Alexei Stanchinsky: Piano Works (12 Sketches for Piano op. 1, Piano Sonata No. 1 in F major, Songs without Words, Preludes; Ekaterina Derzhavina, Klavier; 1 CD Profil PH 17003; Aufnahme 2016, Veröffentlichung 03/2017 (59') – Rezension von Remy Franck
Als Alexei Stanchinsky 1914 unter ungeklärten Umständen tot aufgefunden wurde, war er gerade mal 26 Jahre alt. Er litt unter ‘Dementia praecox’ und lebte zeitweilig in einer Heilanstalt. Als Komponist hat er nur wenige Werke hinterlassen. Sie sind ungewöhnlich, sehr frei komponiert, haben einen Touch von Scriabin und bieten ein außergewöhnliches Hörerlebnis. « Hätte er etwas länger gelebt, würden wir jetzt mit Sicherheit vom ‘russischen Bach’ sprechen », findet Ekaterina Derzhavina, die Pianistin dieses Albums. Read More →
Anton Bruckner: Sämtliche Symphonien; Staatskapelle Berlin, Daniel Barenboim; 9 CDs Deutsche Grammophon 8947 96985; Aufnahme 2010-2012, z.T. live, Veröffentlichung 01/2017 (550') Rezension von Alain Steffen
Eindeutig! Dies ist die beste Gesamteinspielung der Bruckner-Symphonien, die es gibt…!? Aber wir wissen alle, sogenannte „beste Aufnahmen“ hat es immer gegeben und wird es auch in Zukunft immer geben. Auch bei Bruckner! In den Sechzigerjahren gab es den besten Bruckner mit Eugen Jochum und Bernard Haitink, in den Siebziger- und Achtzigerjahren waren es Günther Wand und Herbert von Karajan, die Bruckner-Geschichte schrieben, danach, seien wir ehrlich, wurde in Sachen Bruckner nicht mehr viel Außergewöhnliches geboten. Read More →
In the small town of Luslawice in South Poland, 100 kilometres east from Krakow, composer Krzysztof Penderecki initiated a musical centre for young musicians, built on his land, not far from his own manor and his superb Arboretum. The Krzysztof Penderecki European Center for Music, as it is called, is today an important venue hosting master-classes, workshops and concerts for and with young musicians, bearing at the same time a huge cultural influence on the entire region, Remy Franck reports.
“No artistic creativity can survive without roots », Penderecki says. « Let’s look at a tree: it teaches us that a work of art must take roots in two things – the ground and the sky – and that the most sublimate and fundamental values are always the key. » Read More →
In 2017, French violinist Chouchane Siranossian is a double Award winner of ICMA (International Classical Music Awards), for her CD L'ange et le diable with Jos van Immerseel and as Concertmaster of Ensemble Esperanza. Remy Franck made the following interview with her.
Chouchane, your family roots go back to Armenia. What does this mean for your music-making?
For sure, my roots have an influence on my playing and even in general on my life. My father is a well-known specialist of this music and his approach certainly had and has an influence on my own music-making. I was born in France, I have grown up in France, so I feel myself as being French, but I have several times been in Armenia and above all I have heard this music at home. When I was a child my grand-parents would sing Armenian folksongs! Read More →
The non-governmental organization ‘Freedom of musical expression’, Freemuse, has published its latest figures on the persecution of artists around the world. In 2016, Freemuse registered 1,028 attacks on artists and violations of their rights across 78 countries. The number of cases registered in 2016 more than doubled the amount in 2015, Fremuse says: « Of those more than one thousand cases, Freemuse documented 188 total serious violations of artistic freedom and 840 acts of censorship. » Read More →
Following the protection measures taken by the new POTUS*, entering the United States can become a nightmare for performing artists, even when they do not come from one of the banned countries. Read More →
While the US are spending $10 millions of public money on each weekend trip of their current President, plus millions for the security of his wife and his children – even when his sons inaugurate a Trump resort in Dubai – the arts sector managers position themselves in order to fight the announced measures of reducing or cutting fiscal advantages for arts funding. Read More →
Naxos has closed its streaming service ClassicsOnline « since our technology partner ceased operating the platform used for », the website announces. Yet, there is also a financial reason, since Naxos’s CEO Klaus Heymann says: « ‘I don’t feel that terrible about it because nobody offering streaming is making money. » Read More →
In a press release, Fort Worth Opera is profusely thanking their General Director « for his 16 years of dedicated service » and at the same time the board fires him over different views for the future. As Schiller would say: The Moor has done his duty, the Moor can go. Darren K. Woods will be replaced by a new General Director the search of which has already started.
Enjott Schneider: Fatal Harmonies: Werke für Violoncello und Orchester (Dugud, Sulamith, Fatal Harmonie of Black Sweetness, Abaddon – Angel of Abyss, Lilith); Lásló Fenyö, Cello, Deutsches Symphonie-Orchester Berlin, Ariel Zuckermann; 1 CD Wergo WER 5116 2; Aufnahme 3/2016, Veröffentlichung 01/2017 (82‘17) – Rezension von Uwe Krusch
Eine weitere CD mit Werken des produktiven Enjott Schneider legt mit vier Werken für Solocello und Orchester sowie einem reinen Orchesterwerk den Schwerpunkt auf das ‘singende’ Instrument schlechthin. Das Cellokonzert ‘Dugud’ sowie ‘Sulamith. Dances sacrées’ und ‘Abaddon, Engel des Abgrunds’ werden hier vom Widmungsträger vorgetragen, ebenso wie ‘Fatal Harmonies of Black Sweetnes’. Read More →
