Bach’s Cello Suites, the finest of all such works in the literature, speak in pure and clear voice, always spiritual yet down to earth. Isang Enders (b. 1988) was principal leader of the Dresden Staatskapelle cello section for four years before embarking on his solo career. He is a co-founder of the Ceres Ensemble and a founding member of the Int’l Shostakovich Festival. “The suites should speak, sing, dance, hunt and contemplate – altogether subjectively and characteristically. The subjective aspect of this recording is the result of my firm conviction." – Isang Enders

Piano Music: Grand-Mondain

Precious Baroque

Reveries

Kurt Masur 85th Anniversary (Live)

MOZART:ENTFÜHRUNG AUS DEM SERA

Tea for Two

Sivan Silver and Gil Garburg frequently examine the tense relationship between original work and arrangement as a result of their formation. On Illumination the acclaimed duo has dedicated a whole programme to arrangements for two pianos, throwing new light on some really great works and highlighting the versatility of Romantic composers. "It is easy to make an impression as a piano duo using virtuoso effects. But that alone is not enough," they say. "We have the impression that we have compiled a sort of cyclical programme: Debussy pays tribute to the older French master Saint-Sa�ns, who in turn honours his esteemed colleague Liszt, who in his turn dedicated his B minor Sonata to Schumann, whose works are now in the safe hands of Debussy."

DEBUSSY:POEMES-LIEDER

The Most Beautiful Violin Concertos

We are standing in a picture gallery of music. All around us we can hear snippets of the great works for string quartets, along with unfamiliar things to delight the ear; it is truly a music-lover's paradise. "Chiaroscuro" forms the conclusion of a rather special trilogy of albums by the Schumann Quartet and at the same time marks a journey's end. After searching for their own roots in "Landscapes" and engaging with their namesake Robert Schumann in "Intermezzo", the four musicians complete their trilogy with the album "Chiaroscuro", which in itself represents an equally exciting journey through time and temperament. By way of Mozart's arrangements of five selected fugues from Bach's "Well-Tempered Clavier II" they look left and right into very different musical rooms. There are two early pieces for string quartet by Shostakovich, Philip Glass's "Company" string quartet, a short fugue by Felix Mendelssohn, and the six Bagatelles op. 9 by Anton Webern. The whole promenade culminates in Janácek’s last work, his Second String Quartet. "A few years ago we were even more inclined to do things 'the right way', or to fulfil other people's expectations of us." In recent years, the young musicians have progressively released themselves from these demands. And perfected their own. "We want our music to exist in the immediate moment, as we lose ourselves in it. For that to succeed, each of us must transcend their individual ego." Their focus is on the concert, and that is the way they have approached "Chiaroscuro": "We recommend everyone to listen to the whole album from beginning to end without a break." "Chiaroscuro" – Italian for "light and dark" – is the name of the programme. The Schumann Quartet combines works that could not be more different. They aim to show that despite the contrasts, the differences and discontinuities between such pairs as Mozart and Webern, Glass and Janácek, there are glimpses of common elements and evidence that many of the composers on display are brothers in spirit. It is a question of the "unity that the album forms", perhaps not in spite of, but just because of the contrasts. And when at the very end of the album, at the very end of the whole trilogy, we hear Gershwin’s "Lullaby", we cannot shake off the feeling that all this is such stuff as dreams are made of.

LETZTEN LEIDEN DES ERLÖSERS

DARK HOURS (Mystic Moments of Classical Music)

Theodorakis, M.: Sadduzaer-Passion

Matthias Kirschnereit and the hr-Sinfonieorchester under Michael Sanderling have compiled a compelling, captivating programme of music from the last days of the Classical era, on the cusp of the Romantic. This half-way house in the best possible sense accommodates the compositions of Johann Nepomuk Hummel, Carl Maria von Weber and Felix Mendelssohn. On his latest album, the soloist makes the boldness of this musical venture audible: I was attracted by the fact that these rare jewels were created at a time of change, of new horizons. With over 40 album releases to his credit, the German pianist cannot be praised too highly for his inventiveness and initiative in exploring unfamiliar terrain. It was this spirit of discovery that led him to a fascinating program centered on Hummels Piano Concerto in A minor op. 85, flanked by Webers Konzertstück in F minor op. 79 and Mendelssohns Capriccio brilliant in B minor op. 22: all of them works whose fabric pulses with inner relationships, allusions and cross-references, united too by the fact that they are rarely to be heard on the concert platform. There is so much thrilling music that has fallen from favor. I was looking for a new combination, reflect Matthias Kirschnereit. Michael Sanderling is a conductor he has often worked with, and in this case Sanderling was his first choice: These works, which represent just as great a challenge for the orchestra, require a high degree of precision, virtuosity and elegant musical discourse. The teamwork with Sanderling and the symphony orchestra of Hesse Radio can only be described as an act of providence. This session rounded off the Corona year with an exhilarating highlight. And so may this music, which conjured up the spirit of a new era with defiant optimism two centuries ago, give us too a future to look forward to in our own times.

Together with the Berlin based Deutsches Symphonie Orchester, Mari Kodama and her husband Kent Nagano have now completed the recording of all of Beethoven's piano concertos by jumping, as it were, back in time twice: the last element of this recording series that has spanned more than 13 years was Beethoven's concerto "number nought” WoO 4- personally edited by Mari Kodama from the autograph score. The original manuscript of this piano concerto is kept at the State Library in Berlin. This is not a completed score, because there is no orchestration. That said, Beethoven annotated the short score, especially in the first two movements, with indications as to which instrument was to play which part. The orchestra score which is available today was written in the early twentieth century based on those annotations. The only problem is "armed with the knowledge we now have acquired about the young Beethoven, we would perform this concerto quite differently in places," explain Mari Kodama and Kent Nagano in unison. They therefore present a very personal adaptation that emerged during rehearsal with the orchestra and at the recording sessions, and which reflects Kodama's and Nagano's individual image of Beethoven. They aim to make audible the exuberant freshness and urgent sense of awakening in the young, almost childlike Beethoven's writing shortly before his artistic powers were to burst forth, the joie de vivre and vital energy in a style that owes something to the playfulness of both Haydn and Mozart. That is Mari Kodama's intention, and she plays it in precisely such a versatile manner.

Having garnered the ultimate accolades from a host of arts review pages for her premiere recording on the Hamburg Elbphilharmonie’s organ and on the double organ of the Taiwanese Kaohsiung Center for the Arts, concert organist Iveta Apkalna now presents her third release on the Berlin Classics label as a triple album. Triptychon spans three centuries and three religious confessions on one single organ: Johann Sebastian Bach, Franz Liszt and Peteris Vasks can be heard on this, the first release of a recording played in Neubrandenburg’s Concert Church on the organ which she helped to develop and inaugurated. Apkalna opens the first altar panel with three works by her compatriot and personal friend: alongside Arvo Pärt, Peteris Vasks is the best known and most often played Baltic composer. “Latvia is Peteris Vasks and Peteris Vasks is Latvia,” explains the organist. “I hear the landscape of Latvia in his music, the far horizons of our flat country, the meadows and forests, birdsong and the sea. Peteris Vasks is undoubtedly a truly Latvian character, though he also breathes the ‘global air’. Otherwise people all around the world would not love his music.” Johann Sebastian Bach is at the heart of Iveta Apkalna’s triptych – just as he is central to the career of any organist. For her, his Toccata, Adagio and Fugue in C major BWV564, the Trio Sonata in D minor BWV527 and the six Schübler Chorales BWV645–650 represent the greatest possible stylistic, compositional and tonal variety backed up by personal motives. Franz Liszt, who achieved worldwide fame as a travelling virtuoso and visionary composer, was also a formidable organist who, towards the end of his career, took holy orders. His oeuvre too is close to Iveta Apkalna’s heart.

With its new album 'Concertos 4 Violins', the specialist ensemble for early music, Concerto Koln, takes a look at the unique repertoire niche of concertos written for four solo violins. 'It must have been a challenge to bring together four solo violins, four virtuosos with four different personalities, four egos.' In this programme, devised by bassoonist Lorenzo Alpert, Concerto Koln gathers together the creme de la creme of baroque violin specialists. The orchestra already maintains a longstanding artistic partnership with each of them: Mayumi Hirasaki, who was concertmaster e.g. for Concerto Koln's most recent recording of Geminiani's works, Shunske Sato, who grew up in the USA and is extensively involved in the Netherlands Bach Society, Evgeny Sviridov from St. Petersburg and the Spaniard Jesús Merino Ruiz. They were all shaped differently by their various cultural backgrounds and pursued different educational paths. This makes the combination of the four all the more compelling. At the same time it demonstrates that any barriers in thought and in musical language can be overcome.

In her first chamber music album Claire Huangci- together with Solenne Païdassi, violin Adrien Boisseau, viola and Tristan Cornut, cello- devotes herself to two works by Maurice Ravel and Ernest Chausson. As the debut album of Trio Machiavelli and Adrien Bosseau as support for Chausson, this album is a calling card that is worth seeing. Claire Huangci, the young American pianist of Chinese descent and 2018 Geza Anda Competition first prize and Mozart prize winner, has succeeded in establishing herself as a highly respected artist, captivating audiences with her “radiant virtuosity, artistic sensitivity, keen interactive sense and subtle auditory dramaturgy” (Salzburger Nachrichten). Her unusually diverse repertoire, in which she also takes up rarely performed works, is illustrative of her remarkable versatility.

One is inclined to speak of soulmates after hearing Simon Höfele and Elisabeth Brauss play as a duo and after getting to know them both personally. It is like two people connecting with one another in music and in conversation when they either know each other very well or have forged a special bond for some other reason. The latter is sure to be true this album is their first joint recording venture. With his album Standards, a testament to his time as a BBC Radio 3 New Generation Artist and in collaboration with two BBC orchestras, he devoted himself to the core repertoire of trumpet and orchestra and the great trumpet concertos by Haydn, Hummel, Copland and Arutiunian. Spearheading a young, go-getting generation of artists and awarded an Opus Klassik, he now takes a look at the New Standards the 20th century chamber music for trumpet. Together with pianist Elisabeth Brauß, he interprets works by Arthur Honegger, Karl Pilss, Georges Enescu, Paul Hindemith, Jean Françaix and Alexander Arutiunian, which illustrate the mutability of his instrument in an astonishing way: The trumpet repertoire contains works by many unfamiliar composers, works which really hardly anybody knows, there are nowhere near as many as there are for violin, and we have no Beethoven or Brahms its very much of a niche thing, and yet its our standard repertoire and really great, wonderful music. The album is a kind of Best-Of of the chamber music literature for trumpet, its a good selection and shows off the many facets of this repertoire, says Simon Höfele.

Beethoven: Symphony No. 9, "Choral"

Spark plays Baroque music. That sounds simple, but is in fact highly complex. That's because when an ensemble like Spark approaches a past era, that can only come about with a fresh new perspective, bold reorientation and lots of delight in experimentation. It is not for nothing that the ECHO Klassik prizewinning formation enjoys a reputation for blending the old and the new, tradition and innovation, the familiar and the unheard-of in a unique manner. Consequently, on their upcoming release "BE BAROQUE" the five exceptional musicians are not interested in simply arranging Baroque works for their formation. On the contrary: in their new arrangements they aim to highlight new aspects, intensify moods and awaken unforeseen associations. Baroque manners are assimilated, spun and transformed into the musical language of the 21st century. Based on a number of masterworks by Bach, Vivaldi, Handel and others, Spark creates its very own Baroque tableau whose color spectrum ranges from almost true-to-the-original reproduction through to a completely new composition.

If a chamber music ensemble can stand together in the same lineup for 25 years, it must be doing something right. The Faure Quartett can be assumed to be doing so: As one of the world's leading piano quartets, the four musicians are at the zenith of chamber music, touring the world's most important venues and breaking down musical boundaries with their recordings. Their Pop Songs album was followed by Mussorgsky’s Pictures at an Exhibition and Rachmaninov’s etudes-Tableaux in 2018, which have never been heard so rousingly before. On the occasion of the 25th anniversary of its foundation, the quartet turns its attention to a composer who is at the same time both long overdue and right now perfectly fit to be recorded properly: Gabriel Faure. The Faure Quartet has fond memories of these phases of self-exploration and laying the foundations of a piece. The quartet was able to afford the luxury of independent maturity and managed to transform the apparent shortcoming of such a fixed instrumentation into a quality. It is not a trio that treats itself to a pianist, neither is it a string quartet that gives one violin a temporary leave of absence, and nor is it a piano soloist who enhances inherent keyboard timbres by augmenting these with a few extra string players. It remains an ensemble that takes itself seriously in its particularity and benefits from the qualities of four characters who can stand up to each other even over long stretches of time. And it is a team that does not see itself as too superior not to practice the same thing over and over again until a point is reached at which an invisible boundary is crossed, one that leads from mere interpretation to actual embodiment.

A decade in the same formation - unfortunately, fewer and fewer ensembles manage that. But the Goldmund Quartet is one of them and their new album "Travel Diaries" shows which personalities of today's music scene have influenced them and with whom they have worked over the last ten years. Ten years is a long time. As a musician, you get to know many composers during this time, interpret their works, or even work on these together with them. The Goldmund Quartet has done this with a number of well-known composers: Fazil Say, Dobrinka Tabakova or Wolfgang Rihm. They are all well-known names in contemporary music culture with whom the ensemble interpreted, rearranged or even reinvented works. The close collaboration with some of these composers played a big part in this: "While we’re working on the music we can sense how the work evokes memories and emotions in Fazil, which in turn gives new impetus to our interpretation. For instance, in the third movement he describes a cantilena in unison between the first violin and the viola as a fateful flirtation that is disturbed by the second violin using Bartok pizzicati and loud, accentuated notes emulating a hysterical voice of jealousy. The psychological essence of the work can, up to a point, be figuratively transferred to the music-making and interaction between the members of a string quartet. We strive among ourselves in order to achieve the expression of profound emotions. We go through our ups and downs too."

Sebastian Manz writes: “It seems only logical at first glance to unite two Scandinavian composers, Carl Nielsen and Magnus Lindberg, on one [album], and it must be said that we are talking about two works that have permanently influenced and changed me as a musician. I played the Clarinet Concerto op. 57 by Carl Nielsen in 2008 for the finale of the ARD International Music Competition and won first prize. It was a huge challenge back then for me to have to play it by heart, as the rules required. Nerves, sleepless nights and superstitions about being able to learn something better by heart by having the score under one’s pillow at night all led on stage (with the Bavarian Radio Symphony Orchestra behind me) to one of my most intensive experiences ever. This piece of music is challenging both technically and musically, to the extent that after each performance I have the feeling of being not just a better clarinetist, but a more mature human being; it makes me realize that qualitatively high-value art requires time, not just to mature within ourselves, but to be recognized as such at all.”