Antonii Baryshevskyi has won prizes at over 20 international and Ukrainian competitions. He has, since early youth, performed at a series of festivals in his home country of the Ukraine. This young soloist has incredible potential and will consistently follow his own path, always guided by a self-critical endeavour to achieve perfection.

Classical Music

Everything began with Paul Hindemith's Waltzes, Op. 6. One morning, befor epracticing, Gülru Ensari and Herbert Schuch sight-read those eight miniatures for four hands, and were astounded to find that they featured a number of similarities with the Brahms Waltzes. Why not intermingle the two cycles? The Turkish-German duo - who are partners in real life, not just at the piano - decided to record the Brahms and Hindemith cycles for this album, along with two Turkish dances by Özkan Manav and the four-hand version of Igor Stravinsky's "Rite of Spring". ...And then it turned out that the "Hungarian" element often gave us the chance to create smooth transitions between one composer and the other. It ends up sounding incredibly natural to us. The two composers are directing their gaze toward the same horizon: to the East.The duo got their idea of commissioning Özkan Manav to compose a work for them while in Vienna and Frankfurt. Brahms and Hindemith found their inspiration in Hungarian folk tunes. Özkan Manav arranged an American folk dance; in Paris, Stravinsky revisited the folk music of his Russian homeland to write "Sacre".

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

In this new album, Cathy Krier takes an original step and goes entirely against the grain of her previous programmatic approach. In her two most recent albums she had juxtaposed the apparently divergent styles of Rameau and Ligeti, or Liszt vs. Berg/Shoenberg, uncovering astounding new connections among them. The current release now takes the opposite path. At first glance, Claude Debussy- the inventor of musical Impressionism- and Karol Szymanowski- often called the ‘Polish Impressionist’- would seem to have much in common. Both composers even use the same title in French: Masques (masks). Cathy Krier affirms, nevertheless, that she is much more interested in the differences one can observe between these two works written roughly during the same period. Our listening experience is thus enriched thanks to a new, fascinating aesthetical perspective.