "Direct 2-Track Stereo Digital HD"
from the church of Bad Homburg Castle in Germany, December 14th 2014,
recorded, released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in cooperation with Volker Northoff

Concert Date: December 14, 2014

Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography: Josef-Stefan Kindler

Artwork & Coverdesign: Josef-Stefan Kindler

Review

An inspired performance, perfectly coordinated

OUVERTURE - Das Klassik-Blog, December 2017

Bach: Brandenburg Concerto No. 2 in F Major, BWV 1047

Track

Cover
EUR 2,85
Johann Sebastian Bach:
Brandenburg Concerto No. 2

in F Major, BWV 1047

Performed by the Wolfgang Bauer Consort

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery (Germany)

HD Recording · DDD · Duration: 10 Min. 38 Sec.
Digital Album · 3 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Johann Sebastian Bach

T

he Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: "Six Concerts à plusieurs instruments") are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt,in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era.
In the Brandenburg Concerto No. 2 in F Major, BWV 1047, the trumpet part is still considered one of the most difficult in the entire repertoire, and was originally written for a clarino specialist, almost certainly the court trumpeter in Köthen, Johann Ludwig Schreiber. After clarino skills were lost in the eighteenth century and before the rise of the historically informed performance movement of the late twentieth century, the part was usually played on the valved trumpet. The clarino does not play in the second movement, as is common practice in baroque era concerti. This is due to its construction, which allows it to play only in major keys. Because concerti often move to a minor key in the second movement, concerti that include the instrument in their first movement and are from the period before the valved trumpet was commonly used usually exclude the trumpet from the second movement. The first movement of this concerto was chosen as the first musical piece to be played on the Voyager Golden Record, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes. The third movement served as the theme for William F. Buckley, Jr.'s Firing Line.

From Wikipedia, the free encyclopedia

Performer(s)

T

he Wolfgang Bauer Consort was founded in 1994. Its primary occupation is the performance of authentic Baroque chamber music pieces. The English Baroque term "Consort" accurately describes an ensemble comprising one or two soloists and a continuo of cello and harpsichord. The Consort's open structure provides the fundament for the comprehensive array and musical diversity of this performance in the monastery church, whose outstanding acoustics and atmosphere are able to document the complete range of Baroque virtuosity. An addition is the Sanssouci Trio, a work written by Bernhard Krol especially for the Wolfgang Bauer Consort. The piece underlines the flexibility and power of musical expression of this traditional ensemble in many genres, up to and including contemporary compositions.
Wolfgang Bauer, the winner of, among others, the Munich ARD competition, is one of the leading international trumpet soloists. He is a professor at the Stuttgart University of Music and Performing Arts and has had consecutive engagements as solo trumpeter with the Munich Philharmoniker, the Frankfurt Radio Symphony Orchestra and Bavarian Radio's Symphony Orchestra.
Together with the basso continuo (figured bass), Thomas Strauss on harpsichord and Clemens Weigel on cello, the three form the basis of the Consort who are joined by two or three high strings, depending on the piece. Sebastian Hamann, the first concert master of the Frankfurt Opera and professor in Lucern has performed as soloist with, among others, the Opéra de la Bastille and the Cologne Philharmonic Orchestra. He can be heard here as first violin and as soloist on Johann Sebastian Bach's Sonata no. 3. Ingrid Albert from the Frankfurt Radio Symphony Orchestra on the viola and the violinists Verena Sommer, Gerhard Urban with Thomas Jauch, the solo contrabassist for the Bavarian State Opera, Munich, round off, depending on the piece, the needs of the string section. Ingo Goritzki, professor at the Stuttgart Conservatory and soloist with many orchestras and chamber music ensembles such as Villa Musica and the Stuttgarter Bläserakademie, can be heard here as oboe soloist on the Bach Concert in A Major. The multiaward winning flautist, Heidrun Laukemann, performed regularly for four years with the German Symphony Orchestra. Today, she is a freelance teacher and performer.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Release Type: Work Albums

Torelli: Trumpet Sonata in D Major, G. 1

Track

Cover
EUR 2,85
Giuseppe Torelli
Trumpet Sonata in D Major, G. 1

The Sonata in D Major for Trumpet, 2 Violins, Viola & Basso continuo
by Giuseppe Torelli (1658-1709),
performed by the Wolfgang Bauer Consort

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery (Germany)

HD Recording · DDD · Duration: 7 Min. 27 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

320 kBit/sec.

Performer(s)

T

he Wolfgang Bauer Consort was founded in 1994. Its primary occupation is the performance of authentic Baroque chamber music pieces. The English Baroque term "Consort" accurately describes an ensemble comprising one or two soloists and a continuo of cello and harpsichord. The Consort's open structure provides the fundament for the comprehensive array and musical diversity of this performance in the monastery church, whose outstanding acoustics and atmosphere are able to document the complete range of Baroque virtuosity. An addition is the Sanssouci Trio, a work written by Bernhard Krol especially for the Wolfgang Bauer Consort. The piece underlines the flexibility and power of musical expression of this traditional ensemble in many genres, up to and including contemporary compositions.
Wolfgang Bauer, the winner of, among others, the Munich ARD competition, is one of the leading international trumpet soloists. He is a professor at the Stuttgart University of Music and Performing Arts and has had consecutive engagements as solo trumpeter with the Munich Philharmoniker, the Frankfurt Radio Symphony Orchestra and Bavarian Radio's Symphony Orchestra.
Together with the basso continuo (figured bass), Thomas Strauss on harpsichord and Clemens Weigel on cello, the three form the basis of the Consort who are joined by two or three high strings, depending on the piece. Sebastian Hamann, the first concert master of the Frankfurt Opera and professor in Lucern has performed as soloist with, among others, the Opéra de la Bastille and the Cologne Philharmonic Orchestra. He can be heard here as first violin and as soloist on Johann Sebastian Bach's Sonata no. 3. Ingrid Albert from the Frankfurt Radio Symphony Orchestra on the viola and the violinists Verena Sommer, Gerhard Urban with Thomas Jauch, the solo contrabassist for the Bavarian State Opera, Munich, round off, depending on the piece, the needs of the string section. Ingo Goritzki, professor at the Stuttgart Conservatory and soloist with many orchestras and chamber music ensembles such as Villa Musica and the Stuttgarter Bläserakademie, can be heard here as oboe soloist on the Bach Concert in A Major. The multiaward winning flautist, Heidrun Laukemann, performed regularly for four years with the German Symphony Orchestra. Today, she is a freelance teacher and performer.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Digital Music Albums:

Online-Musik-Alben:

Performers, Series & Composers:

Künstler, Reihen & Komponisten:

Periods, Specials & Formats:

Epochen, Specials & Formate:

Release Type: Work Albums

Mozart: All Chamber Piano Concertos

Track

Cover - Mozart: All Chamber Piano Concertos
Cover - Mozart: Piano Concerto No. 11Cover - Mozart: Piano Concerto No. 12Cover - Mozart: Piano Concerto No. 13Cover - Mozart: Piano Concerto No. 14
EUR 13,30
Wolfgang Amadeus Mozart
All Chamber Piano Concertos

The 4 Piano Concertos by Wolfgang Amadeus Mozart,
which were originally composed for Piano & String Quartet,
performed by Christoph Soldan (Piano) and the Silesian Chamber Soloists (String Quintet)

Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 11 in F Major, K. 413 · Piano Concerto No. 12 in A Major, K. 414
Piano Concerto No. 13 in C Major, K. 415 · Piano Concerto No. 14 in E-Flat Major, K. 449
Recorded live in two concerts to 'Direct 2-Track Stereo Digital HD'

HD Recording · DDD · Duration: 1 Hour / 26 Min. / 29 Sec.
Digital Double Album · 12 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
MozartMozart

"The concertos are just the medium between being too heavy and too light - they are very brilliant - pleasant to hear - certainly without falling into the void - here and there it is possible for the connoisseur alone to get satisfaction - but such - that the laymen can be contented without knowing why."
Mozart about the three concertos for piano K. 413, K. 414 and K. 415
in a letter to his father on December 28th, 1782

"I have to write in great haste, as it is already half past six, and for six o'clock I have ordered some people for making a little music; (...) now, two concertos are still missing for the Suscription Concertos."
Mozart in a letter to his father on December 28th, 1782

H

aving provided us with magnificent examples of concertos for stringed and wind instruments, Mozart reaches the ideal conception of a concerto with his piano concertos. They are the high point and peak of his instrumental producing. In Mozart's piano concertos two equal forces are facing each other that are really able to compete. They are therefore essentially his very unique creation. The piano concertos K. 413 - 415 and K. 449 were the first in a row of 17 momentous concertos created in Vienna and consequently founding his fame as virtuoso to the Viennese audience. The double possibility given to the performance, of either playing full orchestra, with oboe and horn (in the C-Major also with timpani and trumpet) or just with string quartet shows the flexibility he wanted to produce.
The concerto in C-Major K. 415 is the most splendid one. The second movement Mozart first planned in C-Minor, but he gave up this intention in favor of a light, jaunty movement in F-major. Nevertheless, there is a slight reminiscence to this original minor movement in the concerto's last movement: the vivid six-quaver beat with his appeal to the Papageno-motif is interrupted two times by a melancholic insertion in c-minor. The concerto in E-Flat-Major K. 449 is the first composition registered by Mozart in his own catalogue of works that he started in February 1784. It belongs to the most accomplished works of Mozart's music, with his latent, but dramatic dynamic and its depth that goes beyond the diverging antagonism of musical forces.
The piano concertos of Mozart never seem to touch the border of the socially appropriate - how could it, being designed to be acclaimed. But even so, it opens the doors to tell about the dark and the bright, the serious and the cheerful, the deepest - to lead its audience to a higher level of knowledge. The audience that is to deal with Mozart's piano concertos is the best there is.

Christoph Soldan

Performer(s)
Christoph Soldan

T

he pianist Christoph Soldan (born 1964) studied under the Professors Eliza Hansen and Christoph Eschenbach at the Hamburg Musikhochschule. His break-through to active international concert playing came in a tour with Leonard Bernstein in summer 1989. About Christoph Soldan, the world-famous director said, "I am impressed by the soulful size of this young musician". Since then, Soldan has played in numerous tours with renowned orchestras across Europe and abroad. In particular, this can be seen in the CD recordings of all of Mozart's piano concertos, which were performed and recorded from 1996 until 2006. A tour of piano evenings took place in Mexico and other countries in Central America in October 1997. In August 1998 he debuted in Salzburg and in the Chamber Music Hall of the Berlin Philharmonic, and in May 1999 in the Leipzig Gewandhaus. In March 2000, there were three piano evenings in Japan. So far, there have been radio and television productions with the Hessische Rundfunk, Frankfurt, Deutschlandfunk, SWR, ORF and ZDF. The Bayerische Rundfunk broadcasted his piano evening in the Munich Residenz in October 1998 and his concert in the Bad Brückenau music festival live in 1999. Radio Bremen braodcasted his recital in Bremen in August 2002. Starting in 1996 Soldan was performing all 27 piano concertos by Mozart together with the slovakian chamber orchestra "Cappella Istropolitana", the "Chamber Orchestra of Pforzheim" and the "Silesian Chamber Orchestra" Katowice. This cycle of concerts ended in January 2006, performing the concertos for 2 and 3 pianos. Christoph Soldan developed a "pas de deux for piano and dance", together with his wife, the dancer and choreographer Stefanie Goes. The première took place in Stuttgart in May 2000. In Spring 2001 he participated the Prague Spring Festival accompanied by the slovakian chamber orchestra "Cappella Istropolitana". Two recitals in Hamburg and Berlin were followed by a live-recording of two Mozart piano concertos in the medieval monastery of Maulbronn in September 2002. In January 2004 the première of the new dance project "something about humans and angels" took place in Stuttgart followed by a concert-tour to South Africa. Since 2007 Soldan is working also as a conductor concerning the performances of piano concertos by Bach and Mozart. Christoph Soldan will be guesting in Germany, Italy, Spain, Austria, Poland and Slovakia with various programmes such as recitals, literary concerts, children's concerts, as soloist with 5 of Mozart's piano concertos, Schumann's piano concerto, mendelssohn's doubleconcerto, Chopin's e-minor concerto as well as in chamber music programmes with Brahm's piano quintet op. 34 and Schubert's "trout" quintet. Since 1994 Christoph Soldan was artistic director of the "Schubertiade auf Schloß Eyb". In 2007 together with his wife Soldan founded a theatre in the north of Baden-Württemberg between Stuttgart and Heidelberg, where all artistic programmes are taking place since then. The German press describes Christoph Soldan as an artist personality who works with the spiritual intensity and soulful dimension of a piece of music, rather than giving a purely technical virtuoso performance. This challenge to music and to himself is rarely seen today.

Silesian Chamber Soloists

T

he Silesian Chamber Soloists are the section leaders of the Silesian Philharmonic Orchestra in Katowice (Śląska Orkiestra Kameralna). All of them are outstanding soloists, who studied on several music-universities in Poland and Germany. In 1993 the ensemble has been founded as a quartet first and was enlarged later by an additional doublebass position. The high level of artistic performance made the quintet to the leading chamber ensemble in Silesia. Concert tours have been organized to various festivals within Poland and other European countries. The Silesian Chamber Soloists performed with great success in the "Schleswig-Holstein Musik Festival", "MDR Musiksommer" and the "Rheingau Musik Festival". Cooperations were made with outstanding conductors and soloists, such as Krzysztof Penderecki, Yehudi Menuhin, Valery Gergiev, Christoph Eschenbach, Justus Frantz, Pinchas Zuckerman, Maxim Vengerov, Mscislav Rostropovich and Christoph Soldan. One special feature does result from the fact, that the concertmaster of the ensemble, Dariusz Zboch, is not only a very gifted violinist but at the same time arranging pieces of music. His last work has been published on two CD productions, a cycle of arrangements of the solid goal hits from the 60th and 70th concerning the songs of Procol Harum, Queen, Pink Floyd, Elvis Presley, The Beatles, Abba and Deep Purple. This true "cross-over-project" is combining popular music with works of the classical repertoire.
Dariusz Zboch (Violin) · Jakub Łysik (Violin) · Jarosław Marzec (Viola)
Katarzyna Biedrowska (Cello) · Krzysztof Korzeń (Double Bass)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

Disc 1

Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 11
in F Major, K. 413
1. I.: Allegro [8:45]
2. II.: Larghetto [6:50]
3. III.: Tempo di Menuetto [4:59]

Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 12
in A Major, K. 414
4. I.: Allegro [9:47]
5. II.: Andante [6:50]
6. III.: Rondeau. Allegretto [5:55]

A concert recording to "Direct 2-Track Stereo Digital HD"
from the German UNESCO World Heritage Site Maulbronn Monastery, June 26th 2016,
recorded, released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in cooperation with Sebastian Eberhardt, Monastery Concerts Maulbronn.

Concert Date: June 26, 2016

Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography: Josef-Stefan Kindler

Artwork & Coverdesign: Josef-Stefan Kindler

Disc 2

Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 13
in C Major, K. 415
1. I.: Allegro [9:53]
2. II.: Andante [6:18]
3. III.: Rondeau. Allegro [7:18]

Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 14
in E-Flat Major, K. 449
4. I.: Allegro vivace [8:26]
5. II.: Andantino [5:24]
6. III.: Allegro ma non troppo [5:57]

A concert recording to "Direct 2-Track Stereo Digital HD"
from the theatre "Saalbau" in Neustadt (Germany), February 3rd 2015,
recorded, released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in cooperation with Christoph Soldan.

Concert Date: February 3, 2015

Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography: Josef-Stefan Kindler

Artwork & Coverdesign: Josef-Stefan Kindler

Review

***** A fine alternative... I strongly recommend this set.

I accidentally came upon this two disc set on Spotify. If, like me, you are always on the look out for new performances and versions of Mozart piano concertos you will probably enjoy these performances, and at the same time know that they are by the master's hand, so nobody else has fiddled with them ! The string quintet accompanying is very alert and sympathetic to the many strands and gradations of colour, even sometimes sounding like a larger body than they really are. Christoph Soldan is a fine Mozart pianist and his piano is well recorded. I do not know what type or make it is, but it has a very bright and appealing sound which contrats well with the strings. Christoph Soldan has specialised in Mozart for a long time and has many recordings to his name and It is a pity that he is not more well known over here. These are not particularly intimate performances as the performers project themselves well, though there is plenty of feeling and beauty in their playing. I do not like showy or long or gimmicky cadenzas, but I smiled at his in the finale to concerto no, 14. I wouldn't want to be without the full orchestral versions of these concertos and though these do not displace them, they are immensely enjoyable. I strongly recommend this set.

Paul Capell on Amazon.com

Review

Featured by Spotify​

This release is featured by Spotify​ in the editorial playlist CLASSICAL FOCUS

The Spotify editorial team

CHOPIN: 3 Mazurkas, Op. 50

Track

Cover
EUR 3,80
Frédéric Chopin (1810-1849):
3 Mazurkas, Op. 50

Performed by Magdalena Müllerperth

A concert recording from Monastery Maulbronn (Germany)
Concert Grand Piano: Steinway & Sons C-227 (No. 524500)

HD Recording · DDD · Duration: 11 Min. 01 Sec.
Digital Album · 3 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

C

hopin's "Mazurkas" - he wrote at least 69 Mazurkas - are based on a traditional Polish folk dance in triple meter with an accent on the third or on the second beat, called "Mazurek". Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death.

Performer(s)

T

he German pianist Magdalena Müllerperth excited audiences in many concerts in Germany, Denmark, Belgium, Italy, Austria, The Czech Republic, France and Switzerland and was also invited to perform in Russia, Ukraine and the USA. In 2008 she performed there as a soloist with the Minnesota Orchestra in Minneapolis. With an impressive recital program she gave her debut recital in 2009 at the Klosterkonzerte Maulbronn and the Liederhalle Stuttgart, Germany. In 2011 she performed Gershwin's "Rhapsody in Blue" at the Festspielhaus Baden-Baden.
Magdalena Müllerperth, born in 1992 in Maulbronn, Germany, began piano lessons at the age of five. When she was seven, she became a student, and in 2003 junior student at the University of Music Karlsruhe, of the renowned Prof. Sontraud Speidel. From 2007 until 2010 she studied with Prof. Alexander Braginsky at Hamline University, Minneapolis, Minnesota, USA. At the moment she is a student of the pianist Jerome Rose at Mannes College - The New School of Music in New York City.
Since 1999, she earned many international prizes and awards, amongst others the First Prize at "Les Reoncontres Internationales des Jeunes Pianistes" in Belgium (2002), the First Prize and Premio della Critica (RAI) at the Concorso Europeo di Musica "Pietro Argento" in Italy (2004), a First Prize at the national competition "Jugend musiziert" (2005) and the First Prize at the Minnesota Orchestra, Young People's Symphony Concert Auditions in Minneapolis, USA (2008). Since 2007 Magdalena Müllerperth is "Youth Ambassadress of Music" of her hometown Maulbronn.
For her outstanding achievements Magdalena Müllerperth was awarded scholarships from the Mayer Foundation, the Karin Riese Foundation, "Lichtenberger Musikpreis", the "Kunststiftung Baden-Wuerttemberg", the Foundation "Deutsches Musikleben" and the "Richard Wagner Association".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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SCHUMANN: Fantasy Pieces, Op. 12

Track

Cover
EUR 7,60
Robert Schumann (1810-1856):
Fantasy Pieces for Piano, Op. 12

Performed by Magdalena Müllerperth

A live recording from Monastery Maulbronn (Germany)
Concert Grand Piano: Steinway & Sons C-227 (No. 524500)

HD Recording · DDD · Duration: 25 Min. 01 Sec.
Digital Music Album · 8 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Robert Schumann

A

creation of significance for the compositions of the romantic era: the cycle "Fantasy Pieces" for Piano Opus 12 by Robert Schumann. Inspired by a collection of novellas by E.T.A. Hoffmann, called "Fantasiestücke in Callots Manier", it seems that Schumann had the characters "Florestan" and "Eusebius" in mind - two characters he created for representing the duality of his personality: Eusebius depicts the dreamer and Florestan represents Schumann's passionate side. The virtual dialogue between both characters during the movements ends in the piece "End of the Song", which Schumann has described in a letter to his wife Clara: "Well in the end it all resolves itself into a wedding...".

Performer(s)

T

he German pianist Magdalena Müllerperth excited audiences in many concerts in Germany, Denmark, Belgium, Italy, Austria, The Czech Republic, France and Switzerland and was also invited to perform in Russia, Ukraine and the USA. In 2008 she performed there as a soloist with the Minnesota Orchestra in Minneapolis. With an impressive recital program she gave her debut recital in 2009 at the Klosterkonzerte Maulbronn and the Liederhalle Stuttgart, Germany. In 2011 she performed Gershwin's "Rhapsody in Blue" at the Festspielhaus Baden-Baden.
Magdalena Müllerperth, born in 1992 in Maulbronn, Germany, began piano lessons at the age of five. When she was seven, she became a student, and in 2003 junior student at the University of Music Karlsruhe, of the renowned Prof. Sontraud Speidel. From 2007 until 2010 she studied with Prof. Alexander Braginsky at Hamline University, Minneapolis, Minnesota, USA. At the moment she is a student of the pianist Jerome Rose at Mannes College - The New School of Music in New York City.
Since 1999, she earned many international prizes and awards, amongst others the First Prize at "Les Reoncontres Internationales des Jeunes Pianistes" in Belgium (2002), the First Prize and Premio della Critica (RAI) at the Concorso Europeo di Musica "Pietro Argento" in Italy (2004), a First Prize at the national competition "Jugend musiziert" (2005) and the First Prize at the Minnesota Orchestra, Young People's Symphony Concert Auditions in Minneapolis, USA (2008). Since 2007 Magdalena Müllerperth is "Youth Ambassadress of Music" of her hometown Maulbronn.
For her outstanding achievements Magdalena Müllerperth was awarded scholarships from the Mayer Foundation, the Karin Riese Foundation, "Lichtenberger Musikpreis", the "Kunststiftung Baden-Wuerttemberg", the Foundation "Deutsches Musikleben" and the "Richard Wagner Association".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Release Type: Work Albums

Mozart: Piano Concerto No. 12 in A Major, K. 414

Track

Cover
EUR 3,80
Wolfgang Amadeus Mozart:
Piano Concerto No. 12 in A Major, K. 414

Version for Piano & String Quintet,
performed by Christoph Soldan and the Silesian Chamber Soloists

Recorded to 'Direct 2-Track Stereo Digital HD'
in a concert at Maulbronn Monastery in Germany
with a Steinway & Sons Concert Grand Piano C-227 (No. 524500)

HD Recording · DDD · Duration: 22 Min. 29 Sec.
Digital Album · 3 Tracks · incl. Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
MozartMozart

"The concertos are just the medium between being too heavy and too light - they are very brilliant - pleasant to hear - certainly without falling into the void - here and there it is possible for the connoisseur alone to get satisfaction - but such - that the laymen can be contented without knowing why."
Mozart about the three concertos for piano K. 413, K. 414 and K. 415
in a letter to his father on December 28th, 1782

"I have to write in great haste, as it is already half past six, and for six o'clock I have ordered some people for making a little music; (...) now, two concertos are still missing for the Suscription Concertos."
Mozart in a letter to his father on December 28th, 1782

H

aving provided us with magnificent examples of concertos for stringed and wind instruments, Mozart reaches the ideal conception of a concerto with his piano concertos. They are the high point and peak of his instrumental producing. In Mozart's piano concertos two equal forces are facing each other that are really able to compete. They are therefore essentially his very unique creation. The piano concertos K. 413 - 415 and K. 449 were the first in a row of 17 momentous concertos created in Vienna and consequently founding his fame as virtuoso to the Viennese audience. The double possibility given to the performance, of either playing full orchestra, with oboe and horn (in the C-Major also with timpani and trumpet) or just with string quartet shows the flexibility he wanted to produce.
The piano concertos by Mozart never seem to touch the border of the socially appropriate - how could it, being designed to be acclaimed. But even so, it opens the doors to tell about the dark and the bright, the serious and the cheerful, the deepest - to lead its audience to a higher level of knowledge. The audience that is to deal with Mozart's piano concertos is the best there is.

Christoph Soldan

Performer(s)
Christoph Soldan

T

he pianist Christoph Soldan (born 1964) studied under the Professors Eliza Hansen and Christoph Eschenbach at the Hamburg Musikhochschule. His break-through to active international concert playing came in a tour with Leonard Bernstein in summer 1989. About Christoph Soldan, the world-famous director said, "I am impressed by the soulful size of this young musician". Since then, Soldan has played in numerous tours with renowned orchestras across Europe and abroad. In particular, this can be seen in the CD recordings of all of Mozart's piano concertos, which were performed and recorded from 1996 until 2006. A tour of piano evenings took place in Mexico and other countries in Central America in October 1997. In August 1998 he debuted in Salzburg and in the Chamber Music Hall of the Berlin Philharmonic, and in May 1999 in the Leipzig Gewandhaus. In March 2000, there were three piano evenings in Japan. So far, there have been radio and television productions with the Hessische Rundfunk, Frankfurt, Deutschlandfunk, SWR, ORF and ZDF. The Bayerische Rundfunk broadcasted his piano evening in the Munich Residenz in October 1998 and his concert in the Bad Brückenau music festival live in 1999. Radio Bremen braodcasted his recital in Bremen in August 2002. Starting in 1996 Soldan was performing all 27 piano concertos by Mozart together with the slovakian chamber orchestra "Cappella Istropolitana", the "Chamber Orchestra of Pforzheim" and the "Silesian Chamber Orchestra" Katowice. This cycle of concerts ended in January 2006, performing the concertos for 2 and 3 pianos. Christoph Soldan developed a "pas de deux for piano and dance", together with his wife, the dancer and choreographer Stefanie Goes. The première took place in Stuttgart in May 2000. In Spring 2001 he participated the Prague Spring Festival accompanied by the slovakian chamber orchestra "Cappella Istropolitana". Two recitals in Hamburg and Berlin were followed by a live-recording of two Mozart piano concertos in the medieval monastery of Maulbronn in September 2002. In January 2004 the première of the new dance project "something about humans and angels" took place in Stuttgart followed by a concert-tour to South Africa. Since 2007 Soldan is working also as a conductor concerning the performances of piano concertos by Bach and Mozart. Christoph Soldan will be guesting in Germany, Italy, Spain, Austria, Poland and Slovakia with various programmes such as recitals, literary concerts, children's concerts, as soloist with 5 of Mozart's piano concertos, Schumann's piano concerto, mendelssohn's doubleconcerto, Chopin's e-minor concerto as well as in chamber music programmes with Brahm's piano quintet op. 34 and Schubert's "trout" quintet. Since 1994 Christoph Soldan was artistic director of the "Schubertiade auf Schloß Eyb". In 2007 together with his wife Soldan founded a theatre in the north of Baden-Württemberg between Stuttgart and Heidelberg, where all artistic programmes are taking place since then. The German press describes Christoph Soldan as an artist personality who works with the spiritual intensity and soulful dimension of a piece of music, rather than giving a purely technical virtuoso performance. This challenge to music and to himself is rarely seen today.

Silesian Chamber Soloists

T

he Silesian Chamber Soloists are the section leaders of the Silesian Philharmonic Orchestra in Katowice (Śląska Orkiestra Kameralna). All of them are outstanding soloists, who studied on several music-universities in Poland and Germany. In 1993 the ensemble has been founded as a quartet first and was enlarged later by an additional doublebass position. The high level of artistic performance made the quintet to the leading chamber ensemble in Silesia. Concert tours have been organized to various festivals within Poland and other European countries. The Silesian Chamber Soloists performed with great success in the "Schleswig-Holstein Musik Festival", "MDR Musiksommer" and the "Rheingau Musik Festival". Cooperations were made with outstanding conductors and soloists, such as Krzysztof Penderecki, Yehudi Menuhin, Valery Gergiev, Christoph Eschenbach, Justus Frantz, Pinchas Zuckerman, Maxim Vengerov, Mscislav Rostropovich and Christoph Soldan. One special feature does result from the fact, that the concertmaster of the ensemble, Dariusz Zboch, is not only a very gifted violinist but at the same time arranging pieces of music. His last work has been published on two CD productions, a cycle of arrangements of the solid goal hits from the 60th and 70th concerning the songs of Procol Harum, Queen, Pink Floyd, Elvis Presley, The Beatles, Abba and Deep Purple. This true "cross-over-project" is combining popular music with works of the classical repertoire.
Dariusz Zboch (Violin) · Jakub Łysik (Violin) · Jarosław Marzec (Viola)
Katarzyna Biedrowska (Cello) · Krzysztof Korzeń (Double Bass)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Mozart: Piano Concerto No. 11 in F Major, K. 413

Track

Cover
EUR 3,80
Wolfgang Amadeus Mozart:
Piano Concerto No. 11 in F Major, K. 413

Version for Piano & String Quintet,
performed by Christoph Soldan and the Silesian Chamber Soloists

Recorded to 'Direct 2-Track Stereo Digital HD'
in a concert at Maulbronn Monastery in Germany
with a Steinway & Sons Concert Grand Piano C-227 (No. 524500)

HD Recording · DDD · Duration: 20 Min. 34 Sec.
Digital Album · 3 Tracks · incl. Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
MozartMozart

"The concertos are just the medium between being too heavy and too light - they are very brilliant - pleasant to hear - certainly without falling into the void - here and there it is possible for the connoisseur alone to get satisfaction - but such - that the laymen can be contented without knowing why."
Mozart about the three concertos for piano K. 413, K. 414 and K. 415
in a letter to his father on December 28th, 1782

"I have to write in great haste, as it is already half past six, and for six o'clock I have ordered some people for making a little music; (...) now, two concertos are still missing for the Suscription Concertos."
Mozart in a letter to his father on December 28th, 1782

H

aving provided us with magnificent examples of concertos for stringed and wind instruments, Mozart reaches the ideal conception of a concerto with his piano concertos. They are the high point and peak of his instrumental producing. In Mozart's piano concertos two equal forces are facing each other that are really able to compete. They are therefore essentially his very unique creation. The piano concertos K. 413 - 415 and K. 449 were the first in a row of 17 momentous concertos created in Vienna and consequently founding his fame as virtuoso to the Viennese audience. The double possibility given to the performance, of either playing full orchestra, with oboe and horn (in the C-Major also with timpani and trumpet) or just with string quartet shows the flexibility he wanted to produce.
The piano concertos by Mozart never seem to touch the border of the socially appropriate - how could it, being designed to be acclaimed. But even so, it opens the doors to tell about the dark and the bright, the serious and the cheerful, the deepest - to lead its audience to a higher level of knowledge. The audience that is to deal with Mozart's piano concertos is the best there is.

Christoph Soldan

Performer(s)
Christoph Soldan

T

he pianist Christoph Soldan (born 1964) studied under the Professors Eliza Hansen and Christoph Eschenbach at the Hamburg Musikhochschule. His break-through to active international concert playing came in a tour with Leonard Bernstein in summer 1989. About Christoph Soldan, the world-famous director said, "I am impressed by the soulful size of this young musician". Since then, Soldan has played in numerous tours with renowned orchestras across Europe and abroad. In particular, this can be seen in the CD recordings of all of Mozart's piano concertos, which were performed and recorded from 1996 until 2006. A tour of piano evenings took place in Mexico and other countries in Central America in October 1997. In August 1998 he debuted in Salzburg and in the Chamber Music Hall of the Berlin Philharmonic, and in May 1999 in the Leipzig Gewandhaus. In March 2000, there were three piano evenings in Japan. So far, there have been radio and television productions with the Hessische Rundfunk, Frankfurt, Deutschlandfunk, SWR, ORF and ZDF. The Bayerische Rundfunk broadcasted his piano evening in the Munich Residenz in October 1998 and his concert in the Bad Brückenau music festival live in 1999. Radio Bremen braodcasted his recital in Bremen in August 2002. Starting in 1996 Soldan was performing all 27 piano concertos by Mozart together with the slovakian chamber orchestra "Cappella Istropolitana", the "Chamber Orchestra of Pforzheim" and the "Silesian Chamber Orchestra" Katowice. This cycle of concerts ended in January 2006, performing the concertos for 2 and 3 pianos. Christoph Soldan developed a "pas de deux for piano and dance", together with his wife, the dancer and choreographer Stefanie Goes. The première took place in Stuttgart in May 2000. In Spring 2001 he participated the Prague Spring Festival accompanied by the slovakian chamber orchestra "Cappella Istropolitana". Two recitals in Hamburg and Berlin were followed by a live-recording of two Mozart piano concertos in the medieval monastery of Maulbronn in September 2002. In January 2004 the première of the new dance project "something about humans and angels" took place in Stuttgart followed by a concert-tour to South Africa. Since 2007 Soldan is working also as a conductor concerning the performances of piano concertos by Bach and Mozart. Christoph Soldan will be guesting in Germany, Italy, Spain, Austria, Poland and Slovakia with various programmes such as recitals, literary concerts, children's concerts, as soloist with 5 of Mozart's piano concertos, Schumann's piano concerto, mendelssohn's doubleconcerto, Chopin's e-minor concerto as well as in chamber music programmes with Brahm's piano quintet op. 34 and Schubert's "trout" quintet. Since 1994 Christoph Soldan was artistic director of the "Schubertiade auf Schloß Eyb". In 2007 together with his wife Soldan founded a theatre in the north of Baden-Württemberg between Stuttgart and Heidelberg, where all artistic programmes are taking place since then. The German press describes Christoph Soldan as an artist personality who works with the spiritual intensity and soulful dimension of a piece of music, rather than giving a purely technical virtuoso performance. This challenge to music and to himself is rarely seen today.

Silesian Chamber Soloists

T

he Silesian Chamber Soloists are the section leaders of the Silesian Philharmonic Orchestra in Katowice (Śląska Orkiestra Kameralna). All of them are outstanding soloists, who studied on several music-universities in Poland and Germany. In 1993 the ensemble has been founded as a quartet first and was enlarged later by an additional doublebass position. The high level of artistic performance made the quintet to the leading chamber ensemble in Silesia. Concert tours have been organized to various festivals within Poland and other European countries. The Silesian Chamber Soloists performed with great success in the "Schleswig-Holstein Musik Festival", "MDR Musiksommer" and the "Rheingau Musik Festival". Cooperations were made with outstanding conductors and soloists, such as Krzysztof Penderecki, Yehudi Menuhin, Valery Gergiev, Christoph Eschenbach, Justus Frantz, Pinchas Zuckerman, Maxim Vengerov, Mscislav Rostropovich and Christoph Soldan. One special feature does result from the fact, that the concertmaster of the ensemble, Dariusz Zboch, is not only a very gifted violinist but at the same time arranging pieces of music. His last work has been published on two CD productions, a cycle of arrangements of the solid goal hits from the 60th and 70th concerning the songs of Procol Harum, Queen, Pink Floyd, Elvis Presley, The Beatles, Abba and Deep Purple. This true "cross-over-project" is combining popular music with works of the classical repertoire.
Dariusz Zboch (Violin) · Jakub Łysik (Violin) · Jarosław Marzec (Viola)
Katarzyna Biedrowska (Cello) · Krzysztof Korzeń (Double Bass)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

The Tradition of the Liturgy of the Hours · Choral Music

Cover
EUR 9,99
Choral Music - A Cappella
The Tradition of the Liturgy of the Hours

A daily musical course according to the tradition
of the "Liturgy of the Hours" (Liturgia Horarum),
performed by the Maulbronn Chamber Choir,
with works by Orlando di Lasso, Joseph Rheinberger,
Felix Mendelssohn, Rolf Schweizer, Johann H. Schein,
Jozef Swider, Arvo Pärt,
Sven David Sandström and Max Reger
Conductor: Jürgen Budday

A recording from the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: c. 60 Minutes
Digital Album · 14 Tracks · incl. Booklet

FILES
Previews

Work(s) & Performance

T

he tradition of horary prayers (particularly Complet) is still cultivated for certain occasions today at the Evangelical Seminary, supporter of the cloister concerts and the Maulbronn Chamber Choir. It therefore stands to reason that the liturgical form of the horary prayers be transfused to a musical, clerical programme. Of course, it is not possible to feature the complete horary prayer texts as choir compositions. In such, the programme’s concept is based on the adoption of integral liturgy components from every horary prayer by textually identical or paraphrased choir compositions. Each horary prayer contains an hourly text, a psalm prayer, and a canticle from the New Testament. Thus, Zacharia’s Benedictus or the Te Deum is the designated canticle in the morning prayer; the vesper includes the Magnificat (Maria’s canticle), and the canticle in Complet is Simeon’s canticle (Nunc dimittis).
The programme implies particular suspense by posing 19th century compositions vis-à-vis stylistically contrary 20th century compositions and monophonic orthodox cantos. Whereby Arvo Pärt has limited himself to few harmonies in Magnificat and is very frugal with musical sources (minimal music) while assuming a vertically definitive harmonic and sensitive tone altogether, a strict contrapuntal linearity dominates Rolf Schweizer’s composition, which is primarily disposed to the consequent perfection of every individual voice, and in such, is subordinate to the vertical, harmonic aspect. Rolf Schweizer is of particular rigour in the imitative-rhythmic area in his composition “O lux mentium”, but keeps the piece in tonal balance with the rather homophonic insertions (“O Lux”).
The composition “Hear my prayer, O Lord” by the contemporary Swedish composer Sven David Sandström is a different type completely, and is based on a piece by the English composer Henry Purcell of the baroque era. Sandström adopts Purcell’s composition literally and in the middle of the piece, transports it very sensitively to his own modern tonal prose. Sandström is concerned with a very expressive interpretation of the text “Hear my prayer, O Lord, and give ear to my cry". After an initial reserved, lamenting tone, the piece gradually mounts until it ultimately climaxes in an outmost dramatic, existentially affected outcry in which the praying man calls out his desperation (soprano to C’’). Fierce dissonances and extreme dynamic make his emotional condition clear, but after a while, the piece is gradually restored and finally ends with the most delicate pianissimo and a pure C-major triad (bass to low C). The praying man gradually calms down and surrenders to the Lord’s guidance with hope and trust.

Jürgen Budday

Performer(s)
Maulbronn Chamber Choir

T

he Maulbronn Chamber Choir (German: Maulbronner Kammerchor) was founded in 1983 and counts today as one of the renowned chamber choirs in Europe. Awards like first places at the Baden-Württemberg Choir Competitions in 1989 and 1997, second place at the German Choir Competition in 1990, first prize at the German Choir Competition in 1998, second place at the International Chamber Choir Competition in Marktoberdorf 2009 and first place at the Malta Choir Competition show the extraordinary musical calibre of this ensemble. The Chamber Choir has managed to make quite a name for itself on the international scene, too. It was received enthusiastically by audiences and reviewers alike during its debut tour through the USA in 1983, with concerts in New York, Indianapolis and elsewhere. Its concert tours in many European countries, in Israel and Argentina as well as in South Africa and Namibia have also met with a similar response. The choir has performed oratorios by George Frideric Handel each year annually since 1997. All these performances were documented on disc; because of that the Maulbronn Chamber Choir holds a leading position internationally as an interpreter of this genre.

Juergen Budday

P

rof. Jürgen Budday (born 1948) is a German conductor and director of church music. His musical focus lies in historical and contemporary vocal music and in historically informed performances of oratorios, masses and other sacred works. He studied music education, church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974. From 1979 to 2012, he taught at the Evangelical Seminar in Maulbronn, a Protestant boarding school at the UNESCO World Heritage Site Maulbronn abbey with famous former students like Johannes Kepler, Friedrich Hölderlin and Hermann Hesse, and led, from 1979 till 2013, the concert series at Maulbronn monastery as artistic director. In 1992, Jürgen Budday was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was honored with the Bundesverdienstkreuz (German Cross of Merit) as well as the Bruno-Frey-Prize from the State Academy in Ochsenhausen for his work in music education. In 1983 Budday founded the Maulbronn Chamber Choir (Maulbronner Kammerchor), which he conducted until June 2016 and with whom he has won numerous national and international awards. At the Prague International Choir Festival, for example, he received an award as best director. Since 2002, Budday has also held the chair of the Choral Committee of the German Music Council and became director and jury chairman of the German Choir Competition (Deutscher Chorwettbewerb). In 2008, he received the silver Johannes-Brenz-Medal, the highest honoring of the Evangelical-Lutheran Church in Württemberg, following by the awarding with the honorary title Professor in 2011. In May 2013 Prof. Jürgen Budday was awarded by the Association of German Concert Choirs with the George-Frideric-Handel-Ring, one of the highest honors for choir conductors in Germany. Thus Jürgen Budday followed Helmuth Rilling, who was honored with the ring from 2009 till 2013.
Jürgen Budday has started a cycle of Handel oratorios that is planned to span several years, which involves working with soloists like wie Emma Kirkby, Miriam Allan, Michael Chance, Nancy Argenta, Mark Le Brocq, Charles Humphries, Stephen Varcoe (to name but a few). The live recordings of these performances, produced and released by Josef-Stefan Kindler and Andreas Otto Grimminger via their label K&K Verlagsanstalt, received highest praises from reviewers and gave Jürgen Budday's musical work international recognition.
"No conductor and no choir have so consistently recorded so many Handel oratorios as Jürgen Budday and his Maulbronn Chamber Choir." (Dr. Karl Georg Berg, Handel Memoranda Halle 2008).

Series & Edition

This release is part of the Maulbronn Monastery Edition

Works, Movements & Tracklist

Orlando di Lasso (1532-1594):
1. Von morgens früh [1:10]
Motet for 4-part mixed choir



Morgengebet / Morning Prayers (Laudes):

Anonymous / Taizé:
2. Laudate omnes gentes [3:28]

Josef Gabriel Rheinberger (1839-1901):
3. Morning Song: "Die Sterne sind erblichen" [4:36]
3 Geistliche Gesänge, Op. 69, No. 1
for 6-part mixed choir

Felix Mendelssohn (1809-1847):
4. Jauchzet dem Herrn, MWV B 58 [6:08]
3 Motets, Op. 69, No. 2
Psalm prayer (Psalm 100) for 4- till 8-part choir

Anonymous:
5. Canticum (Benedictus) [7:02]
Praise of Zacharias



Mittagsgebet / Noon Prayers (Sexte):

Rolf Schweizer (born 1935):
6. O lux mentium [9:19]
Motet for 4- till 8-part choir (composed 1998)
World Premiere in 1998 by the Maulbronn Chamber Choir

Johann Hermann Schein (1586-1630):
7. Hoffe auf den Herrn (Psalm Prayer) [3:46]
Motet for 5-part mixed choir

Felix Mendelssohn (1809-1847):
8. Verleih uns Frieden gnädiglich, WoO 5, MWV A11 [1:44]
for 4-part mixed choir



Abendgebet / Evening Prayers (Vesper):

Josef Gabriel Rheinberger (1839-1901):
9. Evening Song: "Bleib bei uns, denn es will Abend werden" [3:34]
3 Geistliche Gesänge, Op. 69, No. 3
Motet for 6-part mixed choir

Jozef Swider (born 1930):
10. Cantus gloriosus [3:49]
for 4- till 7-part choir

Arvo Pärt (born 1935):
11. Magnificat (Canticum) [6:3]
Composed 1989, for 4- till 8-part choir



Nachtgebet / Night Prayers (Complet):

Sven-David Sandström (born 1938):
12. Hear My Prayer, O Lord [6:18]
for 8-part mixed choir, after Henry Purcell

Anonymous:
13. Nunc dimittis (Canticum) [4:40]
Praise of Simeon

Max Reger (1873-1916):
14. Der Mensch lebt und bestehet [3:03]
8 Geistliche Gesänge, Op. 138, No. 1
Motet for 8-part mixed choir


Recorded to 'Direct 2-Track Stereo Digital'
by Andreas Otto Grimminger & Josef-Stefan Kindler
at Maulbronn Monastery in Germany, 1999.

Recording Date: October 8-10, 1999

Sound & Recording Engineer: Andreas Otto Grimminger

Mastering / Remastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography, Artwork & Coverdesign: Josef-Stefan Kindler

Variations by Mendelssohn, Mozart & Vorraber

Cover
EUR 9,90
Grand Piano Masters
Variations by Mendelssohn, Mozart & Vorraber

Franz Vorraber plays

Franz Vorraber (*1962):
Poem (Op. 32/2) & Get Nine (Op. 32/3)

Felix Mendelssohn (1809-1847):
Variations Sérieuses in D Minor, Op. 54

Wolfgang Amadeus Mozart (1756-1791):
12 Variations on "Ah vous dirai-je, Maman" in C Major, K. 265
Also known as the melody of "Tomorrow Santa's coming"
and "Twinkle, Twinkle Little Star"


Wolfgang Amadeus Mozart (1756-1791):
5 Variations on "Salve tu Domine" in F Major, K. 398

HD Recording · 5 Music Files · c. 45 Minutes

FILES
Previews

Performer(s)
Franz Vorraber

F

ranz Vorraber is one of the internationally renowned interpreters of Schumann. He repeatedly performed the complete solo oeuvre in cycles of twelve concertos and was published it in a thirteen-part CD recording at Thorofon, receiving numerous international awards and honors. Being born in Graz, his studies have been shaped by the First Viennese School and the German School, and he graduated with a soloist diploma and unanimous decoration. Franz Vorraber was invited as soloist to internationally famous festivals as the Viennese Musiksommer, the piano festival Ruhr, the music festival Schleswig Holstein, the Mozartfest Würzburg, the Mendelson fest in Leipzig, the Klosterfestspiele Maulbronn, the Musiksommer of Chorin, the European Weeks of Passau, the Frankfurter Feste, the festival Santander, the Schubertiade, the Rheingau music festival, the Hohenloher Kultursommer, the Bebersee festival et cetera. He worked with conductors like Dennis Russell Davies, Fabio Luisi, Alun Francis, Gabriel Feltz, Mar Tardue or Marcus Bosch. His repertoire of piano concerts includes 50 different concerts, many of them have been have been released on CD. His own works as a composer have been increasingly performed lately. There have been many premieres of pieces of chamber music at the Mendelson Fest at the Gewandhaus or at the Schumann Fest in Bonn in cooperation with the blowers of the Staatskapelle Berlin and musicians of the Gewandhaus Leipzig. A great success was the premiere of his first piano concerto at the Klosterkonzerte Maulbronn. Some works of piano were published by Thorofon and by K&K Verlagsanstalt, i. a. 'Sentences of Love' in cooperation with the poet and writer Peter Härtling.

Series & Edition

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

Franz Vorraber (*1962):
1. Poem, Op. 32 No. 2 [2:46]

Franz Vorraber (*1962):
2. Get Nine, Op. 32 No. 3 [9:20]

Felix Mendelssohn (1809-1847):
3. Variations Sérieuses in D Minor [11:56]
Op. 54, MWV U156

Wolfgang Amadeus Mozart (1756-1791):
4. Twelve Variations on "Ah vous dirai-je, Maman"* [12:39]
in C Major, K. 265/300e

* Also known as the melody of "Tomorrow Santa's coming" and "Twinkle, Twinkle Little Star"

Wolfgang Amadeus Mozart (1756-1791):
5. Five Variations on "Salve tu Domine" [8:02]
in F Major, K. 398/416e


Recorded to 'Direct 2-Track Stereo Digital HD',
released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in co-operation with Franz Vorraber

Recording Dates: August 26, 2012 & February 1, 2014

Sound & Recording Engineer: Andreas Otto Grimminger

Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler

Photography, Artwork & Coverdesign: Josef-Stefan Kindler

BRAHMS: Piano Sonata No. 3 in F Minor, Op. 5

Track

Cover
EUR 6,65
Johannes Brahms (1833-1897):
Piano Sonata No. 3

in F Minor, Op. 5

Performed by Magdalena Müllerperth

A live recording from Monastery Maulbronn (Germany)
Concert Grand Piano: Steinway & Sons C-227 (No. 524500)

HD Recording · DDD · Duration: 35 Min. 56 Sec.
Digital Album · 5 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Johannes Brahms

T

hrough evening's shade, the pale moon gleams - While rapt in love's ecstatic dreams - Two hearts are fondly beating", quoted Johannes Brahms above the notes for the "Andante" in the Piano Sonata No.3. This excerpt of a poem by C.O. Sternau (a pseudonym of Otto Inkermann) characterizes the mood of this piece, which had a large contribution to the fame of the young composer. Written in 1853 this "poetic" sonata marks the end of a cycle of three sonatas. Likewise it was the last tune the 20-year-old composer submitted to Robert Schumann for commentary. Robert Schumann himself described Brahms in an article titled "Neue Bahnen" (New Paths) in October 1853 as "a man with a calling" who was "destined to give ideal expression to the times".

Performer(s)

T

he German pianist Magdalena Müllerperth excited audiences in many concerts in Germany, Denmark, Belgium, Italy, Austria, The Czech Republic, France and Switzerland and was also invited to perform in Russia, Ukraine and the USA. In 2008 she performed there as a soloist with the Minnesota Orchestra in Minneapolis. With an impressive recital program she gave her debut recital in 2009 at the Klosterkonzerte Maulbronn and the Liederhalle Stuttgart, Germany. In 2011 she performed Gershwin's "Rhapsody in Blue" at the Festspielhaus Baden-Baden.
Magdalena Müllerperth, born in 1992 in Maulbronn, Germany, began piano lessons at the age of five. When she was seven, she became a student, and in 2003 junior student at the University of Music Karlsruhe, of the renowned Prof. Sontraud Speidel. From 2007 until 2010 she studied with Prof. Alexander Braginsky at Hamline University, Minneapolis, Minnesota, USA. At the moment she is a student of the pianist Jerome Rose at Mannes College - The New School of Music in New York City.
Since 1999, she earned many international prizes and awards, amongst others the First Prize at "Les Reoncontres Internationales des Jeunes Pianistes" in Belgium (2002), the First Prize and Premio della Critica (RAI) at the Concorso Europeo di Musica "Pietro Argento" in Italy (2004), a First Prize at the national competition "Jugend musiziert" (2005) and the First Prize at the Minnesota Orchestra, Young People's Symphony Concert Auditions in Minneapolis, USA (2008). Since 2007 Magdalena Müllerperth is "Youth Ambassadress of Music" of her hometown Maulbronn.
For her outstanding achievements Magdalena Müllerperth was awarded scholarships from the Mayer Foundation, the Karin Riese Foundation, "Lichtenberger Musikpreis", the "Kunststiftung Baden-Wuerttemberg", the Foundation "Deutsches Musikleben" and the "Richard Wagner Association".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Epochen, Specials & Formate:

Release Type: Work Albums

DEBUSSY: Images for Piano, Book 2 (L 111)

Track

Cover
EUR 2,85
Claude Debussy (1862-1918):
Images for Piano Solo, Book 2 (L 111)

Performed by Severin von Eckardstein (Piano)
Instrument: C. Bechstein Concert Grand Piano D 280
A concert recording from the Philharmonia Mercatorhalle
in Duisburg (Germany)

HD Recording · DDD · Duration: 13 Min. 06 Sec.
Digital Album · 3 Tracks · incl. Booklet

MP3

MP3 Album

320 kBit/sec.

Performer(s)

S

everin von Eckardstein was born in 1978 in Düsseldorf, Germany. He took his first piano lessons when he was six years old. At the age of 12 he was accepted into Barbara Szczepanska's young talent class at the Robert Schumann Musikhochschule in Dusseldorf. During his school years, von Eckardstein continued his piano studies in Hannover and in Salzburg with Karl-Heinz Kaemmerling. After his graduation from high school, he attended the Universität der Künste, Berlin, to take lessons with Klaus Hellwig. Following his degree in 2002, he continued his studies also at the International Piano Academy Lake Como, Italy.
Von Eckardstein won numerous competitions, both national and international ones. Among these are the Hamburg Steinway Competition (1st prize in 1990), the Incontro Internazionale Giovani Pianisti in Italy (1st prize in 1991), the Feruccio-Busoni Competition in Bozen (1998), and the ARD Competition in Munich (2nd prize in 1999). In 2000, von Eckardstein received the third prize and in addition the special prize for best interpretation of contemporary music at the Leeds International Piano Competition. Many of the music critics that were present at the time, unanimously chose Severin von Eckardstein as their winner.
In June 2003 Severin von Eckardstein won the first prize at the highly prestigious international Queen Elisabeth Competition in Brussels. During the final round of the competition, he gave a phenomenal performance of works by Beethoven and Prokofiev. This combination certainly shows the amazing versatility of this young master pianist.
Meanwhile he has played on many great stages in the world. Among others he gave highly appreciated concerts in Berlin, Munich, London, New York, Miami, Amsterdam, Tokyo and Seoul. Prestigious festivals invited him, such as "Klavier Festival Ruhr", the "Aldeburgh Festival", "La Roque d'Anthéron" in France and the "Gilmore Festival", Michigan/USA.
Having participated several times in the series "Meesterpianisten" in the Concertgebouw Amsterdam, von Eckardstein just opened the Jubilee Concert of this top-class piano series which has been existing for 25 years by now.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

View more releases:

Review

Brilliant piece! Wonderful interpretation!

Wonderful interpretation! What a brilliant piece by a brilliant composer. Debussy's music is "Food for the ears of the Gods".

Brian McCarthy on YouTube

Review

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

November 2012

SCHUBERT: Piano Sonata No. 14 in A Minor, D. 784

Track

Cover
EUR 3,80
Franz Schubert (1797-1828):
Piano Sonata No. 14 in A Minor,
D. 784, Op.posth.143

Performed by Severin von Eckardstein (Piano)

Instrument: C. Bechstein Concert Grand Piano D 280
A concert recording from the Philharmonia Mercatorhalle in Duisburg (Germany)

HD Recording · DDD · Duration: 22 Min. 38 Sec.
Digital Album · 3 Tracks · incl. Booklet

MP3

MP3 Album

320 kBit/sec.

Performer(s)

S

everin von Eckardstein was born in 1978 in Düsseldorf, Germany. He took his first piano lessons when he was six years old. At the age of 12 he was accepted into Barbara Szczepanska's young talent class at the Robert Schumann Musikhochschule in Dusseldorf. During his school years, von Eckardstein continued his piano studies in Hannover and in Salzburg with Karl-Heinz Kaemmerling. After his graduation from high school, he attended the Universität der Künste, Berlin, to take lessons with Klaus Hellwig. Following his degree in 2002, he continued his studies also at the International Piano Academy Lake Como, Italy.
Von Eckardstein won numerous competitions, both national and international ones. Among these are the Hamburg Steinway Competition (1st prize in 1990), the Incontro Internazionale Giovani Pianisti in Italy (1st prize in 1991), the Feruccio-Busoni Competition in Bozen (1998), and the ARD Competition in Munich (2nd prize in 1999). In 2000, von Eckardstein received the third prize and in addition the special prize for best interpretation of contemporary music at the Leeds International Piano Competition. Many of the music critics that were present at the time, unanimously chose Severin von Eckardstein as their winner.
In June 2003 Severin von Eckardstein won the first prize at the highly prestigious international Queen Elisabeth Competition in Brussels. During the final round of the competition, he gave a phenomenal performance of works by Beethoven and Prokofiev. This combination certainly shows the amazing versatility of this young master pianist.
Meanwhile he has played on many great stages in the world. Among others he gave highly appreciated concerts in Berlin, Munich, London, New York, Miami, Amsterdam, Tokyo and Seoul. Prestigious festivals invited him, such as "Klavier Festival Ruhr", the "Aldeburgh Festival", "La Roque d'Anthéron" in France and the "Gilmore Festival", Michigan/USA.
Having participated several times in the series "Meesterpianisten" in the Concertgebouw Amsterdam, von Eckardstein just opened the Jubilee Concert of this top-class piano series which has been existing for 25 years by now.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

HI-RES AUDIO

Awarded by Qobuz with the HI-RES AUDIO

November 2012

HANDEL: Oratorio Joshua

Cover
EUR 19,90
George Frideric Handel:
J O S H U A

The unedited version from 1748 of the English Oratorio HWV 64,
performed according to the traditions of the time
by Miriam Allan (Soprano), David Allsopp (Countertenor),
Mark Le Brocq (Tenor), James Rutherford (Bass),
Hanoverian Court Orchestra & Maulbronn Chamber Choir.
Conductor: Jürgen Budday.
Remastered Original Recording

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 2 Hours 11 Minutes
Digital Album · 61 Tracks · incl. Online Booklet

FILES
Previews

Work(s) & Performance

T

his live recording is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composer's lifetimes (this performance is tuned in a' = 415 Hz).

George Frideric Handel

O

f Handel's late oratorios, Joshua was one of the most successful. Of the operas composed after Samson, only Judas Maccabaeus was performed more frequently during the composer's lifetime, and the latter's popularity was mainly due to the fact that, after the first series of performances, "See the conqu'ring hero comes", originally written for Joshua, was included in it. Handel started to work on Joshua on 19 July 1747, only two weeks after he had finished writing the Alexander Balus oratorio. Eleven days later, the first act was already on paper. The second act was completed in an even shorter time - by 8 August - and the entire opus was finished by 19 August. The world première took place in Covent Garden on 9 March 1748.
Joshua was one of four oratorios written in quick succession between 1746 and 1748 that all have strong military traits. In 1847, Judas Maccabaeus followed, a work that was extremely popular inasmuch as it was performed at least 33 times during the composer's lifetime. It appears clear that, after Judas Maccabaeus, Handel and his librettist, Thomas Morell, were at pains to repeat the successful recipe of a Jewish hero and triumphant choruses, but this time adding the romantic subplot that Judas lacked. Morell had hardly recovered from the exertions of Alexander Balus before he was already tackling the new libretto, based on a bloodthirsty account in the Book of Joshua in the Old Testament. He turned the campaigns against Jericho, Ai and the five kings into one dramatic block and extended the roles of Othniel and Achsa to create the background needed to provide romantic relief and to contrast the otherwise almost completely warlike plot.
The unusual tempo of Handel's composition must have challenged Morell to the extreme and the result was more a sequence of events than a fully developed plot. But the characters are strong - Joshua an imperious/domineering (if also a sometimes unbearably conceited) hero, Kaleb the suitably patriarchal leader type, shortly before retirement and on the verge of leaving the battlefield forever, his daughter, Achsa, worried, occasionally disapproving and engaged to Othniel, who finds it difficult to strike the right balance between the role of the young warrior that has been thrust upon him and that of the devoted lover. Over and above all this, there is a small but important role for an angel. A later score gives this part to a tenor, but it is generally assumed that, as is to be expected, the angel was played by a female or boy soprano in earlier performances.
As is the case with many of Handel's oratorios, the later performances underwent numerous rearrangements of the original score and for reasons that sometimes had little to do with music. The present version keeps to the score used in the 1748 performances, with the one concession that Handel's undated change to the second half of "Hark! 'tis the linnet" (1752?) is included. This is the only change made later that did not affect the original sequence of the movements. Handel had surprisingly few boy voices at his disposal to sing the upper parts of his choruses. However, as voices generally broke very much later in those days, we can assume that there were some excellent singers among them. Handel's soloists usually joined in the 'Tutti' parts (which most certainly must have put a huge strain on them during performances). Our 21st century choir has no need of such support.
At three points in the score, Handel notes that the brasses ought to be brought in and there is a short rhythmic entry at each of these points, on the basis of which the musicians of the time (led by the first trumpet) then had to improvise the necessary music. Handel's lavish casting of the oratorio points to the fact that his performances were financially secured. The large orchestra comprises - apart from the usual strings, oboes and bassoons - two flutes, trumpets, horns and timpani, respectively. Moreover, certain 18th century reports on performances gave us the idea of including cembalo, organ and archlute as continuo instruments. The most stunning passages of Handel's Joshua make full use of brass and timbali, and the resulting music is very impressive. Dramatic events like the collapse of the walls of Jericho, the destruction of the city by fire, Joshua's ability to stop the sun and moon in their tracks and to rouse an army of demoralized soldiers to action, not to mention the return of the hero in triumph from the battle offer heroic material that would have inspired any composer.
It might therefore come as no surprise that the fall of Jericho in Act II led Handel to use one of his wonderful 'thunder choruses' that incidentally also greatly impressed Hadyn when he heard it during a lavish performance at Westminster Abbey in 1791. Supposedly, he was familiar with the music, but was only half aware of its effect until he actually got to hear it. In any case, Hadyn was convinced that only a genius like Handel could ever have written such an outstanding composition or could indeed write one like it at any point in the future. The solemn march around the Ark of the Covenant, which hastens the destruction along, is also one of Handel's most beautiful compositions, and its amazing solemnity is impressive, while Kaleb's aria that follows it, "See the raging flames arise" turns out to be wonderfully dramatic. Othniel's "Place danger around me" is an equally outstanding Handel aria. Joshua was also the original source for the chorus "See the conqu'ring hero comes" that was only put into Judas Maccabaeus when its potential as a crowd-puller was recognized after the first performances of Joshua. At the same time, the quieter, more contemplative moments also deserve a mention: Kaleb's resigned aria "Shall I in Mamre's fertile plain", the heavenly chorus that follows it and the chorus of the vanquished Israelites, "How soon our tow'ring hopes are crossed as well as Othniel's "Nations who in future story" are all examples of Handel's best lyrical style. And between the triumphs and catastrophes of the battle, the scenes with Achsa offer additional contrast, with arias ranging from the pensive "Oh, who can tell" to the bird calls in "Hark! 'tis the linnet" and the joyful, ever-popular "Oh had I Jubal's lyre".

Performer(s)

Miriam Allan - Soprano (Achsah, Angel)

Miriam Allan, master class graduate of Emma Kirkby and Julianne Baird, last year won the London Handel Competition. The young Australian studied at Newcastle University (Australia) and graduated from there with several distinctions. She has performed the most important works of Bach, Handel and Purcell with leading choirs and orchestras such as the Australian Chamber Orchestra and the Sydney Philharmonic. She has also appeared as a guest with the Song Company and Sounds Baroque, including at their concertante performances. In addition to this - and rather unusual for such a young singer - she also gives recitals. These have so far focussed mainly on works from the 17th and 18th centuries, but now increasingly include Romantic and Modernist pieces. In the summer of 2003, she sang not only the title role in the Handel opera "Semele" for the Pinchgut Opera, she also appeared in the world premiere of "Dreaming Transportation" at the Sidney Festival and sang in the first Australian performance of Bach's St Mark Passion by the Sidney Philharmonic under Arno Volmer as well as performing in Pergolesi's "Stabat Mater". At the beginning of this year, Miriam Allan made her debut at the Leipzig Gewandhaus with the Bach Mass in B Minor.

David Allsopp - Alto (Othniel)

David Allsopp attended the King's School in Rochester and was at the same time a chorister and Choral Scholar at the city's cathedral. Later he studied computer science at Cambridge University and graduated from there with distinction in 2004. He continued his career as a singer in Cambridge as a Choral Scholar und Lay Clerk with the famous King's College Choir. An important highlight from those days was the performance of the Chichester Psalms with Leonard Bernstein in Manchester, which received tremendous reviews from the critics. At the moment, David Allsopp holds the position of Countertenor Lay Clerk at Westminster Cathedral, but also continues to appear as a soloist with the King's College Choir under Stephen Cleobury, including an appearance in 2007 in a performance of Handel's Solomon in King's College Chapel. As a soloist, he has participated in performances of the Bach Mass in B Minor and the St John Passion in England and in other European countries. The Messiah and some of Handel's bigger oratorios are also part of his repertoire. Later this year, David Allsopp will make his debut at St. John's, Smith Square, London, with a performance of Israel in Egypt.

Mark Le Brocq - Tenor (Joshuah)

Mark Le Brocq studied English at St Catherine's College, Cambridge, where he was also a Choral Scholar. He received a scholarship from the Royal Academy of Music, where he studied under David Brown, and other scholarships from the Draper's Company and the Wolfson Trust. He has won many awards and distinctions at the Royal Academy of Music, including the Blyth Buesset Opera Prize, den Royal Academy of Music Club Prize and the Worshipful Company of Musician's Medal. He subsequently continued his education at the National Opera Studio. He was employed as a soloist with the English National Opera in London. Over the years, the tenor has worked with many important directors, including David Alden, David Poutney, Jonathan Miller, Niklaus Lehnhoff, Graham Vick and David Freeman. Mark Le Brocq has appeared as a concert singer in the USA, France, Germany, Spain and the Middle East as well as on all the big-name London stages. He regularly appears at concerts with the Gabrieli Consort under the direction of Paul McCreesh, with whom he has also performed Handel's Saul and Solomon. He has appeared with Monserat Caballé and Dennis O'Neill at Verdi Opera Galas in Bath, has sung the Mozart and Verdi Requiems at the Barbican Centre as well as the Mozart Requiem with The English Concert under Trevor Pinnock in Salzburg.. He sang Handel's Messiah with the Ulster Orchestra conducted by Gideon Kraemer and the Schubert Mass in E-Flat Major with the BBC Symphony Orchestra under Jiri Belohlavek.

James Rutherford - Bass (Caleb)

James Rutherford studied at the Royal College of Music and the National Opera Studio in London. In 2000, he was elected "New Generation Artist", a programme run by the BBC to support and provide awards for young artists. He has a very wide repertoire. He is equally comfortable with the Baroque operas of Handel (Rinaldo) and Bach oratorios as he is with Mozart (Le nozze di Figaro), Wagner (The Meistersinger), Verdi (Falstaff), Stravinsky und Benjamin Britten. His engagements have led him to the Paris Opera, the Welsh National Opera and, in London, to the Royal Opera House. He has sung with the Glyndebourne Touring Opera and appeared as a guest at the music festivals in Montpellier and Innsbruck. In Germany, he has sung "Rinaldo" with René Jacobs at the German State Opera in Berlin. Besides performing with famous English symphony orchestras, he has also appeared with the Berlin Philharmonic and the SWR Rundfunk Orchestra. In August 2006, James Rutherford won the first International Wagner Competition at the Seattle Opera.

Hanoverian Court Orchestra (Hannoversche Hofkapelle)

The Hanoverian Court Orchestra under concertmistress Anne Röhrig remains totally faithful to the tradition of historic court orchestras and performs both chamber music and symphonies. The sound of this ensemble is hallmarked by the fact that the musicians also have experience of playing with different music ensembles on the European Baroque scene and view historical performance practices as a means of keeping current. The repertoire of the Orchestra is not restricted to the many forms of Baroque music alone, but also includes classical works, with Mozart operas and the Romantic era being particularly favoured. Their constant involvement with 17th and 18th-century music has made the Court Orchestra musicians masters of their respective instruments. The result is the expressive and elegant style of playing that assures the orchestra its prominent position. The Hanoverian Court Orchestra has been the orchestra in residence at the Herrenhausen Festival Weeks since 2006.

Maulbronn Chamber Choir (Maulbronner Kammerchor)

The Maulbronn Chamber Choir was founded in 1983 and is directed by Juergen Budday. Today it counts as one of the top choirs in the Federal Republic of Germany. First place at the Baden-Württemberg Choir Competition in 1989 and 1997, second place at the 3rd German Choir Competition in Stuttgart in 1990 and First Prize at the 5th German Choir Competition in Regensburg in 1998 - these awards show the extraordinary musical calibre of this young ensemble. The Chamber Choir has managed to make quite a name for itself on the international scene, too. It was received enthusiastically by audiences and reviewers alike during its debut tour through the USA in 1983, with concerts in New York, Indianapolis and elsewhere. Its concert tours in many European countries, in Israel and Argentina (1993, 1997, 2003) as well as in South Africa and Namibia have also met with a similar response.

Jürgen Budday

Jürgen Budday - Conductor

Jürgen Budday is artistic director and founder of the Maulbronn Chamber Choir. He studied church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974 and, since 1979, has taught at the Evangelical Theology Seminar in Maulbronn. This also involved his taking over as artistic director of the Maulbronn Monastery Concerts and the cantor choir. In 1992, he was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was awarded the "Bundesverdienstkreuz" (German Cross of Merit) as well as the Bruno-Frey Prize from the State Academy in Ochsenhausen for his work in music education. Since 2002, Jürgen Budday has also held the chair of the Choral Committee with the German Music Council. Together with the Maulbronn Chamber Choir, he has started a cycle of Handel oratorios that is planned to span several years, which involves working with the best-known singers in the genre (e.g. Emma Kirkby and Michael Chance, to name but a few) and has won him international recognition. At the Prague International Choir Festival, he received an award as best director. He has made several CD recordings that have received the highest praise from reviewers and include G.F. Handel's Messiah, Solomon, Belshazzar, Saul, Samson and Judas Maccabaeus.

Maulbronn Chamber Choir

Soprano ~ Teresa Frick, Susanne Fuierer, Ute Gerteis, Hannah Glocker, Elisabeth Hofmann- Ehret, Ilka Hüftle, Katja Körtge, Susanne Laenger, Heidi Lenk, Veronika Miehlich, Anne Nonnenmann, Silke Vogelmann, Irene Vorreiter
Alto ~ Erika Budday, Mirjam Budday, Barbara Hirsch, Marianne Kodweiß, Roswitha Fydrich-Steiner, Kathrin Gölz, Margret Sanwald, Angelika Stössel, Bettina van der Ham, Evelyn Witte
Tenor ~ Johannes Budday, Sebastian Fuierer, Andreas Gerteis, Ulrich Kiefner, Hartmut Meier, Mathias Michel, Konrad Mohl, Sebastian Thimm
Bass ~ Ingo Andruschkewitsch, Karl Bihlmaier, Jo Dohse, Bernhard Fräulin, Matthias Leeflang, Rainer Hirsch-Luipold, Eberhard Maier, Werner Pfeiffer, Conrad Schmitz

Hanoverian Court Orchestra

Concert Master ~ Anne Röhrig
Violins ~ Christoph Heidemann, Susanne Busch, Birgit Fischer, Stephanie Bücker, Barbara Kralle, Susanne Dietz, Eva Politt, Corinna Hildebrand
Violas ~ Judith Mac Carty, Hella Hartmann, Klaus Bona
Cellos ~ Dorothee Palm, Daniela Wartenberg · Bass viols ~ Cordula Cordes, Ulla Hoffmann
Harpsichord, Organ ~ Bernward Lohr · Theorbe ~ Ulrich Wedemeier
Flutes ~ Brian Berryman, Martin Heidecker · Oboes ~ Annette Berryman, Julia Belitz
Bassoons ~ Marita Schaar, Tobias Meier · Horns ~ Thomas Crome, Malte Mory
Trumpets ~ Friedemann Immer, Ute Rothkirch · Timpani ~ Friethjof Koch

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Unique

A unique interpretation of a baroque master piece.

A listener on YouTube

Review

Outstanding with the right balance between voices, orchestra and choir...

The splendid German label, K&K continues to delight eclectic connoisseurs with selected works, mostly choral recorded in the splendid setting of the UNESCO World Heritage site, the Maulbronn Monastery in rural Germany.

Handel's 'Joshua', an oratorio which is perhaps rather overlooked when compared to other more copiously played works. However this splendid interpretation which includes some of the world's rising stars in oratorio singing could change that neglect. Budday directs the Hannoversche Hofkapelle with alacrity, never forcing the pace untowardly but at the same time keeping the ebb and flow of the whole work in check.

The recoding is outstanding with just the right balance between voices, orchestra and choir and I really must recommend this beautifully presented set to all lovers of choral music.

Gerald Fenech on Classical Net

BEETHOVEN: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata"

Track

Cover
EUR 3,80
Ludwig van Beethoven (1770-1827):
Piano Sonata No. 23

in F Minor, Op. 57 · "Appassionata"

Performed by Lilya Zilberstein (Piano)

Instrument: Concert Grand Piano D 280 by C. Bechstein

A concert recording from Bad Homburg Castle (Germany), October 2007
Remastered Original Recording

HD Recording · DDD · Duration: 24 Min. 24 Sec.

Digital Album · 3 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

E

steemed friends of audiophile music, the concert grand piano is incontestably the king of instruments. I could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.
Appassionata - appassionato (passionate, impassioned) - passione (passion), to have a passion for something, to be a passionate artist, going to the limits of suffering for the sake of it, not because of the benefits. I might perhaps also mention the word 'calling' here, the passion that is the prerequisite of mastery. For, esteemed friends, which of us today still feels himself called to do something and is prepared to live for that calling? To wander up to the heights and down into the deep valleys, to accept setbacks, other people's lack of understanding, personal sacrifices and much, much more?
The young virtuoso in his prime and with all his charm must first be polished year after year in order to become a glittering diamond - a true master. For what distinguishes a master is the passion, the fervour and, above all, the experience. I like youthful "Sturm and Drang", as you no doubt also do - it comes at us like a breath of fresh air, irrepressible and powerful. Yet when that first fame evaporates, when you've played the big houses and the euphoria of the moment inevitably ends up back in the same old rooms? What then?
Then you need love, unconditional passion and a deeply felt calling to make it to true masterdom. This particular recording is of a concert by a true past master who has "been there and done that" and who is now conveying and passing on her experiences and artistic merit to the up-and-coming generation. Lilya, with all her humaneness and virtuosity of performance, has crossed the boundary into that space where pride is refined into modesty, with the result that what is being played is measured against how it is conveyed to the person instead of against the preordained perfection of the music aristocracy.
Melancholy for the transience of the moment is etched in her features when she has given the audience her all. At the "Bad Homburg Bechstein Concerts in the Castle", we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life...

Josef-Stefan Kindler

Performer(s)
Lilya Zilberstein

T

he path that Lilya Zilberstein has taken reflects the triumph of a calling, a dogged determination to overcome obstacles that would have shattered any other talent: the eighties in the USSR were times of overt, yet unofficial antisemitism. Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's 1985 competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins. Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition. The one exception to this in 1987 was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again. Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears. By August 1998, she had received the International Accademia Musicale Chigiana Prize in Siena. Holders of this award include Gidon Kremer, Anne-Sophie Mutter and Krystian Zimerman. Fast on the heels of this honour came extended tournées in numerous countries throughout Western Europe as well as an exclusive contract with Deutsche Grammophon. Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In 1991, she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them. She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more. Besides Claudio Abbado, she has worked with conductors such as Paavo Berglund, Semyon Bychkov, Christoph Eschenbach, Vladimir Fedossejew, Dmitrij Kitajenko, James Levine, Marcello Viotti, Hugh Wolff and Michael Tilson Thomast. Deutsche Grammophon and Lilya Zilberstein have produced legendary CDs. A particular highlight is the benchmark recording of the Rachmaninov Piano Concertos with Claudio Abbado and the Berlin Philharmonic. And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day. The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. Over and above this, she regularly goes on world tournées with violinist Maxim Vengerow. The international press agrees on one thing: there is no superlative too good for her! Lilya Zilberstein belongs firmly in the circle of those magical sorcerers of sound on the piano.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

***** The best sounding recording of a piano

This performance of two Beethoven sonatas recorded before a live audience in a castle in Germany by pianist Lilya Zilberstein is incredible in two respects. First, the Appassionata is played as well as anyone I know, including the many legends of the keyboard who have recorded this masterpiece. Zilberstein has it all--technique, style, and passion. Equally remarkable is the sound. This is the best sounding recording of a piano I have ever heard--it must be heard to be believed, and if you are lucky to have a fine sound system you are in for a stupendous aural treat. If wish to hear a magnificant performance in otherwordly fidelity I urge you to track this release down before it becomes unavailable.

'Oldnslow' on Amazon.com

Review

***** Exceptional Appassionata

Sonata 23 is a war horse. There are literally 3-5 dozen versions online from older versions Schnabel (much too fast) to Brendel and Horowitz (quite staid) Kissin Gilels Schiff Goode and others. This one has superb recording. It is live and one can feel the tension with the audience. It is exceptionally clean and not exceedingly fast. You can hear the nuances that lay buried in the ear with the speedsters. She has wonderful rubato moments and the phrase to phrase dynamics are exceptionally well done. Importantly it is very exciting to hear though you know every note; it appears fresh as I feel it is new, modern interpretation. Congratulations Lilya. I hope to hear you in concert in Boston.

'George R. Collison' on Amazon.com

Review

***** Even among all Beethoven sonatas on the market, this one stands out

The disc is a product of Germany's K&K label, which specializes in live performances held in historically significant, if not acoustically appropriate, locations. Here they manage both. The Castle Church of Bad Homburg offers a fine ambiance for piano music in general and for Zilberstein's muscular, dynamic style in particular.

The disc offers the first half of a live concert whose date is localized only to October 2007; the second half was devoted to music of Brahms. At 52 minutes the program is short, but it is complete in itself, and one wants to hear the other disc if only to find out whether Zilberstein can sustain the intensity level from this half.

Zilbertstein has managed to devise fresh, fully realized interpretations of these two sonatas - no small feat, especially in the case of the ubiquitous Piano Sonata No. 23 in F minor, Op. 57 ('Appassionata'). Hear Zilberstein's exquisite shaping of the work's brooding opening page. The Beethovenian short-short-short long motif that plays such an important role in binding the music together is introduced in the shadows, but soon enough emerges as an exclamation with sufficent force to propel the main theme through its numerous harmonic transformations.

The level of tension in the entire sonata is remarkable; even the middle movement seems to see the with repressed energy. The early Piano Sonata No. 2 in A major, Op. 2, No. 2, is equally strong, with a unique rhythmic conception of the main theme.
Just sit and listen: even among all the Beethoven sonatas on the market, this one stands out.

James Manheim, All Music Guide USA

BEETHOVEN: Piano Sonata No. 2 in A Major, Op. 2/2

Track

Cover
EUR 3,80
Ludwig van Beethoven (1770-1827):
Piano Sonata No. 2

in A Major, Op. 2, No. 2

Performed by Lilya Zilberstein (Piano)

Instrument: Concert Grand Piano D 280 by C. Bechstein

A concert recording from Bad Homburg Castle (Germany), October 2007

Remastered Original Recording

HD Recording · DDD · Duration: 25 Min. 32 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

E

steemed friends of audiophile music, the concert grand piano is incontestably the king of instruments. I could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.
Appassionata - appassionato (passionate, impassioned) - passione (passion), to have a passion for something, to be a passionate artist, going to the limits of suffering for the sake of it, not because of the benefits. I might perhaps also mention the word 'calling' here, the passion that is the prerequisite of mastery. For, esteemed friends, which of us today still feels himself called to do something and is prepared to live for that calling? To wander up to the heights and down into the deep valleys, to accept setbacks, other people's lack of understanding, personal sacrifices and much, much more?
The young virtuoso in his prime and with all his charm must first be polished year after year in order to become a glittering diamond - a true master. For what distinguishes a master is the passion, the fervour and, above all, the experience. I like youthful "Sturm and Drang", as you no doubt also do - it comes at us like a breath of fresh air, irrepressible and powerful. Yet when that first fame evaporates, when you've played the big houses and the euphoria of the moment inevitably ends up back in the same old rooms? What then? Then you need love, unconditional passion and a deeply felt calling to make it to true masterdom. This particular recording is of a concert by a true past master who has "been there and done that" and who is now conveying and passing on her experiences and artistic merit to the up-and-coming generation. Lilya, with all her humaneness and virtuosity of performance, has crossed the boundary into that space where pride is refined into modesty, with the result that what is being played is measured against how it is conveyed to the person instead of against the preordained perfection of the music aristocracy.
Melancholy for the transience of the moment is etched in her features when she has given the audience her all. At the "Bad Homburg Bechstein Concerts in the Castle", we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life...

Josef-Stefan Kindler

Performer(s)
Lilya Zilberstein

T

he path that Lilya Zilberstein has taken reflects the triumph of a calling, a dogged determination to overcome obstacles that would have shattered any other talent: the eighties in the USSR were times of overt, yet unofficial antisemitism. Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's 1985 competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins. Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition. The one exception to this in 1987 was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again. Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears. By August 1998, she had received the International Accademia Musicale Chigiana Prize in Siena. Holders of this award include Gidon Kremer, Anne-Sophie Mutter and Krystian Zimerman. Fast on the heels of this honour came extended tournées in numerous countries throughout Western Europe as well as an exclusive contract with Deutsche Grammophon. Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In 1991, she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them. She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more. Besides Claudio Abbado, she has worked with conductors such as Paavo Berglund, Semyon Bychkov, Christoph Eschenbach, Vladimir Fedossejew, Dmitrij Kitajenko, James Levine, Marcello Viotti, Hugh Wolff and Michael Tilson Thomast. Deutsche Grammophon and Lilya Zilberstein have produced legendary CDs. A particular highlight is the benchmark recording of the Rachmaninov Piano Concertos with Claudio Abbado and the Berlin Philharmonic. And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day. The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. Over and above this, she regularly goes on world tournées with violinist Maxim Vengerow. The international press agrees on one thing: there is no superlative too good for her! Lilya Zilberstein belongs firmly in the circle of those magical sorcerers of sound on the piano.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Brahms: Variations for Piano in D Major, Op. 21

Track

Cover
EUR 2,85
Johannes Brahms (1833-1897):
Variations for Piano in D Major, Op. 21

Performed by Lilya Zilberstein

Concert Grand Piano: D 280 by C. Bechstein

A live recording from Bad Homburg Castle in Germany

DDD · Duration: 21 Min. 32 Sec.
Digital Album · 2 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

E

steemed friends of audiophile music, the concert grand piano is incontestably the king of instruments. I could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our "Grand Piano Masters" series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.
Appassionata - appassionato (passionate, impassioned) - passione (passion), to have a passion for something, to be a passionate artist, going to the limits of suffering for the sake of it, not because of the benefits. I might perhaps also mention the word 'calling' here, the passion that is the prerequisite of mastery. For, esteemed friends, which of us today still feels himself called to do something and is prepared to live for that calling? To wander up to the heights and down into the deep valleys, to accept setbacks, other people's lack of understanding, personal sacrifices and much, much more?
The young virtuoso in his prime and with all his charm must first be polished year after year in order to become a glittering diamond - a true master. For what distinguishes a master is the passion, the fervour and, above all, the experience. I like youthful "Sturm and Drang", as you no doubt also do - it comes at us like a breath of fresh air, irrepressible and powerful. Yet when that first fame evaporates, when you've played the big houses and the euphoria of the moment inevitably ends up back in the same old rooms? What then?
Then you need love, unconditional passion and a deeply felt calling to make it to true masterdom. This particular recording is of a concert by a true past master who has "been there and done that" and who is now conveying and passing on her experiences and artistic merit to the up-and-coming generation. Lilya, with all her humaneness and virtuosity of performance, has crossed the boundary into that space where pride is refined into modesty, with the result that what is being played is measured against how it is conveyed to the person instead of against the preordained perfection of the music aristocracy.
Melancholy for the transience of the moment is etched in her features when she has given the audience her all. At the "Bad Homburg Bechstein Concerts in the Castle", we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life...

Josef-Stefan Kindler

Performer(s)
Lilya Zilberstein

T

he path that Lilya Zilberstein has taken reflects the triumph of a calling, a dogged determination to overcome obstacles that would have shattered any other talent: the eighties in the USSR were times of overt, yet unofficial antisemitism. Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's 1985 competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins. Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition.
The one exception to this in 1987 was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again. Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears. By August 1998, she had received the International Accademia Musicale Chigiana Prize in Siena. Holders of this award include Gidon Kremer, Anne-Sophie Mutter and Krystian Zimerman. Fast on the heels of this honour came extended tournées in numerous countries throughout Western Europe as well as an exclusive contract with Deutsche Grammophon.
Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In 1991, she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them. She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more. Besides Claudio Abbado, she has worked with conductors such as Paavo Berglund, Semyon Bychkov, Christoph Eschenbach, Vladimir Fedossejew, Dmitrij Kitajenko, James Levine, Marcello Viotti, Hugh Wolff and Michael Tilson Thomast.
Deutsche Grammophon and Lilya Zilberstein have produced legendary CDs. A particular highlight is the benchmark recording of the Rachmaninov Piano Concertos with Claudio Abbado and the Berlin Philharmonic. And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day. The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. Over and above this, she regularly goes on world tournées with violinist Maxim Vengerow. The international press agrees on one thing: there is no superlative too good for her! Lilya Zilberstein belongs firmly in the circle of those magical sorcerers of sound on the piano.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Release Type: Work Albums

HANDEL: Gloria

Track

Cover
EUR 4,75
George Frideric Handel
G L O R I A

The sacred solo cantata for soprano and strings (HWV deest),
performed by Sarah Wegener (Soprano) and the ensemble il capriccio

A live recording from the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 15 Min. 22 Sec.
Digital Album · 6 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
George Frideric Handel

G

eorge Frideric Handel's Gloria is a sacred solo cantata, a setting of the Gloria, the liturgical part of the Mass, for soprano and strings. Handel may have composed it in Germany before departing for Italy in 1706. The composition was lost and was only attributed to Handel in 2001. Gloria (HWV deest, the Latin word meaning "missing"), is a work which was missing from the Handel thematic catalog, but was discovered at the Royal Academy of Music's library in 2001. Handel may have composed Gloria, a demanding piece for a coloratura voice, two violins and basso continuo, during his early years in Germany prior to his departure for Italy in 1706 or in Italy in 1707. He divided the liturgical text in eight movements. Later he used parts of it for his compositions Laudate pueri dominum and Utrecht Jubilate. The manuscript is not in Handel's hand but bound in a collection of arias by Handel. The singer William Savage (1720-1789) owned the volume. Probably his pupil Robert Stevens left it to the Academy upon his death in 1837. The work was identified by Hans Joachim Marx, professor of the University of Hamburg. A note in the Sunday Telegraph on 11 March 2001 announced "Lost work by Handel could rival Messiah / An unknown choral work by Handel that some music scholars believe will come to be regarded as significant as Messiah has been discovered in the library of the Royal Academy of Music", but that was a sensational heading, whereas the article described the work correctly. "Perhaps not too many sopranos will be able to perform this piece.", was a comment of Marx, who had found the manuscript. Curtis Price, the principal of the Academy, testified: "The music is fresh, exuberant and a little wild in places, but unmistakably Handel." It was then believed that the piece was written in Italy in 1707. Emma Kirkby, who performed the first recording, released in May 2001, said that "the piece has individuality and charm, good bravura moments, and, more important, some moments of depth, beauty, and poignancy". The first public performance was on 18 May 2001, sung by soprano Patrizia Kwella with Fiori Musicali and Penelope Rapson as artistic director, at the Hinchingbrooke Performing Arts Centre in Huntingdon. A second performance was given at the International Händel Göttingen Festival on 3 June 2001 by Dominique Labelle with the Philharmonia Baroque Orchestra and Nicholas McGegan. Katia Plaschka performed it in 2003 in the Unionskirche, Idstein, along with Handel's Utrecht Te Deum and Jubilate.

From Wikipedia, the free encyclopedia

Performer(s)

S

arah Wegener enthrals listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. Concerts have taken her to the Schleswig-Holstein Musik Festival, Rheingau Music Festival, Konzerthaus Berlin, Tonhalle Zürich, Wiener Konzerthaus, Concertgebouw Amsterdam, Casa da Música Porto and to the Bozar Brussels. The British-German soprano studied singing with Prof. Jaeger-Böhm in Stuttgart and took part in masterclasses with Dame Gwyneth Jones and Renée Morloc. She has formed a close artistic relationship with the composer Georg Friedrich Haas. She was nominated for 'Singer of the Year' by Opernwelt magazine in 2011 for her interpretation of the main role of Nadja in his opera Bluthaus, which she performed at the Schwetzinger SWR Festival, Wiener Festwochen and Staatstheater Saarbrücken. In the 2015/16 season she made her debuts at the Royal Opera House London and Deutsche Oper Berlin in his new opera Morgen und Abend. In 2014 she was also highly praised for the world premiere of Jörg Widmann's Labyrinth III at the Kölner Philharmonie with the WDR Symphony Orchestra under Emilio Pomàrico. Her repertoire includes Handel's Messiah, Mozart's Mass in C minor, Schumann's Faust Scenes, Dvorak's Stabat Mater and Strauss' Four Last Songs. Furthermore, she enjoys frequent performances with the Deutsche Kammerphilharmonie Bremen, Kristiansand Symphony Orchestra, Orchestre des Champs-Élysées/Collegium Vocale Gent, NDR Symphony Orchestra, Orchestre Symphonique de Montréal, Philharmonisches Staatsorchester Hamburg, Kammerorchester Basel and Radio Filharmonisch Orkest. Her discography comprises recordings with Frieder Bernius of arias by Justin Heinrich Knecht (Carus), Korngold's Die stumme Serenade (CPO) and Schubert's Lazarus (Carus), as well as Rossini's Petite Messe solennelle under Tonu Kaljuste (Carus), a CD with the Stuttgart Radio Symphony Orchestra under Heinz Holliger (Hänssler Classic) and a release of Handel's Israel in Egypt with the Maulbronn Chamber Choir under Jürgen Budday (K&K Verlagsanstalt).

www.sarah-wegener.com

F

ounded in 1999, the ensemble il capriccio evolved into a personally, stylistically and musically very individual ensemble. Its members, meeting up from all over middle Europe for mutual working sessions are outstanding musicians of international ensembles and professional orchestras or teachers at a conservatory. All musicians of Il Capriccio have intensively occupied themselves since their studies with historically informed performance. The usage of original instruments only constitutes the sounding foundation for an extremely meaningful and vivid way of musical interacting on stage. Il Capriccio gives concerts in variable instrumentation from the size of a baroque orchestra to the classical string quartet consisting of the principals of the ensemble. The solo part for violin plays the art director Friedemann Wezel. Additionally, Il Capriccio cooperates with important artists such as Sergio Azzolini (bassoon) or Markus Brönnimann (flute). A further and exceptional obligation considering the educational support of young artists was accepted by the 2004 founding of the "Il Capriccio Strings Academy".

www.ilcapriccio.de

Artist Image

Ensemble il capriccio

Violin & Concertmaster: Friedemann Wezel
Violin I: Marieke Bouche, Steffen Hamm, Christine Trinks
Violin II: Dietlind Mayer, Smadar Schidlowsky, Konstanze Winkelmann
Viola: David Dieterle, Johannes Platz · Cello: Juris Teichmanis, Judith Wagner
Double Bass: Kit Scotney · Harpsichord: Evelyn Laib · Lute: Toshinori Ozaki

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Texte

I. Gloria in excelsis Deo.
II. Et in terra pax hominibus bonae voluntatis.
III. Laudamus te. Benedicimus te.
Adoramus te. Glorificamus te.
Gratias agimus tibi
propter magnam gloriam tuam.
IV. Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite, Iesu Christe.
Domine Deus, Agnus Dei, Filius Patris.

V. Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
VI. Quoniam tu solus Sanctus.
Tu solus Dominus.
Tu solus Altissimus, Iesu Christe.
Con Sancto Spiritu, in gloria Dei Patris.
Amen

BRAHMS: 8 Pieces for Piano, Opus 76

Track

Cover
EUR 7,60
Johannes Brahms (1833-1897):
8 Pieces for Piano, Opus 76

Performed by Lilya Zilberstein

Concert Grand Piano: D 280 by C. Bechstein

A live recording from Bad Homburg Castle in Germany

DDD · Duration: 27 Min. 38 Sec.
Digital Album · 8 Tracks

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Work(s) & Performance

E

steemed friends of audiophile music, the concert grand piano is incontestably the king of instruments. I could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our "Grand Piano Masters" series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.
Appassionata - appassionato (passionate, impassioned) - passione (passion), to have a passion for something, to be a passionate artist, going to the limits of suffering for the sake of it, not because of the benefits. I might perhaps also mention the word 'calling' here, the passion that is the prerequisite of mastery. For, esteemed friends, which of us today still feels himself called to do something and is prepared to live for that calling? To wander up to the heights and down into the deep valleys, to accept setbacks, other people's lack of understanding, personal sacrifices and much, much more?
The young virtuoso in his prime and with all his charm must first be polished year after year in order to become a glittering diamond - a true master. For what distinguishes a master is the passion, the fervour and, above all, the experience. I like youthful "Sturm and Drang", as you no doubt also do - it comes at us like a breath of fresh air, irrepressible and powerful. Yet when that first fame evaporates, when you've played the big houses and the euphoria of the moment inevitably ends up back in the same old rooms? What then?
Then you need love, unconditional passion and a deeply felt calling to make it to true masterdom. This particular recording is of a concert by a true past master who has "been there and done that" and who is now conveying and passing on her experiences and artistic merit to the up-and-coming generation. Lilya, with all her humaneness and virtuosity of performance, has crossed the boundary into that space where pride is refined into modesty, with the result that what is being played is measured against how it is conveyed to the person instead of against the preordained perfection of the music aristocracy.
Melancholy for the transience of the moment is etched in her features when she has given the audience her all. At the "Bad Homburg Bechstein Concerts in the Castle", we had the opportunity to witness her interpretation of two impassioned composers - Beethoven, who carried the "Appassionata" inside him, and Brahms, who until his death held fast to his unrequited "Passione" for Clara Schumann, the love of his life...

Josef-Stefan Kindler

Johannes Brahms

T

he 8 Piano Pieces op. 76 by Johannes Brahms comprise four Capriccios and Intermezzi each. With this collection of character pieces, published in February 1879, Brahms came forward again after a long time with a work for solo piano, which was premiered by Hans von Bülow in Berlin on October 29, 1879. While he had already composed the first Capriccio in 1871, he wrote the remaining pieces in 1878 in Pörtschach on Lake Wörth. The collection, originally divided into two booklets, shows the influence of Robert Schumann and Frédéric Chopin, whose complete editions published by Breitkopf & Härtel Brahms supervised at this time. In condensed form, the mostly three-part pieces already point to the internalized late style of Opera 116 to 119, whose characteristics include the multi-layered piano movement, chromaticism, and rhythmic refinements. The piano pieces appeared only after Brahms had not written any independent solo piano works for an extended period. After the Paganini Variations published in 1866, the Waltzes for piano four hands op. 39, which he held in high esteem, and the first part of the Hungarian Dances, initially also written for four hands, there was a long pause in publication in this field, which ended only in 1879. For Andrea Bonatta this shows how difficult it was for Brahms to find new expressive possibilities after the pianistic explorations of the virtuoso Handel and Paganini Variations. For the pianist, chamber musician and gifted sight-reading player, this phase did not mean that he would have completely abandoned the piano. In addition to the Waltzes and Hungarian Dances, he wrote the Sonata for Piano and Violoncello op 38, the Liebeslieder Waltzes op 52, the version for two pianos of his Haydn Variations op 56b, the Piano Quartet No. 3 in C minor op 60 and the Neue Liebeslieder op 65 during this period. In 1878, he also began to work on his symphonic Second Piano Concerto in B flat major; the piano thus played an important role in chamber and later concertante music.

From Wikipedia, the free encyclopedia
Translated with www.DeepL.com/Translator

Performer(s)
Lilya Zilberstein

T

he path that Lilya Zilberstein has taken reflects the triumph of a calling, a dogged determination to overcome obstacles that would have shattered any other talent: the eighties in the USSR were times of overt, yet unofficial antisemitism. Despite all the first prizes won at important Russian and Soviet competitions - at the Russian Federation's 1985 competition, for example - she was told in no uncertain terms that she was persona non grata at the Moscow Conservatory because of her Jewish origins. Permission to take part in international piano competitions was withheld, in particular when it came to the International Tchaikovsky Competition.
The one exception to this in 1987 was more of a coincidence than anything else: she was given permission to take part in the Busoni Competition in Bozen. Her triumph there was a sensation, and five years passed before a first prize was ever awarded in Bozen again. Her debut in the West marked the turning point of Lilya's career, and experts in the music branch pricked up their ears. By August 1998, she had received the International Accademia Musicale Chigiana Prize in Siena. Holders of this award include Gidon Kremer, Anne-Sophie Mutter and Krystian Zimerman. Fast on the heels of this honour came extended tournées in numerous countries throughout Western Europe as well as an exclusive contract with Deutsche Grammophon.
Since that time, Lilya Zilberstein has been a presence on the great stages of the world. In 1991, she debuted at the Berlin Philharmonic with Claudio Abbado conducting, which laid the foundations for repeated collaboration between them. She has participated in concerts with the most renowned international orchestras, including the Chicago Symphony Orchestra, the Moscow Tchaikovsky Symphony Orchestra, the London Symphony and Royal Philharmonic Orchestras, the orchestra of Milan's La Scala and many, many more. Besides Claudio Abbado, she has worked with conductors such as Paavo Berglund, Semyon Bychkov, Christoph Eschenbach, Vladimir Fedossejew, Dmitrij Kitajenko, James Levine, Marcello Viotti, Hugh Wolff and Michael Tilson Thomast.
Deutsche Grammophon and Lilya Zilberstein have produced legendary CDs. A particular highlight is the benchmark recording of the Rachmaninov Piano Concertos with Claudio Abbado and the Berlin Philharmonic. And in addition to her career as a soloist, Lilya Zilberstein is a passionate performer of chamber music and works with the great soloists of the day. The piano duo of Martha Argerich and Lilya Zilberstein has been highly acclaimed all over the world for many a year now. Over and above this, she regularly goes on world tournées with violinist Maxim Vengerow. The international press agrees on one thing: there is no superlative too good for her! Lilya Zilberstein belongs firmly in the circle of those magical sorcerers of sound on the piano.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

View more releases:

Digital Music Albums:

Online-Musik-Alben:

Performers, Series & Composers:

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Epochen, Specials & Formate:

Release Type: Work Albums

USTVOLSKAYA: Concerto for Piano, Strings & Timpani

Cover
EUR 4,50
Galina Ustvolskaya (1919-2006):
Concerto for Piano, Strings & Timpani

performed by
Patricia Hase (Piano) and the Ensemble Galina
Conductor: Peter Leipold
With courtesy of Hans Sikorski Music Publishing Hamburg

A concert recording from the Richard-Jakoby-Hall
of the Hanover University of Music, Drama & Media in Germany
Concert Grand Piano: Steinway & Sons D-274

HD Recording · DDD · Duration: 17 Min. 43 Sec.
Digital Album · 4 Tracks · incl. Booklet

FILES
Previews

Art Movie(s)


Work(s) & Performance
Galina Ustvolskaya

Galina Ustvolskaya: Concerto for piano, strings and timpani

"It's not you who are under my influence, it's me who is under yours". This quote by her teacher Dmitri Shostakovich has become the defining words for the relationship between himself and his pupil, Galina Ustvolskaya. The "teacher-pupil" dynamic notwithstanding, for her own part, Ustvolskaya spent her life trying to distance herself from her violent relationship with Shostakovich. This seems an obvious sign of sincerity, the pursuit of impartial and unrestrained untamedness of the composer. These adjectives also certainly best describe the few works that make up her comprehensive output, which made themselves known without adapting to any one style. Though she rarely left her hometown until her death in 2006, she was a part of the music scene in St. Petersburg both under Soviet regime and after its collapse - an enigmatic phenomenon untouched by all political or aesthetic trends. In her case, she chose the life of an outsider completely of her own accord. Ustvolskaya did not tolerate any superficial interference, according to the musicologist Olga Gladkova, out of a desire to maintain her own individuality, compoure, and intentions. Therefore she never took commissions, on the contrary, she refused even partial interpretations of her work if the composer did not appear "real" to her.
Especially in her "Concerto for piano, strings and timpani", written in 1946, the composer starts to withdraw herself from her academic influences, to strike a new path, and to find completely new ways of expression. It is not without motive that she decided to start her official list of works with this concerto. The first noticeable feature is the single-piece form, which is described by the composer as cohesive but still contrasting.
The opening theme is highly concentrated within the Rhythm. No notes seem to be wasteful. The piano breaks out of the silence like an explosion with the specific dotted thirty-second notes in fortissimo that are repeated in unison by the orchestra and which are concluded by the timpani. All the followings motives are developed from the basic theme. Olga Gladkova compared the concentrated main theme with a nuclear reaction - after the explosion many infinitely small atoms are produced, instantaneously destructive and creative. Close beside is a plain melody in subito - pianissimo, circling around itself, not leading anywhere. This is a very fundamental characteristic of the later works by Ustvolskaya. The second theme, which branches out wildly, seems to come rushing in a fugue. But academic processes and stencils are avoided consequently and the fugato is being constantly taken to explore new avenues, like a kaleidoscope, out of which unexpected new pictures are formed. In addition to the rigid and concentrated 4/4 measure, the quiet secondary theme is at the quietly flowing 6/8 measure. The "continuity", which is described by the composer, happens also by the very strong contrasts.
Especially remarkable is the coda of the concerto. The rhythmically striking dotted thirty-second notes are taken from the initial theme and with full force repeated again and again.
An unprecedented massive structure comes into being, which instead of running to the disaster leads into a C major chord, which appears at the moment of most extreme tension and repeats in a big crescendo until the end. The immense focus on one rhythm, the constant repetition of this rhythm and the unbridled force of it, speaks to the forementioned monstrous new language of the composer.
Although the great crescendo of the coda is written in C major, it seems to evoke various kinds of associations. In the dialogue with the young musicians of the ensemble, I would like to describe three different impressions. On the one hand there is the feeling of generous grace, of forgiveness, the cathartic effect after a prayer. Facing this sensation is the feeling of being threatened by a wall that is approaching you relentlessly, without ability to escape. The third association is similar to the theme of Shostakovich's Fifth Symphony - forced rejoicing, created under threat. An eagerly awaited end of the war, but an ending with terror.

Peter Leipold
Translation by Catie Leigh Laszewski

Performer(s)

B

ridging distances, bringing music closer to the people in a completely natural intimate way - these are the strengths of the pianist Patricia Hase, born in 1989 in Wiesbaden. Educated in one of the talent-hotbeds of the international piano elite at the Hanover University for Music, Drama and Media in the studio of Matti Raekallio, the young musician has set for herself the task of establishing through her music the connections between highly intellectual works of Western culture and the everyday life of the listener. In doing so she captivates with her warm sound, profound interpretations, and mature virtuosity. In addition to her pet project, the interpretation of the works of Franz Schubert which are celebrated by the press and public, Patricia likes to forge a bridge between "past" and "present", such as this recording, which ranges from the 1770-born Ludwig van Beethoven to Galina Ustvolskaya, who died in 2006.

S

ince the beginning of her studies Patricia Hase has enjoyed a close friendship with the conductor Peter Leipold, born 1987 in Stuttgart. Since then, numerous concerts have led the two young musicians throughout Europe. The work of Peter Leipold, who started his career at the Theater Erfurt and was honored by the Hannoversche Allgemeine Zeitung for his "quality of musical fine drawing", fascinates in his role as a seeker of and servant to the rich facets and colors of music that can be unveiled in the score and by the orchestra, as a conductor who represents the bridge between the musical performer and the score. With the recording of "Concerto for Piano, Timpani and String Orchestra" by Galina Ustvolskaya, Peter Leipold follows his passion for new music, on which he already specialized during his conducting studies for music of the 20th and 21st centuries at the Conservatorio della Svizzera Italiana in Lugano.

Ensemble Galina - the search for harmony

The Ensemble Galina was founded in October 2014 and formed out of the desire to make music at a level where the quality of music and friendship come together. The young chamber orchestra is made up of 18 musicians - music students and emerging professionals from all over Germany. With the pianist Patricia Hase and the conductor Peter Leipold the ensemble makes it its mission to inspire a new sense in the musical performance - searching for harmony in the dialogue between soloist and ensemble and between composer and performers, honoring the true sense of the word »concertare«. For the name of the ensemble, they chose the Russian composer Galina Ustvolskaja (1919-2006), her »concert for piano, strings, and timpani« becoming the foundation stone on which the Ensembles was built. Ustvolskaja, who had to fight for cultural survival as a composer under the Soviet Regime touched us musicians not only with her life story, but with her music’s unbelievable emotional approachability, sincerity, and depth. The urgency in her existential musical expression became a very special motivation for the young musicians. To inspire true emotion as well as to search out interesting contemporary forms of expression are the goals and purpose of the Ensemble. With this new approach, which is shaped through collective dialogue and musical discourse, the Ensemble Galina endeavors to preserve the great cultural property in our time.

Peter-Lukas Gebert ~ Translation by Catie Leigh Laszewski

The Ensemble Galina

Violin: Friederike Jahn (Concert Master), Rebekka Gebert, Florian Giering, Emilia Grotjahn, Cornelius Köhler, Erika Lunz, Alina Riegel, Friederike Schindler, Saskia Becker-Foß, Inara Waiss
Viola: Peter-Lukas Gebert, Julia Yeon-Joo Oh, Raphael Tietz · Cello: Ingmar Escher, Inka Jans, Jaromir Kostka
Double Bass: Hermann Haffner, Lukas Rudolph · Timpani: Jonas Krause

The Ensemble Galina is supported by the "circle for the promotion of the Hanover University of Music, Drama and Media e.V.", the banking house Hallbaum,
the Wellness-Hotel Diedrich in Hallenberg (Sauerland) and the "funding pool gender of the Hanover University of Music, Drama and Media".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

***** Wonderful performance and very good recording quality

Wonderful performance and very good recording quality. I love the beauty of the interpretation and the combination of the two works!

An Amazon Customer on July 31, 2016 - Customer Rating: 5 stars out of 5

Review

The first recording played without blunders is out!

The first recording of the Concerto for Piano, Strings & Timpani played without blunders is out!

'Galina Ustvolskaya official' on Facebook

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BEETHOVEN: Piano Concerto No. 2 in B-Flat Major, Op. 19

Track

Beethoven: Piano Concerto No. 2
EUR 4,75
Ludwig van Beethoven:
Piano Concerto No. 2

in B-Flat Major, Op. 19

World Premiere Recording of the version for Piano and String Orchestra
by Vinzenz Lachner (1811-1893)

Patricia Hase (Piano) · Ensemble Galina (String Orchestra) · Conductor: Peter Leipold

A concert recording from the Richard-Jakoby-Hall of the Hanover University of Music, Drama & Media in Germany

HD Recording · DDD · Duration: 29 Min. 57 Sec.
Digital Album · 3 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Work(s) & Performance
Ludwig van Beethoven

Ludwig van Beethoven: Piano Concerto No. 2 in B-Flat Major, Op. 19

It can now be assumed, that on the 29th of March 1795 what is now known as the second concerto in B flat major Op. 19 was presented to the Viennese public in Hofburgtheater. Announced was "a new concerto on the pianoforte, played and composed by the maestro, Herr Ludwig van Beethoven". The origins of the composition date back to the year 1790. At that time Beethoven was living in Bonn and had begun to give many concertos as a soloist - in Bonn, Vienna and on tour. The concerto went through four different versions before it was first printed in 1801. Further versions were developed between 1793 and 1794, when the third movement was added, as we know it today. This Rondo, in 6/8 measure, exhibits particularly significant features. First the metric shift of the main theme, which creates an unusual syncopation; the first note appears on the first metric beat and not as an upbeat, as would be expected. This syncopation also remains the connecting rhythmic element for the whole movement. Only once, namely in the coda, does the first eighth note appear as an upbeat, but here it does so in the completely surprising "wrong" key of G major. The movement through keys in the Rondo is in principle quite remarkable; the minor variant of the main theme first appears in G-minor, then in C-minor and then completely unexpectedly in the far distant B-flat minor. Generally the work with motives and the development of the main theme are already very significant and certainly influenced by his then newly acquired teacher Joseph Haydn, as well as the ending of the Rondo, which to this day has not lost its witty effect. The piano seems to be completely lost in a cadence before the orchestra abruptly sets the five sensational final bars of the concert in subito fortissimo. Last but not least is the aforementioned syncopated character, which also could be traced back to the influence of folk music in the symphonic music of Haydn.
The final version of the orchestral score, as we know it today, was built on the highly successful concert tour to Prague in 1798, whose success Beethoven used to generously revise the Concerto in B. Only the piano part was completed in 1801 in Vienna. The unusually long time-frame of the composition over 11 years echoes the visible transformation of Beethoven from a traveling virtuoso to an established composer. At the same time it also shows the continuous process of establishing independence from his education and his heroes. This is illustrated precisely in the way he reworks an earlier work. In the first impression the main motive of the first movement appears very much in the sense of Mozart and Haydn. But also at the same time it is already in the same manner he created his later main motives, which exist primarily to be further developed. Compared for example with the main theme of the "Eroica" - here and there it's built up exclusively by broken triads whose motific development run through the whole movement. An equally characteristic feature is the completely contrasting lyrical response to the main theme, which quite abruptly follows it in the second measure.
Similarly significant is the dialogue between the piano and the orchestra at the end of the second movement, the Adagio, which is entitled "con grande espressione". The piano seems to be able to convince and reassure the orchestra - as it also does later in the second movement of the fourth piano concerto.
Following the initiative of the Stuttgart piano teacher and publisher Prof. Dr. Sigmund Lebert, several arrangements of piano concertos of Ludwig van Beethoven emerged in 1881 "...for study and concert-hall" and for which he was able to get famous composers, such as Franz Liszt or Vincenz Lachner. We owe to the latter the transcription of the second concerto, which gets a fascinating, rarely heard chamber music sound through careful allocation of the parts and refined orchestration and which appears for the first time with this recording.

Peter Leipold
Translation by Catie Leigh Laszewski

Performer(s)
Patricia Hase

B

ridging distances, bringing music closer to the people in a completely natural intimate way - these are the strengths of the pianist Patricia Hase, born in 1989 in Wiesbaden. Educated in one of the talent-hotbeds of the international piano elite at the Hanover University for Music, Drama and Media in the studio of Matti Raekallio, the young musician has set for herself the task of establishing through her music the connections between highly intellectual works of Western culture and the everyday life of the listener. In doing so she captivates with her warm sound, profound interpretations, and mature virtuosity. In addition to her pet project, the interpretation of the works of Franz Schubert which are celebrated by the press and public, Patricia likes to forge a bridge between "past" and "present", such as this recording, which ranges from the 1770-born Ludwig van Beethoven to Galina Ustvolskaya, who died in 2006.

Peter Leipold

S

ince the beginning of her studies Patricia Hase has enjoyed a close friendship with the conductor Peter Leipold, born 1987 in Stuttgart. Since then, numerous concerts have led the two young musicians throughout Europe. The work of Peter Leipold, who started his career at the Theater Erfurt and was honored by the Hannoversche Allgemeine Zeitung for his "quality of musical fine drawing", fascinates in his role as a seeker of and servant to the rich facets and colors of music that can be unveiled in the score and by the orchestra, as a conductor who represents the bridge between the musical performer and the score. With the recording of "Concerto for Piano, Timpani and String Orchestra" by Galina Ustvolskaya, Peter Leipold follows his passion for new music, on which he already specialized during his conducting studies for music of the 20th and 21st centuries at the Conservatorio della Svizzera Italiana in Lugano.

Ensemble Galina

Ensemble Galina - the search for harmony

The Ensemble Galina was founded in October 2014 and formed out of the desire to make music at a level where the quality of music and friendship come together. The young chamber orchestra is made up of 18 musicians - music students and emerging professionals from all over Germany. With the pianist Patricia Hase and the conductor Peter Leipold the ensemble makes it its mission to inspire a new sense in the musical performance - searching for harmony in the dialogue between soloist and ensemble and between composer and performers, honoring the true sense of the word »concertare«. For the name of the ensemble, they chose the Russian composer Galina Ustvolskaja (1919-2006), her »concert for piano, strings, and timpani« becoming the foundation stone on which the Ensembles was built. Ustvolskaja, who had to fight for cultural survival as a composer under the Soviet Regime touched us musicians not only with her life story, but with her music’s unbelievable emotional approachability, sincerity, and depth. The urgency in her existential musical expression became a very special motivation for the young musicians. To inspire true emotion as well as to search out interesting contemporary forms of expression are the goals and purpose of the Ensemble. With this new approach, which is shaped through collective dialogue and musical discourse, the Ensemble Galina endeavors to preserve the great cultural property in our time.

Peter-Lukas Gebert ~ Translation by Catie Leigh Laszewski

The Ensemble Galina

Violin: Friederike Jahn (Concert Master), Rebekka Gebert, Florian Giering, Emilia Grotjahn, Cornelius Köhler, Erika Lunz, Alina Riegel, Friederike Schindler, Saskia Becker-Foß, Inara Waiss
Viola: Peter-Lukas Gebert, Julia Yeon-Joo Oh, Raphael Tietz · Cello: Ingmar Escher, Inka Jans, Jaromir Kostka
Double Bass: Hermann Haffner, Lukas Rudolph

The Ensemble Galina is supported by the "circle for the promotion of the Hanover University of Music, Drama and Media e.V.", the banking house Hallbaum,
the Wellness-Hotel Diedrich in Hallenberg (Sauerland) and the "funding pool gender of the Hanover University of Music, Drama and Media".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

***** Wonderful performance and very good recording quality

Wonderful performance and very good recording quality. I love the beauty of the interpretation!

An Amazon Customer on July 31, 2016 - Customer Rating: 5 stars out of 5

Review

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This release is featured on the Spotify list of 50 notable classical new releases

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CHOPIN: Piano Sonata No. 3 in B Minor, Op. 58

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Cover
EUR 4,50
Frédéric Chopin (1810-1849):
Piano Sonata No. 3

in B Minor, Op. 58

Performed by Aleksandra Mikulska

Concert Grand Piano: C-227 by Steinway & Sons (No. 524500)

A live recording from the layrefectory of the German UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 26 Min. 41 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)


Image Gallery
Performer(s)

S

ensitivity, musical expression and a flawless, transparent technique: Aleksandra Mikulska embodies to the highest degree all of these qualities once demanded by Chopin himself. Teachers, critics, members of the jury as well as audiences all unanimously agree on this. For a long time now Aleksandra Mikulska has not only distinguished herself through her very own, extraordinarily genuine interpretation of Chopin, which won her the prestigious special award as best Polish female pianist at the International Frédéric Chopin Competition in Warsaw in 2005 and ensured an enthusiastic reception of her début Chopin CD in 2010. With her "passionate" and "enrapturing" performances of Haydn, Beethoven and Chopin, she presented audiences at the Lake Constance Festival in 2010 and 2011 with some of the "finest hours of piano music". Attending the class for gifted children at the Karol Szymanowski Music High School in Warsaw, gaining several promotion awards from the Polish government as well as winning prizes at international competitions laid the groundwork for the top-class international training of the young pianist. Even while still at grammar school, Aleksandra Mikulska was already being coached by Peter Eichler in Mannheim, and, after gaining her high-school diploma, she continued to study with him at the Karlsruhe Academy of Music. Parallel to her studies there, international masterclasses with Diane Andersen and Lev Natochenny amongst others provided further stimuli. After graduating with honours she moved to the piano academy "Accademia Pianistica incontri col maestro" in Imola, Italy, the land of music, where she was coached mainly by Lazar Berman and Michael Dalberto till 2008. From 2006 she also worked with Prof. Arie Vardi at the Hanover Academy of Music, where she gained her concert diploma in 2010. Aleksandra Mikulska unites the three musical traditions of Poland, Germany and Italy in a unique, personal and unmistakable style. She is a frequent guest at international festivals such as the Lake Constance Festival, the Maulbronn Monastery Concerts, the piano cycle "Musik am Hochrhein" (Switzerland), the Merano Festival in Italy and the Lapland Piano Festival. Furthermore, she also gives solo recitals all over Europe and performs with orchestras in Germany, Italy and Belgium. One focus of her artistic efforts is the dissemination of music by the great composers of her native country. Aleksandra Mikulska is vice-president of the Chopin Society in the Federal Republic of Germany in Darmstadt and board member of the German-Polish Association of Baden-Württemberg. Furthermore, she is a member of the Karol Szymanowski Society in Zakopane (Poland) and has close ties with the music society De Musica in Warsaw and the German-Polish Cultural Society "Salonik". Her recording début in 2010 was devoted to the works of Frédéric Chopin. In the Autumn of 2011 Aleksandra Mikulska published her second CD with the title "Expressions" including works by Haydn, Szymanowski und Chopin. Both recordings enjoyed great popularity with audiences and the specialist press. Meanwhile she has presented her third album which includes Chopin's four ballades. (Translation by Jill Rabenau)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Max Bruch · Moses

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Cover
EUR 19,80
Max Bruch (1838-1920):
M O S E S

German Oratorio Op. 67 in Four Parts,
performed by Peter Lika (Bass), Birgitte Christensen (Soprano),
Stefan Vinke (Tenor), the Maulbronn Cantor Choir (Kantorei Maulbronn)
and the Russian Chamber Philharmonic St. Petersburg
Conductor: Jürgen Budday

A live recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 120 Min. 55 Sec.
Digital Double Album · 15 Tracks

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Work(s) & Performance

T

he oratorio Moses holds special meaning in composer Max Bruch's body of work. He originally viewed it presumptuous to continue in the tradition of the major works by Händel and Mendelssohn. In a letter to the music writer Hermann Deiters he wrote in 1873: "Biblical subject matter is foreign to my nature; the old masters have made such formidable contributions in this area so that it is only possible for us to make independent and new accomplishments in conjunction with other subjects. It is no coincidence that every oratorio since Mendelssohn has been a failure." Whatever it was that ultimately triggered Bruch's change of mind remains a mystery, but in 1893, he wrote to the Bach researcher Philipp Spitta, the brother of his future librettist Ludwig: "You are the first, and will, for the time being, be the only person I trust to disclose a plan that so vividly occupies me. Do you wish to read intently the composition, the poetic foundation of a large-scale oratorical work: ‘Moses at Sinai' (or Israel in the Desert)... long have I sought and groped, momentarily pondering this, and then that. Because I am bound and determined to not further enhance the drama of the worldly dramatic cantata... which is why I have returned to the enclosed, truly oratorical plan, with which I was already seriously occupied in 1889, and again in 1890. It begins where Händel's ‘Israel in Egypt' ended. As far as I can conclude, no other musician of relevance has ever addressed this part of Moses' history…"
Conducted by Bruch, the debut performance was finally held on the 8th of January 1895 in Barmen. It is a piece of early oratorical art that Bruch has created here, yet one that is cloaked in the era of the Late Romantic. The choir is the decisive mediator of events in the piece of work. In addition to delicate poetic expression, the dramatic impact also demands particularly creative agility and adaptation from the singers. Even Bruch's contemporaries were suspicious of the opus.
In June 1895, Johannes Brahms wrote to Clara Schumann: "Bruch has now published a Moses... If only one could feel a hint of joy in the stuff! They are weaker and worse than his own early works in every respect. The only good sentiment is when one feels inclined, as I do, to thank the Lord that he spared us of the sin, the vice, or the bad habit of mere score-writing." Bruch, on the other hand, saw himself affirmed in his work and wrote to his publisher Franz Simrock in February of 1895: „I want to tell you a secret: noble and ample effects on thousands are not to be attained by common means; something higher, which cannot be defined, is working from within the productive artiste... I could have not have written ‘Moses' had not a strong and deep feeling of divinity been alive in my soul, and every deeply insightful artiste will have experienced that once in his life, so that through the medium of his art, he can proclaim to the people the best and innermost emotions of his soul... And in such, Moses proved to the world that I did not stand still – as that is the most potent danger in older age."
The oratorio so powerful and atmospheric in its choruses and arias consists of two parts and presents four episodes from the life of the prophet Moses. Part one of the opus begins with a short, dramatic introduction.
The scene At Sinai depicts Moses as the leader of the Israelites. He is called to the mountain by an angel to receive the Ten Commandments from Jehovah. During his absence, his brother Aaron is designated as keeper of the people. The Sanctus beginning with Psalm 90 of both solo parts of Moses and Aaron in alternation with the people was a core part of the opus for Bruch.
In the second scene, The Golden Calf, the plot makes a wide bend, heading towards the oratorio's tragic conflict, the Israelites' digression from Jehovah. Three impulsively scored chorus scenes portray the chosen people's restlessness and doubt caused by the prophet's long absence. The crude demand made of Aaron to produce a golden calf as a visible idol culminates in the anger of Moses, who has returned and calls to order the Israelites who are dancing around the false god Baal.
Part two (episode three), The Return of the Scouts from Canaan, begins in the middle of the conflict between Moses and the Israelites. The scouts Moses has sent to the Promised Land bring back hymnic reports of the "land of dreams", but the prophet deems the people of Israel unworthy of the Promised Land. Aaron and the Israelites arrive at deeper insight: "oh Lord, help us find mercy". A depiction of the fight with the Amalekites then follows.
In the last episode, The Promised Land, the Lord's angel proclaims to Moses his approaching end. The prophet leads his people to the Nebo Mountain where a view of Canaan is granted. Moses blesses the Israelites here before he passes away.

A concert recording from the church of the German UNESCO World Heritage Site Monastery Maulbronn,
recorded, released & created by Andreas Otto Grimminger & Josef-Stefan Kindler.
Sound & Recording Engineer: Andreas Otto Grimminger.
Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler.
Photography: Josef-Stefan Kindler.
Artwork & Coverdesign: Josef-Stefan Kindler.

Performer(s)
Peter Lika

Peter Lika ~ Bass (Moses)

Peter Lika began his singing career as a soloist in the boys' choir Regensburger Domspatzen and is considered one of the leading bassists in the concert and opera circuit. Paired with a finely balanced, dramatic expressiveness, his unmistakable timbre makes him a predestined soloist for roles such as that of the prophet Moses. Conductors like Masur, Schreier, Rilling, Gardiner, Marriner, Norrington, Celibidache or Herreweghe appreciate working together with Lika, as do renowned international orchestras, not least due to his extensive repertoire and also his longstanding experience with early music. Performances with the Gewandhaus Orchestra of Leipzig, the Bamberger Symphonic, the Chicago Symphony Orchestra, the Israel Philharmonic Orchestra and nearly all German broadcast orchestras have led Lika to the major musical centres of Europe, Asia, and USA. Finally, song programmes are also part of Lika's repertoire; with Sawallisch, he has recorded Schubert's vocal epos among other things.

Birgitte Christensen

Birgitte Christensen ~ Soprano (Angel of the Lord)

Birgitte Christensen was born in 1972 in Norway. She concluded her vocal training in 1997 at the state conservatory in Oslo. In November 1998 she made her extremely successful debut at the Norwegian National Opera as the Queen of the Night and was distinguished with the prestigious Esso award for outstanding opera performances. Since December 1999 she has been engaged by the Innsbruck Theatre where she has sung the main role in Händel's Partenope, Liu in Turandot and the Queen of the Night. In June 2000, she received a grant for her part in Partenope and was awarded the Eberhard Wächter medal.

Stefan Vinke

Stefan Vinke ~ Tenor (Aaron)

Stefan Vinke was born in Osnabrück and studied song with the court singer Edda Moser in Cologne, and with Eugene Kohn. The accomplished church musician received his first engagement at the Karlsruhe State Theatre of Baden in 1993. He sang for two seasons here before switching to the Krefeld-Mönchengladbach Theatre. Jun Märkl engaged Stefan Vinke for the 1999/2000 season as the 1st youth heroic tenor at Mannheim's National Theatre. In the new Ring, Stefan Vinke sings the role of Siegmund, followed by Lohengrin, Parsifal, Florestan and Tristan.

Russian Chamber Philharmonic St. Petersburg

Russian Chamber Philharmonic Orchestra St. Petersburg

The orchestra was founded in 1990 by graduates of the St. Petersburg Rimsky-Korsakoff Conservatory. The tours with Mstislav Rostropovitch, Igor Oistrakh, Mikis Theodorakis, Nina Corti and Giora Feidman as well as with opera and ballet soloists of the Moscow Bolschoi Theatre and the St. Petersburg Mariinski Opera attracted international interest. Performances in the cities of Paris, Rome, Madrid, Amsterdam, London, Frankfurt, Munich and Leipzig as well as at various festivals testify of the orchestra's exceptional status.

Maulbronn Cantor Choir

Maulbronn Cantor Choir

The Maulbronn Cantor Choir (German: Kontorei Maulbronn) is the large oratorio choir of the monastery in Maulbronn. The choir was founded in 1948 as a federation of the Evangelic Church Choir Maulbronn and the choir of the Evangelic Seminar Maulbronn. In this tradition the choir is formed today with ambitious choral singers from the region and students and former students of the Seminar Maulbronn (gymnasium with boarding school). Over those many years of its existence the choir has performed the complete repertoire of popular oratorios and worked together with orchestras like the 'Southwest-German-Radio-Symphony-Orchestra Baden-Baden and Freiburg', the 'Central German Chamber Orchestra', the 'Southwest German Chamber Orchestra Pforzheim' or the 'Baden Philharmonic Orchestra'. Soloists of these performances were artists like Barbara Schlick, Maya Boog, Sandra Moon, Sophie Daneman, Marga Schiml, Elisabeth von Magnus, Hans Peter Blochwitz, Aldo Baldin, Marc Clear, Markus Brutscher, Peter Lika, Gotthold Schwarz and Ludwig Güttler. The German television station ZDF broadcasted a portrait about the Choir, and the choir has participated in live radio recordings for the SDR, SWR, Deutsche Welle and Deutschlandfunk.

Jürgen Budday

Jürgen Budday ~ Conductor

Prof. Jürgen Budday (born 1948) is conductor, director of church music, music teacher and artistic director of the concert series at the UNESCO World Heritage Site Maulbronn Abbey. He started teached at the Evangelical Seminar in Maulbronn from 1979 till 2012. This also involved his taking over as artistic director of the Maulbronn Monastery Concerts and the cantor choir in 1979. He studied church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974. In 1992, he was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was honored with the "Bundesverdienstkreuz" (German Cross of Merit) as well as the Bruno-Frey Prize from the State Academy in Ochsenhausen for his work in music education. In 1983 Jürgen Budday founded the Maulbronn Chamber Choir (Maulbronner Kammerchor) with whom he won numerous national and international awards. At the Prague International Choir Festival, for example, Jürgen Budday received an award as best director. Since 2002, he has also held the chair of the Choral Committee of the German Music Council and became director and jury chairman of the "German Choir Competition" (Deutscher Chorwettbewerb). In 2008, he received the silver Johannes-Brenz-Medal, the highest honoring of the Evangelical-Lutheran Church in Wuerttemberg. Jürgen Budday was honoured in 2011 with the honorary title "Professor". In May 2013 Prof. Jürgen Budday was awarded by the Association of German Concert Choirs with the "George-Frideric-Handel-Ring" - one of the highest honors for choir conductors in Germany. Thus Jürgen Budday followed Helmuth Rilling, who was honored with the ring from 2009 till 2013.
Jürgen Budday has started a cycle of Handel oratorios that is planned to span several years, which involves working with soloists like wie Emma Kirkby, Miriam Allan, Michael Chance, Nancy Argenta, Mark Le Brocq, Charles Humphries, Stephen Varcoe (to name but a few). The live recordings of these performances, that have received the highest praise from reviewers, has won him international recognition. Till these days 11 oratorios by G.F.Handel are documented on discs.
"No conductor and no choir have so consistently recorded so many Handel oratorios as Jürgen Budday and his Maulbronn Chamber Choir." (Dr. Karl Georg Berg, Handel Memoranda Halle 2008).

Maulbronn Cantor Choir

Soprano:
Uta Albrecht, Clara Buss, Ines Darilek, Hannelore Demuth, Ulrike Egler, Gertrud Fahnenbruck, Claudia Fischer, Gretel Flasshoff, Erika Frasch, Christel Gebicke, Dörthe Glogner, Mirjam Grauli, Eva Günthner, Ute Günthner, Birgit Gutekunst, Frauke Harms, Hanna Hitziger, Andrea Klein, Gabriele Königs, Amrei Kriener, Annette Krtscha, Ursula Lang, Erika Langer, Irmgard Leins, Gerda Lemberg, Helga Leppek, Liane Matheis, Silke Mürdter, Gisela Pöthe, Lena Renkenberger, Christina Riek, Gerlinde Roos, Anna Schlimm, Nelly Schlimm, Christa Schmetzer, Amelie Spätgens, Beate Speck, Lore Stalter, Ute Troyke-Immel, Edda Ullrich, Bettina Wagner, Inge Wanner

Altus:
Verena Balcarek, Ulrike Bickel-Lang, Rosemarie Bohn, Eva-Maria Brückner, Helge Bührer, Dorothee Combe, Ulrike Egerer, Gertrud Erhardt-Raum, Doris Frank-Dietz, Barbara Fritsch, Ann-Katrin Fuierer, Dorothea Haiges-Obenland, Eva-Maria Herrmann, Dorothea Irion-Küenzlen, Christina Jungfer, Ursula Kaufmann, Stefanie Knappe-Retsch, Elisabeth Kümmerle, Angelika Kuveke, Maria Matzen-Mauch, Irmgard Miehlich, Margit Rapp, Dorothea Reininghaus, Anette Rösler, Beate Roth, Maria Smejkal, Sophie Sterzer, Ruth Weida, Helga Weber, Daniela Rosenberger

Tenor:
Wolfgang Altenmüller, Ernst-Dietrich Egerer, Jürgen Huttenlocher, Christoph Irion, Hartmut Leins, Thomas Müller, Dr.Bernhard Olt, Helmut Schmid, Harald Schroeder, Walter Toepfer, Michael Wagner, Manfred Wanner, Hans-Peter Weber

Bass:
Alfred Ankele, Dr. Reinhard Demuth, Bernhard Fräulin, Friedemann Frasch, Norbert Ganser, Kurt Glogner, Dr.med. Uwe Hage, Elmar Herkommer, Tobias Hitziger, Johannes Hruby, Stephan Irion, Christian Kloss, Ulrich Köhler, Jürgen Krug, Hans Kuveke, Hans Metzger, Wolfgang Miehlich, Hans-Martin Müller, Dr. Malte Neurath, Dr. Günther Rapp, Gottfried Retsch, Manuel Roller, Marcus Roller, Dieter Rudolf, Hans Schmid, Jan Smejkal, Jonathan Wahl

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist


Part I · At Sinai

1. I. Jehova selbst, der Herr, hat erlöst sein Volk
The People

2. II. Recitative and Aria: Mose, du Knecht des Herrn, sieh
Angel of the Lord

3. III. Recitative: Auf, hervor aus euren Zelten
Moses
IV. Canticle: Herr, Gott, du bist uns're Zuflucht für und für!
Moses, Aaron, The People

4. V. Recitative: Mose, so spricht der Herr
Angel, Moses, Aaron
VI. Er steigt hinan
The People


Part I · The Golden Calf

5. VII. Ach Herr, wie so lang
The People

6. VIII. Recitative: Israel, schicke dich!
Aaron, The People

7. IX. Recitative: Abtrünnige, kam es dahin mit euch?
Moses, Aaron, People


Part II · The Return of the Scouts from Canaan

8. I. Glück zu, es gelang, o seliger Tag!
The Scouts

9. II. Recitative: Die ich entsandt', die Boten kehren heim!
Moses
III. Aria and Recitative: Zur Höllen Pforten fahre ich dahin
Aaron, The People

10. IV. Hört des Heerhorns tosend Dröhnen
The People
Recitative and Aria: Getrost, mein Volk, verzage nicht
Aaron
V. Recitative: Stosset in die Halldrommeten!
Moses, Angel, People


Part II · The Promised Land

11. VI. Recitative and Aria: Hör', Moses, was der Herr beschlossen hat
The Angel of the Lord

12. VII. Recitative: Du bist der Herr, ich habe nichts zu sagen
Moses

13. VIII. Aus Wüstensand nun ins Gebirg'
The People
IX. Rezitativ: Gepriesen seist du, meiner Väter Gott
Moses

14. X. Also starb Mose, der Knecht der Herrn
The People

15. XI. Die richtig vor sich gewandelt haben
The Action of People on Moses

View more releases:

Review

An excellent project and a grandiose Performance

K&K is not a label that comes readily to mind, but after listening to this version of Bruch's Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery.

The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch's 'Moses', premiered in January 1895, is a truly eloquent and uplifting piece very much in the 'Elijah' tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work.

I enjoyed the work immensely notwithstanding Brahms' advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses' death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel's rapport with God.
The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease.

An excellent project that deserves every plaudit for its unique Enterprise.

Gerald Fenech on Classical Net

MIDNIGHT CLASSICS Vol. 4

Track

Cover
EUR 8,10
Volume 4
Midnight Classics

Music just to relax...
by Mozart, Beethoven, Gounod, Dvořák and Danzi

DDD · Duration: 38 Min. 38 Sec.
Digital Album · 7 Tracks

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

1. Wind Quintet No. 2 in G Minor, Op. 56, No. 2:
II. Andante
by Franz Danzi (1763-1826)
Performed by the Berlin Chamber Consort

2. Serenade for Strings in E Major, Op. 22:
I. Moderato
by Antonín Dvořák (1841-1904)
Performed by the Beethoven Academy Orchestra, Conductor: Pawel Przytocki

3. Serenade for Strings in E Major, Op. 22:
IV. Largo
by Antonín Dvořák (1841-1904)
Performed by the Beethoven Academy Orchestra, Conductor: Pawel Przytocki

4. Symphony No. 36 in C Major, K. 425 "Linz":
II. Andante
by Wolfgang Amadeus Mozart (1756-1791)
Performed by the Silesian Philharmonic Orchestra, Conductor: Pawel Przytock

5. Serenade No. 10 for Winds in B-Flat Major, K. 361/370a "Gran Partita":
V. Romance. Adagio
by Wolfgang Amadeus Mozart (1756-1791)
Performed by the Thaous Ensemble

6. Messe solennelle de Sainte-Cécile:
IV. Offertorium
by Charles Gounod (1818-1893)
Performed by Members of the SWR-Symphony-Orchestra, Conductor: Jürgen Budday

7. Piano Trio No. 6 in E-Flat Major, Op. 70, No. 2:
III. Allegretto ma non troppo
by Ludwig van Beethoven (1770-1827)
Performed by the Trio Fontenay


Sound & Recording Engineer: Andreas Otto Grimminger.
Mastering & Production: Andreas Otto Grimminger & Josef-Stefan Kindler.
Photography: Josef-Stefan Kindler.
Artwork & Coverdesign: Josef-Stefan Kindler.

MIDNIGHT CLASSICS Vol. 3

Track

Cover
EUR 7,20
Volume 3
Midnight Classics

Music just to relax...
by George Frideric Handel

DDD · Duration: 38 Min. 15 Sec.
Digital Album · 7 Tracks

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

1. Will the sun forget to streak
Air of the Queen of Sheba from the Oratorio Solomon HWV 67 by George Frideric Handel, performed by Laurie Reviol (Soprano) and the Hanoverian Court Orchestra
Conductor: Jürgen Budday

2. Then long eternity shall greet your bliss...
Joys that are pure
Arias of Micah from the Oratorio Samson HWV 57 by George Frideric Handel, performed by Michael Chance (Countertenor) and the Monastery Baroque Orchestra
Conductor: Jürgen Budday

3. With plaintive notes and am'rous moan
Air of Delila from the Oratorio Samson HWV 57 by George Frideric Handel, performed by Sinéad Pratschke (Soprano) and the Monastery Baroque Orchestra
Conductor: Jürgen Budday

4. I know that my Redeemer liveth
Air of Soprano from the Oratorio Messiah HWV 56 by George Frideric Handel, performed by Miriam Allan (Soprano) and the Hanoverian Court Orchestra
Conductor: Jürgen Budday

5. Largo for Lute Solo
from the Oratorio Saul HWV 53 by George Frideric Handel

6. March: Grave - Largo e staccato
from the Oratorio Saul HWV 53 by George Frideric Handel, performed by the Hanoverian Court Orchestra
Conductor: Jürgen Budday

7. In sweetest harmony they lived...
O fatal day!
Air of Michal and Air of David and the Chorus of Israelites from the Oratorio Saul HWV 53 by George Frideric Handel, performed by Nancy Argenta (Soprano), Michael Chance (Countertenor), the Maulbronn Chamber Choir and the Hanoverian Court Orchestra
Conductor: Jürgen Budday


Sound & Recording Engineer: Andreas Otto Grimminger.
Mastering & Production: Andreas Otto Grimminger & Josef-Stefan Kindler.
Photography: Josef-Stefan Kindler.
Artwork & Coverdesign: Josef-Stefan Kindler.

VORRABER: Concerto Classico for Piano & String Orchestra, Op. 37

Cover
EUR 3,60
Franz Vorraber (*1962):
"Concerto Classico"
for Piano & String Orchestra, Op. 37

World Premiere Recording
Franz Vorraber ~ Piano & Conducting
Castle Concerts Orchestra

Concert Grand Piano:
Steinway & Sons D-274 (No. 597417)

A concert recording from Bad Homburg Castle (Germany)

HD Recording · DDD · Duration: 22 Min. 46 Sec.
Digital Album · 3 Tracks · incl. Booklet

FILES
Previews

Art Movie(s)

Work(s) & Performance

T

he "concerto classico" op. 37 refers, as it can be seen from the title, back to the classical structure and the motives in terms of Haydn. As customary habit at the time, rhythmic set phrases and harmonic collocations of today have been used and processed. In the theme of the first movement can easily be noticed. Thus, the formal arrangement between tutti and solo is obliged to the classical model. Some surprising twists, especially the intensifying rhythm throughout the piece, combine typical formula of the First Viennese School to contemporary elements. The simple theme of the second movement is enriched with complex harmonic turns. Due to the interjections of the piano, a harmonically opposed dialogue is created. The pianos' harmonics, conducted with whole tones and additionally colored by the fifths of the strings, comes finally to a quiet ending. After a virtuosic opening, the third movement is designed concerto-grosso-style. The tutti is dominating the string orchestra. It is interrupted by the pianos’ soloist tours with a rather "groovy" basso continuo. The contrabass is taking the bass line in the middle part to calm the ensemble. After a wild cadence of the piano, the strings return with momentum and vividly end the work with copious virtuous piano figures.

Franz Vorraber

C

astles and palaces have always been stimulating human fantasy, just think of the tales of Cinderella and Sleeping Beauty. These connotations are also shaping musical compositions, in fabulous - simply romantic music. Beautiful creations that are able to express joy, love, sorrow and grief; silence as well as jubilance, melancholia as well as exaltation to today's audience no less that 500 years ago, differing not in time, but in a mode of feeling and perception that depends on composer, artist, performance space and - last but not least - you, dear audience. Therefore we choose the motto "Centuries of Romance" for our "Castle Concerts Series", and, to be honest: castles and romance, that fits quite nicely.
Giving a stage to this thought is the next step. We invited Franz Vorraber in his capacity as a pianist, composer and romanticist to plan and, eventually, to realize the present production. Franz built a beautiful concertant bridge from the 18th century to his specially created contemporary composition, and arranged it for piano and string quartet explicitly according to our visions. The work is being performed by the composer as both artist and conductor with an orchestra carefully selected by himself - the result is stunning. But just lean back and listen for yourself…

Josef-Stefan Kindler

Performer(s)

F

ranz Vorraber is one of the internationally renowned interpreters of Schumann. He repeatedly performed the complete solo oeuvre in cycles of twelve concertos and was published it in a thirteen-part CD recording at Thorofon, receiving numerous international awards and honors. Being born in Graz, his studies have been shaped by the First Viennese School and the German School, and he graduated with a soloist diploma and unanimous decoration. Franz Vorraber was invited as soloist to internationally famous festivals as the Viennese Musiksommer, the piano festival Ruhr, the music festival Schleswig Holstein, the Mozartfest Würzburg, the Mendelson fest in Leipzig, the Klosterfestspiele Maulbronn, the Musiksommer of Chorin, the European Weeks of Passau, the Frankfurter Feste, the festival Santander, the Schubertiade, the Rheingau music festival, the Hohenloher Kultursommer, the Bebersee festival et cetera. He worked with conductors like Dennis Russell Davies, Fabio Luisi, Alun Francis, Gabriel Feltz, Mar Tardue or Marcus Bosch. His repertoire of piano concerts includes 50 different concerts, many of them have been have been released on CD. His own works as a composer have been increasingly performed lately. There have been many premieres of pieces of chamber music at the Mendelson Fest at the Gewandhaus or at the Schumann Fest in Bonn in cooperation with the blowers of the Staatskapelle Berlin and musicians of the Gewandhaus Leipzig. A great success was the premiere of his first piano concerto at the Klosterkonzerte Maulbronn. Some works of piano were published by Thorofon and by K&K Verlagsanstalt, i. a. "Sentences of Love" in cooperation with the poet and writer Peter Härtling.

Castle Concerts Orchestra

T

he Castle Concerts Orchestra has been individually assembled by Franz Vorraber due to this production to guarantee the best body of sound possible for the arrangement and the composition. We named the orchestra after our series "Castle Concerts", in which framework this concerto has been performed and recorded.
Concert Master: Barbara Kummer-Buchberger (Frankfurt)
Violins: Barbara Kummer-Buchberger (Frankfurt), Yuri Uomizu (Wiesbaden), Corinna Freibott (Bad Bocklet), Yana Luzman (Würzburg), Hwoyeong Lee (Wiesbaden), Florian Bartl (Friedrichsdorf), Julia Muginstein (Würzburg), Paul Hartwein (Oberursel), Clara Holzapfel (Wiesbaden)
Violas: Hiltrud Hampe (Frankfurt), Konstantin Molodchinin (Würzburg), Ulrike Kruttschnitt (Würzburg)
Cellos: Bernhard Zapp (Bonn), Jan Ickert (Frankfurt)
Double Bass: Susan Lutz (Würzburg)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Digital Music Albums:

Online-Musik-Alben:

Performers, Series & Composers:

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Release Type: Work Albums

CHOPIN: Piano Concerto No. 1 in E Minor, Op. 11

Track

Cover
EUR 6,65
Frédéric Chopin (1810-1849):
Piano Concerto No. 1

in E Minor, Op. 11

The version for Piano & String Orchestra

Franz Vorraber ~ Piano & Conducting
Castle Concerts Orchestra

Concert Grand Piano:
Steinway & Sons D-274 (No. 597417)

A concert recording from Bad Homburg Castle (Germany)

HD Recording · DDD · Duration: 41 Min. 29 Sec.
Digital Album · 3 Tracks · incl. Booklet

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Work(s) & Performance
Frederic Chopin

C

hopin loves singing and as a singing poet of the piano, he inveigles into the universe of dreams. Chopin composed the piano concerto in e minor at the age of 20 during spring/summer of 1830 in Warsaw. It emerged shortly after his concerto in f minor and belongs to the standard repertoire of concert literature. In fall 1830, Chopin left Warsaw to go to Paris. This work is based mainly on polish dancing rhythms; especially prominent is the krakowiak in the last movement. Eventually, his work is characterized by its exceptional cantability. Chopin writes opera for the piano. He most likely performed this concerto himself in Warsaw in the same string casting it can be heard here.

Franz Vorraber

C

astles and palaces have always been stimulating human fantasy, just think of the tales of Cinderella and Sleeping Beauty. These connotations are also shaping musical compositions, in fabulous - simply romantic music. Beautiful creations that are able to express joy, love, sorrow and grief; silence as well as jubilance, melancholia as well as exaltation to today's audience no less that 500 years ago, differing not in time, but in a mode of feeling and perception that depends on composer, artist, performance space and - last but not least - you, dear audience. Therefore we choose the motto "Centuries of Romance" for our "Castle Concerts Series", and, to be honest: castles and romance, that fits quite nicely.
Giving a stage to this thought is the next step. We invited Franz Vorraber in his capacity as a pianist, composer and romanticist to plan and, eventually, to realize the present production. Franz built a beautiful concertant bridge from the 18th century to his specially created contemporary composition, and arranged it for piano and string quartet explicitly according to our visions. The work is being performed by the composer as both artist and conductor with an orchestra carefully selected by himself - the result is stunning. But just lean back and listen for yourself…

Josef-Stefan Kindler

Performer(s)

F

ranz Vorraber is one of the internationally renowned interpreters of Schumann. He repeatedly performed the complete solo oeuvre in cycles of twelve concertos and was published it in a thirteen-part CD recording at Thorofon, receiving numerous international awards and honors. Being born in Graz, his studies have been shaped by the First Viennese School and the German School, and he graduated with a soloist diploma and unanimous decoration. Franz Vorraber was invited as soloist to internationally famous festivals as the Viennese Musiksommer, the piano festival Ruhr, the music festival Schleswig Holstein, the Mozartfest Würzburg, the Mendelson fest in Leipzig, the Klosterfestspiele Maulbronn, the Musiksommer of Chorin, the European Weeks of Passau, the Frankfurter Feste, the festival Santander, the Schubertiade, the Rheingau music festival, the Hohenloher Kultursommer, the Bebersee festival et cetera. He worked with conductors like Dennis Russell Davies, Fabio Luisi, Alun Francis, Gabriel Feltz, Mar Tardue or Marcus Bosch. His repertoire of piano concerts includes 50 different concerts, many of them have been have been released on CD. His own works as a composer have been increasingly performed lately. There have been many premieres of pieces of chamber music at the Mendelson Fest at the Gewandhaus or at the Schumann Fest in Bonn in cooperation with the blowers of the Staatskapelle Berlin and musicians of the Gewandhaus Leipzig. A great success was the premiere of his first piano concerto at the Klosterkonzerte Maulbronn. Some works of piano were published by Thorofon and by K&K Verlagsanstalt, i. a. "Sentences of Love" in cooperation with the poet and writer Peter Härtling.

Castle Concerts Orchestra

T

he Castle Concerts Orchestra has been individually assembled by Franz Vorraber due to this production to guarantee the best body of sound possible for the arrangement and the composition. We named the orchestra after our series "Castle Concerts", in which framework this concerto has been performed and recorded.
Concert Master: Barbara Kummer-Buchberger (Frankfurt)
Violins: Barbara Kummer-Buchberger (Frankfurt), Yuri Uomizu (Wiesbaden), Corinna Freibott (Bad Bocklet), Yana Luzman (Würzburg), Hwoyeong Lee (Wiesbaden), Florian Bartl (Friedrichsdorf), Julia Muginstein (Würzburg), Paul Hartwein (Oberursel), Clara Holzapfel (Wiesbaden)
Violas: Hiltrud Hampe (Frankfurt), Konstantin Molodchinin (Würzburg), Ulrike Kruttschnitt (Würzburg)
Cellos: Bernhard Zapp (Bonn), Jan Ickert (Frankfurt)
Double Bass: Susan Lutz (Würzburg)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

View more releases:

Review

Featured by Spotify

This release is featured in the editorial Spotify playlist of handpicked new classical releases - August 2, 2019

Spotify Editorial Staff

HAYDN: Piano Concerto No. 4 in G Major, Hob. XVIII:4

Track

Cover
EUR 3,80
Joseph Haydn (1732-1809):
Concerto No. 4 in G Major

for Piano & String Orchestra, Hob. XVIII:4

Franz Vorraber ~ Piano & Conducting
Castle Concerts Orchestra

Cadences by Franz Vorraber
Concert Grand Piano: Steinway & Sons D-274 (No. 597417)

A live recording from Bad Homburg Castle (Germany)

HD Recording · DDD · Duration: 19 Min. 18 Sec.
Digital Album · 3 Tracks · Booklet

MP3

MP3 Album

320 kBit/sec.

Art Movie(s)

Work(s) & Performance

P

apa Haydn - nothing of the sort! The great musician always knew how to entertain people without using cheep templates filled with gaudy timbres or highly dramatic gestures. For him, joie de vivre is admissible, even desirable. Behind this rhythmic vitality and all the gestures, the master distinguishes and seduces people to superior thoughts, too. Little is known about the creation of the piano concert in G major. Guaranteed is just a date of performance on April 28th, 1784 at the Concert spirituel in Paris with the blind Viennese pianist Maria Theresia Paradis, whom i. a. Mozart composed for. The importance of Haydn as author of concertos is still underestimated in the History of Music. This particular concerto is composed for a string quartet only, without blowers. It comprises a typical, classically built work full of surprises and embellishments. This extent of humor and playfulness will rarely be accomplished by composers later born.

Franz Vorraber

C

astles and palaces have always been stimulating human fantasy, just think of the tales of Cinderella and Sleeping Beauty. These connotations are also shaping musical compositions, in fabulous - simply romantic music. Beautiful creations that are able to express joy, love, sorrow and grief; silence as well as jubilance, melancholia as well as exaltation to today's audience no less that 500 years ago, differing not in time, but in a mode of feeling and perception that depends on composer, artist, performance space and - last but not least - you, dear audience. Therefore we choose the motto "Centuries of Romance" for our "Castle Concerts Series", and, to be honest: castles and romance, that fits quite nicely.
Giving a stage to this thought is the next step. We invited Franz Vorraber in his capacity as a pianist, composer and romanticist to plan and, eventually, to realize the present production. Franz built a beautiful concertant bridge from the 18th century to his specially created contemporary composition, and arranged it for piano and string quartet explicitly according to our visions. The work is being performed by the composer as both artist and conductor with an orchestra carefully selected by himself - the result is stunning. But just lean back and listen for yourself…

Josef-Stefan Kindler

Performer(s)

F

ranz Vorraber is one of the internationally renowned interpreters of Schumann. He repeatedly performed the complete solo oeuvre in cycles of twelve concertos and was published it in a thirteen-part CD recording at Thorofon, receiving numerous international awards and honors. Being born in Graz, his studies have been shaped by the First Viennese School and the German School, and he graduated with a soloist diploma and unanimous decoration. Franz Vorraber was invited as soloist to internationally famous festivals as the Viennese Musiksommer, the piano festival Ruhr, the music festival Schleswig Holstein, the Mozartfest Würzburg, the Mendelson fest in Leipzig, the Klosterfestspiele Maulbronn, the Musiksommer of Chorin, the European Weeks of Passau, the Frankfurter Feste, the festival Santander, the Schubertiade, the Rheingau music festival, the Hohenloher Kultursommer, the Bebersee festival et cetera. He worked with conductors like Dennis Russell Davies, Fabio Luisi, Alun Francis, Gabriel Feltz, Mar Tardue or Marcus Bosch. His repertoire of piano concerts includes 50 different concerts, many of them have been have been released on CD. His own works as a composer have been increasingly performed lately. There have been many premieres of pieces of chamber music at the Mendelson Fest at the Gewandhaus or at the Schumann Fest in Bonn in cooperation with the blowers of the Staatskapelle Berlin and musicians of the Gewandhaus Leipzig. A great success was the premiere of his first piano concerto at the Klosterkonzerte Maulbronn. Some works of piano were published by Thorofon and by K&K Verlagsanstalt, i. a. "Sentences of Love" in cooperation with the poet and writer Peter Härtling.

Castle Concerts Orchestra

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he Castle Concerts Orchestra has been individually assembled by Franz Vorraber due to this production to guarantee the best body of sound possible for the arrangement and the composition. We named the orchestra after our series "Castle Concerts", in which framework this concerto has been performed and recorded.
Concert Master: Barbara Kummer-Buchberger (Frankfurt)
Violins: Barbara Kummer-Buchberger (Frankfurt), Yuri Uomizu (Wiesbaden), Corinna Freibott (Bad Bocklet), Yana Luzman (Würzburg), Hwoyeong Lee (Wiesbaden), Florian Bartl (Friedrichsdorf), Julia Muginstein (Würzburg), Paul Hartwein (Oberursel), Clara Holzapfel (Wiesbaden)
Violas: Hiltrud Hampe (Frankfurt), Konstantin Molodchinin (Würzburg), Ulrike Kruttschnitt (Würzburg)
Cellos: Bernhard Zapp (Bonn), Jan Ickert (Frankfurt)
Double Bass: Susan Lutz (Würzburg)

Series & Edition

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ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avantgarde - music that is unimaginable anywhere else but in the hotbed of Europe - we capture these in our Castle Concerts Series of recordings in their original settings in cooperation with Volker Northoff.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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