Born in L�dz (Poland) Grazyna Bacewicz is the most eminent inheritor of the 19th century violinist-composers in the lineage of her compatriot and predecessor Henryk Wieniawski. She was one of the most important composers of the mid-20th century, a remarkable concert artiste who left a catalogue of over 200 works, including five Sonatas and a Partita for violin and piano as well as two solo violin sonatas that feature in this boxset commemorating the 50th anniversary of her death. Her style is close to the French neoclassicism of the interwar period, though she increases it's vitality and clarity while infusing it with a blend of delicacy and highly individual rigor. All her works reveal rhythmic sophistication and a characteristic approach to metre, a juxtaposition of exuberance and lyricism. In short, music that is vivacious, sensitive and mischievous; the composer excelled in her treatment of a stringed instrument while in parallel drawing out the lines of a piano part bristling with life. The French violinist Annabelle Berthom�-Reynolds loves rare, powerful scores. She has imbued herself with this music and with her partner the Bulgarian pianist Ivan Donchev, they both fill this music with vitality and poetry to make this boxset a real discovery and already a classic interpretation.

The first recording of the David Oistrakh Quartet received much praise from the press ("No sooner formed, this young quartet already reaches excellence.") Achieving comparison with the Borodin and the Beethoven Quartets, this young group offers an impassioned performance of Grieg and Mendelssohn: a powerful, contrasted, physical and always subtly emotional performance. The David Oistrakh Quartet features today's most outstanding Russian musicians. In 2012 the family of the legendary 20th century violinist honored the quartet with his name. Over the years, artistic friendship and a passion for the art of the quartet brought the young soloists and the grand masters of quartet together to form this extraordinary ensemble. All four musicians play on exemplary Italian instruments made by Antonio Stradivari, Niccolo Amati, and Francesco Ruggeri.

COMPETITION, VIOLIN 1967/1971/

In 1980 the Queen Elisabeth Competition was played out in the context of the Cold War: the Russian candidates were absent, too many Soviet laureates having taken advantage of their success to cross to the other side of the Iron Curtain. The Americans therefore arrived confidant they would be giving a demonstration, yet this was to neglect the contribution of Japan, which had three laureates among the top four. And, a remarkable fact, all came from the teaching environment of their own country. Belgium was in delight as it discovered the winner of the competition that year: Yuzuko Horigome. She had already made a big impression during the semi-final, notably with her performance of a sonata by Ysaye that showed remarkable clarity and determination. This formidable musician of 22 years confirmed in the final this excellent impression with a magnificent Brahms' First Sonata performed in thoughtful silence. Her Sibelius Concerto galvanized the orchestra and roused the public to a passion for one of the very finest performances of this concerto in the history of the competition. Since this first success of an Asian laureate at the competition, Yuzuko Horigome has pursued a superb career in Europe and in her native country as a soloist yet also as a renowned teacher. Every day she shows that knowledge and talent, with regard to Western music, have been universal for a very long time.

75 Years Ysaÿe & Queen Elisabeth Piano Competition

Guillemain: Amusements

75 Years Ysaÿe and Queen Elisabeth Violin Competition

From the middle of the sixteenth century the reputation for excellence of the composers of Northern Germany was well established. Given dynamism by commercial exchanges thanks to the bustling activity of the port of Hamburg notably, the cities of the Hanseatic League welcomed many foreign workers, their customs inspiring the artistes of the Germanic tradition. At the end of the seventeenth century, Hamburg was a free city sheltered from war, a refuge for artistes and for great fortunes. It was then the most cosmopolitan city in Germany and its population included a great number of merchants, bankers, diplomats and senators, so many men who were rich and who had the time necessary for enjoying music and for encouraging this flourishing art. As close friends, Johann Adam Reinken, Dietrich Buxtehude – both admired by Bach – and Johann Theile belonged to the circle of contrapuntists of Northern Germany, finding inspiration, however, in the monodic stile nuovo of Italy, championing the idea that music should be at the service of the drama. This musical circle, both professional and friendly, met frequently at Abendmusiken, or musical evenings, created in 1646 in Lübeck by Franz Tunder, organist of the Marienkirche who was to be succeeded by Buxtehude. Organists, great improvisors, the music of the four composers of this programme often comprises suites of short movements in each of which occur identical or related harmonic and melodic elements, characteristics of improvisation and peculiar to the stylus phantasticus, a musical movement dear to composers of this period. For their second album for muso, the Ensemble Stravaganza returns to its favorite repertory to offer a release that is virtuosic, lyrical, richly sonorous and colorful, and is performed with astonishing naturalness.

Bach: Toccatas

The instrumentation indications printed on the scores of 18th century violin sonatas were numerous and varied. However, the renewal of baroque performance over recent decades has imposed the uniformity of a continuo bass played on harpsichord and cello, despite the celebrated ‘o’ of Corelli and many of his pupils in: violoncello o cembalo. Though the use of the harpsichord is not to be called into question, other practices were common, particularly in the case of the violin sonatas. And it was unquestionably Tartini and his contemporaries who pushed a new practice to the forefront from the 1740s onwards: to perform the music of these great violinists-composers with an accompaniment of solo cello, which, far from being incidental, has a major role in the score. Other works of this programme render justice to the cello as a solo instrument, fully equal to the violin, with the first veritable duets for both instruments, something very much in vogue in the classical period. This musical itinerary of duets and sonatas for violin and cello offers a new experience, one that is varied and fascinating, with works of great beauty. Yet David Plantier and Annabelle Luis also show us a new sound image: the fullness of only two instruments of the same family is surprising, whilst the infinite colours and the uncommon pliability presented by this combination reveal unforgettable moments of music.

This album sketches a portrait of the musical reality of the British Isles during the first half of the 18th century. The huge success of the Italian concerto grosso was a response to the necessity of freeing music from a secondary role to which it found itself confined, notably in France with ballet music. Unaffected by the rivalry between French and Italian music, the British seemed to be attracted by purely instrumental music; the concerto grosso consequently afforded them a freshness, a boldness, and a hint of unique maestria that held an immediate appeal. Thus it was that the concerto grosso emigrated, as did a number of Italian composers who responded to the emotional needs and the demands of an English 'market' that encouraged artistic initiative, promised financial satisfaction, and offered the opportunity of achieving fame. This was the case with Francesco Scarlatti, the brother of the celebrated Alessandro, who made almost his whole career in London and Dublin. Few of his works have survived beyond the six concerti grossi featured on this programme. You are invited by the young Polish ensemble {oh!} Orkiestra Historyczna, conducted by it's first violin Martyna Pastuszka, to journey from Italy to the United Kingdom. Warm, varied sonorities highlight the splendor and expressivity of music that is now lively or dancelike, now gentle, melancholic or meditative. To be discovered!

A new string quartet's debut recording is always a memorable occasion. And muso is particularly proud to welcome into it's catalogue the David Oistrakh String Quartet, a young ensemble founded in 2012 by violinist Andrey Baranov, who won first prize at the Queen Elisabeth Violin Competition 75 years after the triumph of fellow Russian David Oistrakh. A case of history coming full circle! For their first album, these young soloists boldly launched head first into the vast repertoire of two of the greatest Russian composers: Tchaikovsky and Shostakovich. The two quartets performed here were composed almost a century apart. Tchaikovsky was at the height of his powers and had yet to write his most famous works when he composed his String Quartet No. 2. Throughout his life he was to refer to it as one of his best works, the music having "poured effortlessly and joyfully, being written practically at one sitting." Shostakovich's String Quartet No. 8 was written in Dresden in 1960 and was dedicated "to the victims of fascism and war." At the time he composed the piece, Shostakovich was going through a troubled period both in his personal life and in his relations with the Soviet authorities. The composer was so satisfied with this clearly autobiographical piece that he subsequently dedicated it to himself. The musicians of the David Oistrakh Quartet throw themselves body and soul into this incredibly poignant and intense music.

French Baroque Cantatas: Ariane & Orphée

In rendering homage to the master of Padua on the occasion of the 250th anniversary of his death, the choice proved to be delicate given the abundance of music of constant and acceptable quality. David Plantier and Annabelle Luis have selected the 5 unpublished sonatas in this programme from Manuscript 9796, preserved in the Bibliotheque nationale de France, and taken from the Italian city in 1796 by Napoleon’s army as a prize of war. Four of these date from the latter years of Tartini. They all have in common an extreme virtuosity necessary for performance, yet also the necessity of a perfect mastery of the instrument for producing a natural, musical version, the reflection of the composer’s typical cantabile. David Plantier is without question the baroque violinist most suited for this mission, having been a passionate defender of Tartini and his music for years. Giuseppe Tartini often performed in duets with his cellist friend the abbé Vandini. The destiny of these two formidable musicians was indivisible, and it is this historic duet that the Duo Tartini aims to bring back to life; the violin and the cello give this richly diverse music a setting of velvet tones, they revitalize the beauty and modernity within so as to touch the hearts of contemporary listeners.

Although a great specialist of 17th and 18th century repertories, the tenor Thibaut Lenaerts has chosen for his first solo album to plunge into the world of Gabriel Faur�'s songs, accompanied by Philippe Riga and the soft, warm tones of a magnificent 1873 Erard piano. An alchemy of colors that promises a superb recital, imbued with a sense of irresistible nostalgia for both performer and listener. Thibaut Lenaerts studied singing at the Royal Conservatory of Liege with Greta de Reyghere, where he won first prize for singing. He subsequently won first prize for chamber music in the class of Guy Van Waas as well as first prize for opera singing with Thierry Migliorini at the Royal Conservatory of Mons. He divides his life between Brussels and Paris, where he appears as a soloist with numerous ensembles.

Formed in 2015 by four young musicians, Les Kapsber’girls, by their very name, send a nod and a wink to one of their favorite composers. It is thus quite natural that their first recording be dedicated to the works of Girolamo Kapsberger, a virtuoso musician and exceptional composer in Rome in the early XVIIth century. The extreme variety of his output bears witness to the artistic effervescence of pre-baroque Italy and of the immense talent of one of the geniuses of music history. His four books of villanelles are veritable gems of music; from one work to another he takes us to the heart of a world of bucolic poetry with some instructive contrasts. The extraordinary diversity of the characters and colors of these even now little-known airs makes us dream, surprises and amazes us, and leaves us with a strange yet pleasant sense of nostalgia. With "Che fai tù?", the Kapsber’girls present a rediscovery of these little gems through their unique performance style. The songs alternate with instrumental pieces that enable us to appreciate the sound of Albane Imbs on a variety of plucked string instruments. All of this is brilliantly brought together (and in sound) thanks to the artistic direction of Rolf Lislevand, the illustrious specialist of this repertory! In search of new keys for reading and interpreting the historical sources, the four Kapsber’girls throw an oblique light on these works, finding new pathways and having fun with the genre. Energy and vitality taken from ‘popular’ forms of music, colorations tending towards the tones of contemporary music and a restless desire to look for the new in the old are all on the agenda.

Precious little Dutch polyphonic music survives from the middle ages. Whatever is left consists of fragments of manuscripts, now kept at the university libraries of Utrecht, Leiden and Amsterdam, dating from around 1400. This means that a significant number of compositions come down to us in an incomplete state: voices are missing, and some of the music has become illegible. To make a larger portion of this repertoire accessible to the public, some of the fragments have been restored digitally, some of the lacunary pieces have been reconstructed (‘recomposed’) by ensemble leader Niels Berentsen. The exact provenance of the fragments is difficult to assess with certainty, but what is clear is that they originated from the Dutch language-area: in all collections we find songs on Middle-Dutch texts. It is probable that the fragments originated around the court of the county of Holland in The Hague, or in the urban environment of Utrecht, the bishop’s residence. With this album, Diskantores presents a cross section of this unique, multifaceted repertoire. Liturgical pieces could have been performed as part of a mass, while secular pieces with Dutch, French or German texts would have been sung in a private circle of connoisseurs, or during festivities at the court. This then presents a project that perfectly fits muso: off the beaten track, full of joy and beautifully performed by a young vocal ensemble, joined here by Jacques Meegens on a medieval organ whose sounds leave no one indifferent. A musical treat that will lift all spirits!