PICTURES AT AN EXHIBITION &
Markus Becker: Piano
Catalog number: 21085
This is not a crossover album! Two musical worlds are juxtaposed to shed new lights upon one other: 'Kiev' stands for the Russian Romanticism of the late 19th century, 'Chicago' for the cosmos of Jazz. How do these two vastly different worlds relate? When I was considering the concept for this album I found two aspects of the relationship between these worlds very interesting: one ‘external’, such as the 'groove' in some of the 'Pictures at an Exhibition' or the somewhat jazzy harmonies in the Scriabin Préludes. I was especially interested in the ‘internal’ connections between 'Kiev' and 'Chicago': it is the compositional or improvisational freedom, colours, generosity, temperament, potential for surprise and sensuality, which is the bridge between both parts of the programme.
Balthasar Hens: Piecen for bass clarinet
Works by Owen Elton, Eugène Bozza, Keith Ramon Cole, David Bennet,
Werner Heider, Edwin York Bowen
Balthasar Hens, bass clarinet
Hsiao-Yen Chen, piano
Catalog number 21084
This recording collects pieces for the bass clarinet from the 20th century, which range in their diversity from the late romantic soundideal via the Broadway sound of the 1930’s, right up to contemporary, enthralling sound spectrums. Especially those pieces, which have become unjustly forgotten or which are unknown, have been tracked down here.
Yu Jung Yoon
plays Alexander Scriabin
24 Préludes Op.11
Sonate Nr.2 Op.19 ('Sonate-Fantaisie')
Sonate Nr.5 Op.53
Catalog number: 21080
Yu Jung Yoon was celebrated in her childhood as a child prodigy and won numerous competitions in her home country Korea. When aged 15 she became one of the youngest students ever at the renowned Conservatory in St. Petersburg. After seven years in St. Petersburg she moved – after a short intermezzo in Germany – to Paris. Her playing combines virtuosity with a deep natural musicality. On her debut CD she performs works by Alexander Scriabin whose music she describes as being her ‘musical home’, ever since she was in her teens.
TWO. Works for accordeon and electronics
Margit Kern, accordeon
Catalog number 21055
TWO, strangeness and oneness, togetherness and alone again. Accordion alone and together with ‘live electronic’ are the playing situations in TWO. The inner tension of the CD is to be found in the alternation between the pair. The solo works have a direct relationship to shadow, thus broach- ing the issue of “two” on a completely different level, since the shadow always needs that some- thing which throws the shadow. Loneliness, togetherness - symbiosis - alienation, oneness - this is the intellectual space of this sound constellation, the gravitational point for the tonal diversity which is opened up by both sit- uations. The solo works by Samir Odeh-Tamimi and Edison Denisov are dualistic because of their theme, shadows. “Tslalim” is an Arabian term. It means shadows. The word only exists in the plu- ral, it always means lots. “Des ténèbres à la lumière” - from the shadows to the light - is the grand compositional theme to which Denisov dedicated himself in his last works.
Des ténèbres à la lumières (1995)
Inventaire de départ (2006)
A Co-production with Deutschlandfunk, Cologne
Laura Ruiz Ferreres
Works for solo clarinet
Catalog number 21049
As differing as the works on this CD at first appear, which, after all span a period from 1940 to 1987, almost 50 years, there are certain “threads” which can be spun between some of them, which endow them with loose connections: Berio and Stockhausen’s idea of polyphonic listening, Denisov and Donatoni’s extremely contrasting movements within the framework of a two movement work, Messiaen and Donatoni’s renunciation of a classical dramaturgy and perception of time, and Penderecki’s doing just the opposite, demonstrative virtuosity by Berio, Donatoni and Bucchi, lyrical quality by Penderecki and Denisov.
“After only a few minutes of Luciano Berio’s Sequenza IX, the first work in a recital of solo works from the second half of the 20th century, it is obvious that the Spanish clarinet player Laura Ruiz Ferreres is an exceptional, or even better, a phenomenal musician. Her creative power, the extreme sensuousness of her playing and the variety of her tone are fascinating. Her excellent technique allows her to play the most technically difficult passages with apparent ease. One does not often hear runs played with such sparkle and clarity. She is also a master of avant-garde sound effects and has, for example, a perfect double-tongue staccato, all of which makes her the ideal performer of this cross-section of contemporary solo repertoire for the clarinet.”
Heribert Haase in „das orchester“