Perfectly Free brings together two contemporary cello concertos-Osvaldo Golijov's Azul and Anna Clyne's DANCE-in a live recording that cellist Maja Bogdanovic describes as a deeply personal journey of discovery. Both works received their Dutch premieres during the Stift International Music Festival with the Phion Symphony Orchestra, under the batons of David Cohen (Azul) and Xandi van Dijk (DANCE). Golijov's Azul is portrayed as a poetic, otherworldly tapestry of colors and styles, ranging from Baroque influences to Piazzolla-inflected rhythms, enriched by an unusual orchestration featuring a prominent accordion and a wide spectrum of exotic percussion. The concerto unfolds like a cosmic vision-at times improvisatory, at times prayerful-culminating in sound worlds that evoke radio signals, stardust, and distant galaxies. Clyne's DANCE, inspired by Rumi's poetry, contrasts this with a five-movement exploration of raw emotion and virtuosity, stretching the expressive and technical boundaries of the cello. Moving from fragility to rhythmic intensity, from Baroque purity to diabolical energies, the work blends folk elements, lyrical lines, and personal nostalgia-including a final, haunting dedication to the composer's father. Bogdanovic emphasizes the profound artistic partnerships behind the recording, noting the rare creative "telepathy" experienced with Golijov and the intuitive collaboration with van Dijk. Golijov says: "Perhaps the greatest joy I know in music is telepathy between composer and performer. I am beginning to get used to it when I experience it with life-long collaborators who instantly understand the music I only understand myself after months of working on it. But I am startled when telepathy happens with a musician I have just met. This is what happened with Maja: No need for words to explain anything. Maja understands Azul better than I understand it myself. This gives me a great sense of relief. I know I don't need to be present for my music to live in the world. I am grateful to Maja for that. David Cohen and the Phion Symphony Orchestra prove to be ideal shipmates in this Azul recording that I love dearly. To have it paired with Anna Clyne's gorgeous music makes the recording even more special and closer to my heart." The project reflects the "Perfectly Free" spirit of the Stift Festival-fearless, generous, and adventurous-capturing not only two landmark contemporary concertos but also the shared inspiration of the musicians who brought them to life.

Dear to Us, the debut album by violinist sisters Hina & Fiona, captures the rare and radiant bond between two rising stars of the classical music world. Born in New York to French-Vietnamese and Japanese parents, these gifted sisters have already achieved remarkable milestones individually: Hina recently won first prize at the 2023 Elmar Oliveira International Violin Competition, while Fiona debuted with the New York Philharmonic at 16, and respectively embark on illustrious solo careers. Together, their playing reveals a profound connection shaped by lifelong collaboration, honest artistic dialogue, and complementary interpretations. Accompanied by the distinguished pianist Rohan de Silva, they present a thoughtfully curated program that balances beloved classics with lesser-known treasures, showcasing works by Halvorsen, Moszkowski, Ysaye, Rozsa, and contemporary composer Anna Clyne. From the fiery virtuosity of Ravel's Tzigane and Sarasate's Navarra to the tender warmth of Ponce's Estrellita, Dear to Us is a compelling journey through technical brilliance and heartfelt expression. The sisters' extraordinary synchronicity, paired with their distinctive voices, creates a musical experience both intimate and exhilarating. In addition to CD, Dear to Us is also available as a 2LP special vinyl release, offering listeners a rich, analog experience of the duo's vibrant artistry-perfect for collectors and audiophiles alike.

Dear to Us, the debut album by violinist sisters Hina & Fiona, captures the rare and radiant bond between two rising stars of the classical music world. Born in New York to French-Vietnamese and Japanese parents, these gifted sisters have already achieved remarkable milestones individually: Hina recently won first prize at the 2023 Elmar Oliveira International Violin Competition, while Fiona debuted with the New York Philharmonic at 16, and respectively embark on illustrious solo careers. Together, their playing reveals a profound connection shaped by lifelong collaboration, honest artistic dialogue, and complementary interpretations. Accompanied by the distinguished pianist Rohan de Silva, they present a thoughtfully curated program that balances beloved classics with lesser-known treasures, showcasing works by Halvorsen, Moszkowski, Ysaye, Rozsa, and contemporary composer Anna Clyne. From the fiery virtuosity of Ravel's Tzigane and Sarasate's Navarra to the tender warmth of Ponce's Estrellita, Dear to Us is a compelling journey through technical brilliance and heartfelt expression. The sisters' extraordinary synchronicity, paired with their distinctive voices, creates a musical experience both intimate and exhilarating.

Anna Clyne, described as a 'composer of uncommon gifts and unusual methods' by The New York Times, is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers and visual artists around the world. Clyne's unique voice combines tradition with postmodern techniques, giving her listeners a sense of musical adventure that is grounded in the past. From the beautiful elegy Within Her Arms to the defiant power of Restless Oceans, Anna Clyne's music strikes a positive and resilient tone.

Anna Clynne’s enormous palette of colors and special effects coalesce into an aural three-dimensional experience of striking originality. Equally there’s a comforting familiarity to her music, as she draws inspiration from historic styles that she transforms into a new musical dialect. Anna’s background in electro-acoustic music and her fascination for a variety of multi-media – including poetry, visual art and videography – combine to create rich and exhilarating textures of popular appeal.

The five works on Anna Clyne: Mythologies were written over a 10-year period between 2005 and 2015. The performances on the album feature the BBC Symphony Orchestra and four internationally-acclaimed conductors. Masquerade, commissioned by BBC Radio 3 to open the Last Night of the Proms 2013 and conducted by Marin Alsop, captures the spirit of that quintessentially English tradition. The title evokes an 18th-century outdoor festivity featuring fireworks, acrobats and street entertainers. This Midnight Hour, conducted by the BBC Symphony Orchestra’s Chief Conductor Sakari Oramo, encapsulates the modernity and decadence of two European poets, Nobel Prize-winning Spaniard Juan Ramón Jiménez and Frenchman Charles Baudelaire. Oramo also conducts The Seamstress, a single-movement violin concerto in all but name, featuring soloist Jennifer Koh as well as the whispered voice of Irene Buckley reciting the work’s inspiration, a poem by William Butler Yeats.

More poetry by a Nobel laureate, the Irishman Seamus Heaney, inspired Night Ferry; conducted by Andrew Litton, the work conjures crashing waves and weathered seafaring. The album concludes with rewind, conducted by André de Ridder. It’s a wild romp imagining the backwards scroll of a video tape complete with glitches, skips and freezes.

Mythologies became an instant media and popular success when it was released in October 2020 – “hands-down one of the half-dozen best classical albums of 2020”, according to New York Music Daily. The album is now presented in both a CD version and as a magnificent 2-LP set. The splendor of the glossy gatefold and 180-gram vinyl in particular is an appropriate match for Anna’s enormous palette of colors and special effects.

REVIEWS:

I found her music colourful, full of energy and overflowing with ideas which grip you from first to last. The present release of her compositions spanning the decade from 2005 up to 2015 thus offers a fine survey of her recent orchestral music and there is no better place to begin with than the first work recorded here, the short Masquerade, a brilliant concert-opener if ever there was one. The music skips along with high spirits until it concludes with a quotation from John Playford's The English Dancing Master which comes as a surprise - although I for one would not be surprised to learn that that very tune had already been there since the very beginning but cleverly and subtly disguised. Anyway, this short and brilliant work presents Anna Clyne's music-making in a nutshell, as it were.

These superb works receive committed readings from all concerned and, besides singling out the BBC Symphony Orchestra playing at its customary best, I would like to draw attention to Jennifer Koh's impressive take on the violin part in The Seamstress, one of the gems in this collection. I hope that many will derive as much musical pleasure from this very fine release as I have, and that it will not take too long before more of Clyne's orchestral music is committed to disc.

-- MusicWeb International

Mythologies is an apt title choice for this striking collection by London-born composer Anna Clyne (b. 1980). However ancient mythological tales might appear at the surface level, their archetypal themes resonate across the ages, as relevant today as when they were born, and they're fantastical in nature too, populated as they are with gods and mythical beasts. In similar manner, Clyne's music exudes an era-transcending quality in these phantasmagoric pieces, some of which stretch out for twenty minutes at a time. The Grammy-nominated composer is a tale-spinner whose creations transport the listener to dazzling realms.

Certainly a key part of the recording's appeal has to do with unpredictability: in not conforming to long-established scripts, the pieces are able to unfold in any number of stylistic directions, even if ultimately each develops in accordance with her sensibility.

-- Textura

Anna Clyne: Mythologies became an instant media and popular success when it was released in October 2020 - "hands-down one of the half-dozen best classical albums of 2020", according to New York Music Daily. The album is now presented in a magnificent 2-LP set, the splendor of the glossy gatefold and solid 180gsm vinyl an appropriate match for Anna's enormous palette of colors and special effects. Anna's compositions balance striking originality with a comforting familiarity as she draws inspiration from historic styles and transforms them into a new musical dialect. Her background in electro-acoustic music and her fascination for a variety of multi-media - including poetry, visual art and videography - combine to create rich and exhilarating textures of popular appeal. The five works on Anna Clyne: Mythologies were written over a 10-year period between 2005 and 2015. A kaleidoscopic orchestral showcase, the set opens with Masquerade. Commissioned by BBC Radio 3 to open the Last Night of the Proms in 2013 and conducted by Marin Alsop, this curtain-raiser captures the spirit of that quintessentially English tradition, evoking an 18th-century outdoor festivity featuring fireworks, acrobats and street entertainers. This Midnight Hour, conducted by the BBC Symphony Orchestra's Chief Conductor Sakari Oramo, encapsulates the modernity and decadence of two European poets, Nobel Prize-winning Spaniard Juan Ramon Jimenez and Frenchman Charles Baudelaire. Oramo also conducts The Seamstress, a single-movement violin concerto in all but name, featuring soloist Jennifer Koh as well as the whispered voice of Irene Buckley reciting the work's inspiration, a poem by William Butler Yeats. More poetry by a Nobel laureate, the Irishman Seamus Heaney, inspired Night Ferry; conducted by Andrew Litton, the work conjures crashing waves and weathered seafaring. The set concludes with rewind , conducted by Andre de Ridder, a wild romp making reference to another vintage format, the VHS tape.