Pieces are like seismographs says Adriana H�lszky about her own work - but it could well be applied to all the works recorded on the present CD: Music as a seismograph for a composer's aesthetic premises, musical ideas, and the circumstances of composition or, beyond the period of composition, to provide information about the approaches that musicians and listeners, respectively, adopt toward it, about our changing understanding of music. The combination of works recorded here by Julius Berger and Stefan Hussong demonstrates that for all the historicism of our musical life, the most recent music and older music do not contradict each other, but instead the perspective and experiences provided by the most recent music can provide surprising approaches to older music.

Besides various intangible elements - a balance of physical and metaphysical properties of Saed Haddad "good music" needs. The former he counts beauty, power, magic, power, virtuosity, etc.; in the second category are elusive concepts: the existential, the spiritual and the transcendental. The works on this CD come from two different marked by compositional practice periods. In the first period from 2004 to 2006 Haddad sought a synthesis of Arabic and Western music - without the usual Western mesh as tourism, exoticism or some form of abstraction. The aim was a real, existential and transcendental integration, not a juxtaposition or even constraints of a tradition on the other. More recently, since 2007, prefers to always questioning composers continued increasingly from a direct, existential contact with Arab culture.

CONCERTOES FOR VIOLONCELLO & O

Recorded between 1950 and 1964, these holiday carols are sung by some of the finest recital singers of that time, including Dietrich Fischer-Dieskau and Rita Streich, Erna Berger, Elisabeth Grümmer. In tandem with exquisite arrangements that transcend the usual sentimental tropes, these famed carols gain a gem-like quality with the RIAS Symphonie Orchester (today known as Deutsches Symphonie Orchester Berlin).

Sullivan, A.: Cox and Box

Julius Berger writes of his new release: "Johann Sebastian Bach’s suites for cello solo are arguably the purest form of music, works that require no explanation or background knowledge. Johann Sebastian Bach made one of his most profound affirmations, a Gradus ad Parnassum, which in six stages sets out an intellectual and technical challenge that is and will probably remain peerless in the history of music for our instrument. My colleague and friend, Prof. Peter Langgartner from the Mozarteum University of Salzburg pointed out to me that the Prelude of the first suite contains Luther’s chorale “Vom Himmel hoch, da komm’ ich her” (from Heaven above, from thence I come). I had always presumed so and was grateful for confirmation that the cello suites make allusions to chorales and religious messages. I have therefore found a musical way of opening a spiritual door to the suites and added chorales to Suites 1, 3, and 5 in the mould of sounds from John Cage’s work One 8, chorales that in my opinion are definitely consistent with messages conveyed in the suites. I find that John Cage’s music shares similarities with Bach’s. His music allows for inner reflection, providing a contemplative point of calm. Cage said the purpose of music is “to cleanse the soul and bring it peace, thus making it amenable to divine influences”. My son Immanuel intones the chorales to this special music; each chorale is followed by two Bach suites."

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Includes work(s) by various composers.

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One of the towering figures of American music, Cherry was part of the revolutionary free-bop quartet led by Coleman, an ensemble that helped shift the conversation about jazz from chord changes and swing to freedom and energy. By the late '60s, the pocket-cornet player was living in Sweden, with his wife Karlsson, playing with Swedish musicians from all backgrounds, seeking out exciting partners in a somewhat hippie-like atmosphere. It was in this milieu, in the summers of '71 and '72 that Cherry recorded the tracks for his legendary double LP, Organic Music Society, which was released on Caprice and is now reissued for the first time on CD. The sessions that comprise Organic Music Society are varied and represent several directions in Cherry's oeuvre.

One of the towering figures of American music, Cherry was part of the revolutionary free-bop quartet led by Coleman, an ensemble that helped shift the conversation about jazz from chord changes and swing to freedom and energy. By the late '60s, the pocket-cornet player was living in Sweden, with his wife Karlsson, playing with Swedish musicians from all backgrounds, seeking out exciting partners in a somewhat hippie-like atmosphere. It was in this milieu, in the summers of '71 and '72 that Cherry recorded the tracks for his legendary double LP, Organic Music Society, which was released on Caprice and is now reissued for the first time on CD. The sessions that comprise Organic Music Society are varied and represent several directions in Cherry's oeuvre.

This release features key works by Astor Piazzolla, the king of composed tango, performed by three outstanding musicians. Shifting between fiery and melancholic, the tango nuevo is just irresistible. Born in 1971 in Münster, Germany, Friedemann Eichhorn studied violin with Prof. Valery Gradow in Mannheim, Alberto Lysy at the International Menuhin Music Academy in Switzerland and with Margaret Pardee at the Juilliard School New York. He regularly performs with orchestras such as St. Petersburg Philharmonic or the SWR-Radio-Orchestra and has concertized with Yuri Bashmet, Saschko Gawriloff, Gidon Kremer, Yehudi Menuhin and Igor Oistrakh. The German cellist Julius Berger studied at the Musikhochschule of Munich, Germany under Walter Reichardt and Fritz Kiskalt. Later, he studied at the Mozarteum in Salzburg, Austria under Antonio Janigro and at the University of Cincinnati under Zara Nelsova. When he was just 28 years old he was appointed to the Musikhochschule Wuerzburg and was one of the youngest Professors in Germany. A native of Buenos Aires, José Gallardo started piano lessons at the age of five, at first at the Conservatory in Buenos Aires, later continuing his studies with Poldi Mildner in the Faculty of Music at the University of Mainz, where he completed his diploma in 1997. Since autumn 2008 he has been teaching at the Leopold Mozart Centre at the University of Augsburg.

This DVD features a hand drawn pictographic score consisting of 12 panels (totaling 70 feet in length), 2 hanging mobiles, and absolutely no verbal or written instructions. It was commissioned by the Cantor Arts Center Museum at Stanford University.

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One of the most respected violinists of the 20th century! This set contains many items not previously available on CD, and some that have never been released at all. - Allegro

Featured Artists:
Oscar Shumsky: violin/Maureen Forrester: alto/Lois Marshall: soprano/Nadia Reisenberg piano/James Melton: tenor/Mario Bernardi: piano/Primrose String Quartet.

The 3 CD set also features arrangements of unspecified arias from Cantatas No. 120 & 132 by Bach and unspecified songs by Rachmaninov.

“Who would I need to be to be able to talk about a man who is still growing…” (Adam Zagajewski: “The late Beethoven”) Margarita Höhenrieder and I have known it all our lives: the elucidations of Carl Czerny or Rudolf Kolisch, the latest Urtext editions that will lead us to “faithfulness to the text”, the disquisitions from Romain Rolland to Eleonore Büning – we read, we discuss, it all seems helpful and necessary. At the end of the day it is the mature individual, the serious exponent, who makes the decision led by the promptings of conscience, and who simultaneously senses this “growing” of which Zagajewski speaks. We climb a steep path, in order to approach Beethoven more closely. The summit of this path is visible, but not attainable. That is why we keep returning to this path, endless as it is. Beethoven lives in us, as he changes, as we change. Life aspires to art, art is a way forward, life is our way forward. Beethoven changes us through his “growth”. We grow with him!

To this day, Beethoven’s Symphony No. 9 is one of the most popular pieces of classical music in the world. But what is it about this global hit? The film charts the success of the symphony around the globe and encounters passionate amateur musicians and musical personalities. Watch as Greek conductor Teodor Currentzis works on Beethoven’s Ninth with his ensemble, MusicAeterna. Follow Chinese composer and Oscar winner Tan Dun as he creates a new composition inspired by the great Beethoven symphony. Experience the Orchestre Symphonique Kimbanguiste in the Democratic Republic of the Congo, as they play the Ninth. Visit a favela in Brazil, where Beethovens’s music helps people get off the streets. Be amazed as a choir of 10,000 in Japan sings the final chorus of Beethoven’s Ninth Symphony, with great enthusiasm. Learn how Paul Whittaker helps make Beethoven accessible for deaf people. And find out how British DJ Gabriel Prokofiev performs a symphonic remix of Beethoven’s Ninth.

Engelbert Humperdinck (1854–1921) was a student at the Conservatory in Cologne from the spring of 1872; it was at this time that he got to know the Siegburg district judge and arbitrator Johannes Degen (1826–1902), an excellent singer and violinist, who gave regular chamber concerts in Siegburg at which he played in his own string quartet. Humperdinck, whose talent he had astutely spotted, was the pianist and composer he had been looking for. For his part, the young music student saw his admission to Degen’s chamber-music circle as an opportunity for regular performance; in return, he wrote whatever Degen requested. Humperdinck’s tally of 13 chamber compositions represents a relatively small part of his oeuvre (beside his six operas and about 80 Lieder, along with stage music and choral works). Brief album-leaves for violin or cello and piano contrast with works for the major Classical genres of string quartet, piano quintet, piano trio, sonata and sonatina – most of which were never finished and sometimes survive only in the form of short sketches. His finished pieces include two major works, an early piano quintet (1875) and a late string quartet (1920); the other completed movements include some tailored to Degen’s domestic music-making.

The combination of violin and guitar as well as classical playing styles and jazz has been on everyone's lips since the inimitable duo Stephane Grappelli and Django Reinhard. An equally deep musical friendship exists between the Viennese violinist Rudi Berger and the Brazilian guitarist Toninho Horta, whose new album Belo Horizonte received the Latin Grammy Award for "Best Brazilian Album of the Year" in 2020. Their first collaborations started in 1988 in the United States, since then the two extraordinary musicians have played over 500 joint appearances to date. This album by the title "Rudi Berger featuring Toninho Horta" presents a cross-section of these years of musical life together, with recordings from Austria, New York City and Rio de Janeiro, from duo to 9-member formation. The compositions by Berger and Horta always transcend genre boundaries and incorporate influences from bossa nova, jazz, but also classical and folk music.

Berger & Holland were two of the first Europeans to find musical homes for themselves deep in American free jazz, and these improvised duets from 1976 show just how comfortable they were. Berger plays piano, vibraphone & balafon, while Holland plays bass. The compositions are tonal, and as the title insists, it's all about time. It's roots go deep, all the way to Africa, and the overlapping of rhythms suggest the minimalism of Reich, Riley & Glass. Berger's forte is rhythmic dialogue, and the subtle time shifts that are often a music's undercurrent are fore-grounded here.

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