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Jörg Ewald Dähler: fortepiano, Hansheinz Schneeberger: violin, Thomas Demenga: cello
Unusual interpretations of Schubert in which the "nebulous" sound of an historic fortepiano, imbuing the music with pensive melancholy, is heard in the bright company of modern instruments. The trio of musicians is challenging, too: Jörg Ewald Dähler is a renowned Schubert scholar and fortepiano specialist, New Series regular Thomas Demenga is famed for his centuries-spanning performances combining Bach cello suites with modern composition, and Hansheinz Schneeberger is a near-legendary figure in contemporary music, who first gained notice with the premiere performance of Bartók's Ist Violin Concerto.
Estonian Philhramonic Chamber Choir, Tallinn Chamber Orchestra, Estonian National Symphony Orchestra; Tõnu Kaljuste
A first wonderful review for this new album by american monthly magazine Stereophile.
Elena Vassilieva: mezzosoprano, The Hilliard Ensemble,
Dresdner Philharmonie, Dennis Russell Davies
Taken as a whole, the eight movements and seven intermezzi of this pastoral music from many countries make up the kind of programme that is often presented by those ensembles from the entertainment industry that belong to the Folklore Department (Arrangements division). Such evenings feature costumed 'family' groups with lots of children which, convinced that they are giving a genuine picture of a particular local region, express their solidarity exclusively through fake music. It is precisely because of the pseudo-popular character of some movements of »Kantrimiusik«, with their vague, ambiguous folklore, that their presentation should not be similarly ambiguous. The piece deliberately makes no claim to authentic sources. On the contrary, it seeks to further foster apocryphal musical art. The degree of parody and caricature or self-conscious seriousness should already be clearly audible in any accurate musical interpretation.
Angela Tunstall: soprano, Susan Bickley: alto, Alan Belk: tenor, Nieuw Ensemble,
Ed Spanjaard: conductor
In Spring 2008 Ernst Reijseger travels to Tuscany and retreats to the vineyard of Castello di Volpaia, on a hill not far from Greve in Chianti, to record his new album of works for cello. Ernst Reijseger has found a remarkable place that lets him unfold his spirituality in a very special way. The former church of La Commenda di San Eufrosino in Volpaia offers him a refuge where he can form his new sound-image in this particular atmosphere. He lets this wonderful space, this splendid location work on him, consciously incorporating the moods of early morning or the suspense of the night into his playing. The result is melodies of profound beauty, sometimes interrupted by harsh rhythmic strokes and wild sound improvisations.
Ernst Reijseger: violoncello
Maria Cristina Kiehr, soprano
Claudio Cavina, counter-tenor
Josep Benet, tenor
Josep Cabré, baritone