Classical Music

The present release is a set with which Challenge Classics intends to make its contribution to the celebrations for the 250th anniversary of the birth of Ludwig van Beethoven. It is a unique and completely original collection in the panorama of today’s discography, as it contains the complete corpus of the symphonies, as well as all the works for (instrumental) soloist and orchestra, i.e. all the concertos. All the works recorded here are directed by a single conductor, Jan Willem de Vriend, at the head of a single orchestra, the Netherlands Symphony Orchestra. It is clear that this aspect provides a unity, an organic force and therefore an authority that other collections featuring different directors cannot boast. Finally, all the recordings presented here were curated by Bert van der Wolf of Northstar Recording, one of the most innovative and capable sound engineers of the classic milieu.

Classical Music

Classical Music

Classical Music

Dora Delyska writes: "A waltz is a simple dance, a gentle movement. It has a clear structure and distinct rhythm. In my project "Alles Walzer, einmal anders!" I have tried to build up a complex program around the simplicity of the dance. All the pieces are connected to the waltz, by name, rhythm or a sound image. But each one has an individual structure and creates it's own universe of emotions. The significant waltzing rhythm (� time) is the core, that unites all the compositions from beginning till the very last piece, which creates a clear musical line and a feeling of completeness. The first association one has with a waltz and maybe the most famous one, is the Viennese one - moving gently, in elegant clothing, the dancing couple is driven by the inner pulsation of the waltz. The phrase "Alles Walzer" is being said just before the couple enters the dance floor and marks the beginning of the waltz (in Austria). It is the brief moment when expectation turns into action, when silence melts into the music. The second part of the title "einmal anders" (once on a different way) refers to the different side of the waltz, that is represented on this release by less known compositions, such as waltzes by Ligeti, Bartok and Debussy. My album has the goal to show a different perspective of the waltz and bring the audience to an unexpected musical journey, full of strong emotions and distinct rhythm.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Daniel Rowland writes: "I remember so well the moment I first heard Marcelo play, in the beautiful and historic Holywell Music Room in Oxford, in the autumn of 2009. Marcelo's version of a magical Piazzolla touched me deeply and I was utterly captivated and fascinated by it: by the depth, the honesty, the raw emotions, the almost unbearable tenderness, the sense of longing, of loss, the fiery passion... That day I decided to dive deeply into the world of tango, and to learn this language from Marcelo. We started playing together, and very soon became a quintet, with superb artists, brilliant musicians, virtuosos, friends, and like minded, inquisitive, musical spirits. Marcelo grew up in Buenos Aires and met Piazzolla as a child, when Astor's legendary quintet would rehearse at his parents home. Piazzolla would tell Marcelo: 'Marcelito, come and stand behind me as we rehearse and follow my printed score, and listen to what I actually play' - often these two things where very different! This is surely the most direct, and incredible insight into the master's interpretation of his music that one could possible dream of! We in the quintet very strongly feel this unique connection between Piazzolla and Marcelo, it is a great inspiration. I'm sure that Piazzolla like the young Marcelito so much because he saw not only a serious, of course very talented your artists with a huge tango-heart, but also someone who would push the boundaries of tango, keep innovating and daring to experiment, while respecting the tradition."

Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time. Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give us clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more 'beautiful'. This album explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist.

Classical Music