The Pacific Quintet have gone beyond the standard classical repertoire and have selected pieces that represent their diversity. Its musicians were born and raised all over the globe — Japan, Honduras, South Korea, Germany, and Ukraine/Turkey — and here present music from their home countries, transcending all differences of culture, language, and tradition. Two pieces, one by the Honduran composer Jorge Santos and the other by the South Korean female composer Soeui Lee, were commissioned especially for this album, which also includes Fazil Say’s quintet Alevi dedeler raki masasinda and a medley of Japanese folk songs; Hanns Eisler’s Divertimento represents Germany, the Pacific Quintet’s home base. The album ends with an arrangement of music from West Side Story and pays homage to Leonard Bernstein, the founder of the Pacific Music Festival in Sapporo where the players first met. As this project shows, they are truly United in music.

Unter dem Titel Wagneriana präsentiert diese Aufnahme das Schaffen Richard Wagners in neuem klanglichen und musikalischem Gewand. Das Spektrum reicht von Bearbeitungen der Originale bis hin zur Neuvertonung eines verschollenen Liedes. Diese besondere Produktion ist nicht zuletzt eine Hommage an die Josef Matthias Hauer-Musikschule Wiener Neustadt anlässlich ihres 150-jährigen Bestehens. Der Titel Wagneriana deutet darauf hin, dass keine der auf der CD enthaltenen Kompositionen in der Originalfassung von Wagner erklingt. Der Grad der Bearbeitung und Überarbeitung von Wagners Vorlagen variiert jedoch. Die Bandbreite reicht von Arrangements, die das Original lediglich in anderem Klang präsentieren, über Ergänzungen im Stil Wagners, Paraphrasen bis hin zu Collagen und der gänzlichen Neuvertonung eines verschollenen Liedes unter Verwendung von Wagnerschen Motiven.

“In addition to working together with living composers, the rediscovery of undeservedly forgotten works is an immense enrichment for us instrumentalists, who all too often find ourselves in the role of reproducing a few well-known pieces. It is for this reason that my joy was all the greater when one day Oliver Triendl told me about a genuine treasure: during his extensive research on composers from the Balkan region, he had unearthed a number of completely unknown works for bassoon and piano and immediately had the intuitive idea of recording them on CD.

However, the result of his research was so extensive that several CDs could have been filled with the works he had found, and so we played through piles of sheet music for half a night until we finally arrived at our selection for this CD. With this CD, I hope to contribute to the expansion of the repertoire of my instrument, and also to promote a wider dissemination of the classical musical tradition of the Balkan region, which has so far been under-represented, and not only in the bassoon repertoire.” Theo Plath

There is no piece of music that the Patricia Kopatchinskaja cannot play in a way that unwinds your expectations and forces you to hear it anew.

This new recording marks the reformation of the legendary duo of Patricia Kopatchinskaja and Fazil Say. The Moldovan violinist says the Turkish pianist ‘is a volcano, with an indomitable strength and energy’, while he emphasizes the ‘freedom’ that her ‘spontaneous playing’ exudes: ‘At each concert, she creates a different character and tells a new story.’ The explosive duo presents a program devoted to Bartók’s Violin Sonata no.1 (‘a marvel from start to finish, one of his finest works’, says Patkop), Brahms’s D minor Sonata (‘I imagine a feather in flight at the opening of the sonata’) and Janáček’s Sonata, ‘an extreme work, wounded and heart-rending’.

REVIEW:

There is no piece of music — works by Tchaikovsky or Schoenberg, or an old folk tune — that the violinist Patricia Kopatchinskaja cannot play in a way that unwinds your expectations and forces you to hear it anew. So it is with the latest chapter in her partnership with the intrepid Turkish pianist and composer Fazil Say. The Janacek sonata that opens this recording and the Bartok Sonata No. 1 that closes it clearly play to the duo’s strengths: curiosity, an impatience with convention and exceptional technique. They pounce, almost too eagerly, on each of the Janacek’s lightning-quick mood changes; and in the Bartok, a piece in which the two instruments work virtually at cross purposes, they achieve an ESP-like mutual responsiveness.

Their rendition of Brahms’s Violin Sonata No. 3 in D minor, however, is the paramount achievement here. Resisting the urge to swath this wistful music in a big luxuriant tone, Kopatchinskaja adopts a timbre that’s sometimes bristly, sometimes gossamer-light. She and Say push the music to extremes: The quiet moments seethe and the outbursts approach violence, but it’s all done with impeccable control. The piece sounds bereft and heartbroken even as it avoids the clichés of Romanticism. It’s not the way I’d want to hear it played every time, but it’s invaluable for offering a glimpse deep into a work you might have thought predictable, which is exactly what these imaginative musicians are after.

-- New York Times (David Weininger)

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."