Songs by Jacques Brel with German lyrics by Eckart Breitschuh. Greg Baker on the piano. Eckart Breitschuh has so far translated more than 30 Brel titles into German in a very personal and yet true-to-the-original way, thus making the emotional power of Brel's chansons directly tangible for the German-speaking audience. Breitschuh's energetic performance is sometimes flattering, sometimes pleading, sometimes cheeky and always rousing. He sings about carnal lust and love frustration, friendship and transience, devotion and rebellion. He takes us where it hurts the most and leaves many a wet eye in the audience. He is accompanied congenially by Greg Baker, who has more than 35 years of stage, studio and musical experience as a pianist. The translations are created in coordination with Jacques Brel's subsidiary France Brel and Editions Jacques Brel in Brussels.
01 Jackie 02 With the people there 03 I don't know 04 The drunkard 05 Please stay there 06 candies 07 On target 08 The old ones 09 Brussels 10 The flat country 11Amsterdam 12 The stranded of the night 13 Love Is Only Ours (Bonus Track)
Anyone who knows Flautando Cologne already knows that every concert and every CD is a little adventure that surprises and amazes. With their impressive collection of recorders, the four musicians don't stop at the pure recorder repertoire, but always take on other works, which show completely new facets in a new sound and sometimes literally blow you away. With "Kaleidoskop" Flautando Köln now shows the whole range of their skills and repertoire. Starting with ale-soaked Anglo-Saxon tunes that seem to come straight from the pub to the intricate, virtuoso music of Ligeti, the four savor what's possible. So the kaleidoscope on this CD keeps turning and surprises again and again with new (sound) colors and genres. Great fun to keep turning this kaleidoscope...
01 Red House 02 Never Love Three More 03 An Italian Rant (Diminution Baltimore Consort) 04 Sicut cervus desiderant, Psalm 42 05 Hayriye'nin boyu uzun 06 Yarim gitti cesmeye 07 Aman avci vurma beni 08 Daglar gibi dalgalari 09 Allegro con Spirito 10 Allegro Grazioso 11 Presto Ruvido 12 Adagio Mesto 13 Molto Vivace. capriccioso 14 A knight in Reuental
If you study the music of the late Middle Ages, you will almost inevitably come across works from the Codex Chantilly. This collection of over 100 pieces by a wide variety of composers is a magnificent example of the incredibly intricate polyphonic art of Ars Subtilior, which in its rhythmic complexity overshadows many works before and up to the 20th century. French kings and princes as well as the popes and anti-popes residing in Avignon were among those who commissioned these works. It is certainly no coincidence that several CDs with music exclusively from the Codex Chantilly have been released in recent years. And it speaks for the extraordinary quality of the compositions that there are surprisingly few overlaps in the selection of works. But even with the same titles, each ensemble has its own interpretation of the same musical text. And so Fortuna Canta would also like to contribute a personal interpretation of an excerpt from this unique handwriting and thus contribute to the understanding and enjoyment of this music, be it enigmatic, powerful, dazzling, lovable, desperate or lively.
01 Hey, tres doulz roussignol 02 O bonne, douce fringes 03 Se Geneive, Tristan 04 Plus ne put musique 05 Helas, je voy mon cuer 06 La harpe de mellodie 07 Passerose de beauté 08 Puis que je sui fumeux 09 Ung Lion say
Frantic: feverish, raging, beside himself. They are feverishly looking for new grooves, sounds and media, mad with curiosity when discovering and exploring new percussive worlds, beside themselves with joy of playing on the street and on the stage - the seven musicians of the "frantic percussion ensemble" from Lüneburg . They are young, cheeky, have skills, passion and the wonderful charm of the fresh - in short: frantic percussion has the license to take your breath away and carry you away. Totally legal. The highest level of perfection and enormous creative potential has repeatedly inspired the audience in recent years. Among other things, at the summer music days in Hitzacker, the Lower Saxony Music Days, the project for new music "Heiderauschen", at the NDR, the young talent festival Musik 21 and at concerts in Germany, Italy, Poland and Switzerland. The "frantic percussion ensemble" is dedicated to contemporary music as well as classical percussion pieces. But their own compositions are just as important, and the young musicians incorporate influences from a wide variety of styles such as drum n bass, minimal music and jazz.
01 Concerto for prepared piano and percussion, part V 02 Bell air 03 Double music 04 Clapping music variations 05 Pling 4 06 Dissolving scenery 07 Wheeled 08 tikS 09 Devil's Ladder 10 Da pacem dominae 11 Pling 4 (head tone) 12 Da pacem dominae (head tone)
Old sources and manuscripts, well-preserved original instruments give us direct access to early music today. Unfortunately, none of these "time machines" are suitable enough to give us a picture of the high art of improvisation. The enthusiastic reports about the musical flights of fancy of a JS Bach on the organ or a Mozart on the piano make us at most regret that we were too young to have been there. However, with the present interpretation one feels vividly transported back in time and the music-making room of Marin Marais (1656-1728), who was born the simple son of a shoemaker and became the greatest viol player of his epoch. Marais' famed improvisational skills may have grown out of his surreptitious eavesdropping on the mysterious Sieur de Sainte Colombe. The anecdote that Marais, fired by his teacher because he felt outshone by him, overheard him under a mulberry tree in his tree house has survived for centuries. It is not said that Sainte Colombe collected the cocoons of the silk moth in his tree in order to weave cloth from them. In any case, the young Marais found enough "material" there to rank among the royal silks, where he soon became a viol player at the court of Versailles and played regularly at the "Soupers du Roy". Even the trained ear of King Louis XIV must have heard him again and again with different variations on the motifs of the "Sautillante" or the "Muzette", which were finally recorded in 1717 in the 4th book. In 1725, at the age of almost seventy, Marais proves that his inspiration is still alive with the Petit Caprice or La Mariee - although it takes a great deal of imagination to render these pieces as they are likely to be found in the suites of the king must have sounded, or as Marais received from his teacher in his youth, even before he was chased out from under his hut. Perhaps some of the almost entirely A minor improvisations on this CD are not entirely historical: here the performers address the timeless audience with their artistic freedom. While a second viol was usually provided, the accompaniment of the theorbo on a few strings underscores the expressiveness of the solo viol through its discretion and delicacy – like a breath of wind in the branches of the mulberry tree.
1 gavotte 2 preludes 3 Allemande 4 gavottes 5 Petit Caprice 6 La Sautillante 7 jigs 8 minuet 9 Rondeau Loure 10 La Sautillante 11 La Mariee 12 Allemande
Folk pop with guitar and harp? What seems unusual at first glance fits together so well with Joseh. Ulli and Joseph are together Joseh from Hamburg. The sources from which you feed your sometimes melancholy, sometimes smart, sometimes passionate compositions are mainly in the post-Nick Drake songwriter scene and know hardly any reservations. Everything in it appears to have arisen spontaneously from a sympathetic confusion between morning coffee and leftover alcohol, faded holiday postcards and unpaid bills, and to dance past the abysses of everyday life with a somnambulistic uninhibitedness.
On their album, Ulli and Joseph drummed up a whole band and got started. Already with the opener “Something” the sun rises. The melody is relaxed in your ear and the singing lets you forget the gray winter. Lyrically, the album is about special moments, relationships, friends, everything that takes you out of everyday life and makes you happy.
Joseh tell you, hey, don't care so much about the past, look forward to what's to come! Sometimes you have to say goodbye to say hello to others. The quieter, melancholic songs like "Barest love" or "Be silent" stand for this. And as beautifully as on "The angst and the storm" not everyone can say that you just don't fit together. But already on the next song "Friend" - as in life itself - everything will be fine. Joseh would probably even say "All is good".
02 Midnight Pit
03 I Don't Feel Brave At All
04 On And On
05 These Tire Days
06 These Tire Days
07 Little Boy
08 Adieu To His Native Land
09 Be Silent
10 All Is Good
11 The Fear And The Storm
13 Don't Stand Still
Franz Schubert may have been aware of this when he composed the art song of the same name. And not just him, because hasn't this knowledge been passed through many centuries? And also in art, especially in music, one devoted oneself to this topic: The unfulfilled, rejected, disappointed and deeply injured love of a woman for a man. So the suffering woman represents the leitmotif of this CD, in which Katja Stuber and Boris Kusnezow have recorded a daring, almost provocative program in its compilation, which presents this leitmotif in Schubert, established and then in two other readings in Paul Hindemith and Kurt Because it varies. Stuber and Kuznetsov took this programmatic risk because they can! On this CD they prove their unbelievable stylistic versatility and their broad repertoire, which they interpret completely convincingly. In doing so, they literally burn down the sometimes almost dogmatic performance practice and prove that stylistic boundaries are and should be fluid.
1 The distinction Op. 95 No.1 2 laughing and crying 3 First loss 4 The Echo 5 The men are méchant 6 romance 7 The Drunken Dancer 8 Like Saint Franciscus I float in the air 9 dream 10 My little ears are sitting on the stairs 11 I seem to have woken up before you 12 You make me sad - listen
"I wanted to sing like Orpheus" once said and sang a well-known songwriter and that is exactly what the well-known baritone Jens Hamann impressively demonstrates on his new album. Together with Thorsten Bleich, one of Germany's most renowned guitar and lute instrumentalists of early music, Hamann demonstrates his extraordinarily multifaceted and versatile singing skills in an exciting collection of songs from the 17th century. Bach Prize winner Jens Hamann, who has gained an international reputation as a concert singer in larger ensembles, demonstrates his ability here in the wide range between quiet, delicate intimacy and expansive, powerful vocal power, as Orpheus could not have done better. The emotionality of the ancient hero runs like a red thread through the songs of Italian and English composers and shows the fascination that the legend of ancient Orpheus aroused in various musical cultures. A captivating program recorded on this CD which could well be the perfect soundtrack for Orpheus on his journey into the underworld.
01 Orpheus I am 02 I burn 03 Rosa del ciel 04 Often I sworn I d love no more 05 Cara mia Cetra andianne 06 Prelude 07 Gioite al mio natal 08 Have you seen the bright lily grow? 09 Passacaglia in la 10 Tropo sotto due stelle alme 11 It was a Lover and his Lass 12 White though ye be, yet, Lilies, know
A visit to the Bach family - it could have been fictitious: father Bach invites his family to a musical get-together. Three of his sons - Carl Philipp Emanuel, Wilhelm Friedemann and Johann Christoph Friedrich present a few samples of their work. And Johann Sebastian's music sounds as well. Perhaps there are also a few musician friends among the select group who will help to convert the notes into music? Nothing of the sort has survived, but it is certain that JS Bach always opened his house to those interested in music and that chamber music and making music at home played an important role. All of his children received more or less intensive music lessons from him, all sang in choirs or learned to play an instrument. The recording producer of this recording is the Grammy award winner Renate Wolter-Seevers, who has preserved the wonderful interpretations of the Bach works in an excellent sound.
instruments Traverso: Replica of a baroque traverso by CA Grenser, built in 2002 by Eugéne Crijnen Lute: Arciliuto, 14 courses, built in 2004 by Hendrik Hasenfuss based on a model by Raillich (1644)
1. Sonata in G major Adagio 2. Sonata in G major Allegro 3. Sonata in G major Vivace 4. Sonata in C major Andante 5. Sonata in C major Allegro 6. Sonata in C major Adagio 7. Sonata in C major Menuet I and II 8. Prelude in C minor (BWV 999) 9. Sonata in F major Allegretto 10. Sonata in F major Minuetto 11. Sonata in E minor Allegro ma non tanto
Inspired by the melodies of folk music, the ensemble creates a soundscape that on the one hand offers enough space for each melody and on the other hand gives the eight musicians room for creative improvisations. Both when selecting the songs and when arranging them, the aim was to portray the different moods and colors of winter and the contemplative nature of the Christmas season. The arranger Vincent Dombrowski used a wide variety of musical style elements for this. In addition to quiet, contemplative sounds, dark and stressful phases also find their way into the music again and again. The ensemble tries to present the contrasts of the cold season in their music and to show the magic of these very contrasts. In addition to the melodic level, Helena Benkendorff's voice also brings the lyrical into play. She sings the well-known lyrics in English, German and Norwegian. Her voice, sometimes powerful and loud, sometimes fragile and magical, enchants the listener with the emotion of a clear timbre. Nordsnø Ensemble uses the size of its line-up to create smaller ensembles from within. The right cast is chosen for each piece in order to create the desired mood and to awaken feelings or memories of winter and the Advent season in the audience.
01 Varvinda Friska 02 A rose has sprung 03 River 04 White Coat 05 What Child Is This 06 Mitt Hjerte Alltid Vanker 07 Fragile 08 Upraised 09 Maria went through a thorn forest 10 Maria Går Blant Tornekratt 11 Na Tennes Tusen Julelys
powder snow. Sleds. Snow. The phenomenon of snow fascinates young and old. In this collection of classical piano miniatures, the pianist Shoko Kuroe takes us to an enchanted winter landscape. And not, as one might assume, with the now sometimes kitschy evergreens of Christmas literature, but with a varied, captivating program of carefully selected and excellently played pieces from different epochs of music history. Romantic works by Schumann and Tchaikovsky stand alongside contemporary pieces by Gubaidulina and Vasks. Non-European countries such as Australia and Japan are also represented. So Shoko Kuroe takes us on an exciting journey through a winter that we all wish and dream of. With virtuosity, sensitivity and - with snow.
“The dramaturgy of their compilation is skilful and does not overtax the children's ability to concentrate and perseverance. Particularly appealing are the floating "Tropical Fish" by Akira Yuyama, well-known for his children's songs in Japan, and his homage to Japanese crystal sugar candies entitled "Confetti from Okashi-no-Sekai".
Helmut Peters, fonoforum 03/08 (via CD "Elise in Wonderland")
"Excellently performed by the pianist Shoko Kuroe, who lives in Hamburg,..." Märkische Oderzeitung 14.10.2019
"Shoko Kuroe, a pianist born in Japan and living in Hamburg, intoned the "Moonlight Sonata", one of Beethoven's most popular piano works even during his lifetime, with the necessary affects - calm and solemn in the first movement, lively in the second, in order to create a highly dramatic finale - rapid, impetuous and immensely virtuosic." Elbe-Jeetzel newspaper, October 1, 2019
01 Snowflakes Op. 57 no. 2 02 Sleighbells in the Snow 03 Sleigh with Little Bells 04 The First Snow Op. 11b no. 5 05 Sledge H. 167 no. 1 06 The Snow is Dancing 07 Footsteps in the Snow 08 The Snows of Fuji-Yama 09 Winter Storms Op. 12 no. 5 10 Winter Time I Op. 68 no. 38 11 Midwinter Op. 62. No. 3 12 Studies Op. 1 no. 12
Essercizii per la Viola da Gamba, “Exercises” for the (treble) viol, are fascinating new compositions in the Baroque aesthetic. With these pieces, Torben Klaes expresses his admiration for the viola da gamba, an instrument full of possibilities, which he exploits in his compositions.
Simultaneously original and familiar, the Essercizii are technically demanding but touchingly beautiful. A unique new music in the language of the Baroque, which the composer is fluent in!
Torben Klaes has made an important contribution to the repertoire for the viola da gamba with his 12 Essercizii and Sofia Diniz has given them a voice and brought them to life with dedication and passion.
As a viol player specializing in the repertoire of the 17th and 18th centuries, how often do you have the opportunity to play something you have never heard before or to discover a piece for the first time - and all this in dialogue with the composer himself?
Embarking on a journey to conquer this work with the outstanding interpreter Sofia Diniz is worthwhile.
02 Grave e mesto
03 Allegro moderato
08 preelium. Allegro
10 Molto Adagio
World premiere recording - Jacques Morel, Suites for viola da gamba The Raised Treasure of the “Page of the King's Music” Marin Marais is well known, but less well known is his talented pupil Jacques Morel, who was valued by Marais and who probably also worked at the court of Louis XIV and XV. acted and called himself “Page de la Musique du Roy”. The “Chaconne en trio” is well known from his work, but the first and only “Suite book for gamba” was virtually undiscovered until now, ending with the Chaconne en trio. This undiscovered treasure has now been unearthed by the outstanding viol player Sofia Diniz. On her debut CD, together with her colleagues Josep Maria Martí Duran, Fernando Miguel Jalôto and Peter Holtslag, she has made the first complete recording of this central work by Morel and presented a recording that would have delighted even the Master Marais and the Sun King - the music tip for music lovers and music researchers alike.
01 Suite premiere lá mineur - Prelude - Lentement - Vite 02 Suite premiere lá mineur - Allemande 03 Suite premiere lá mineur - Courante 04 Suite premiere lá mineur - Sarabande L'Agreable 05 Suite premiere lá mineur - Gigue 06 Suite premiere lá mineur - La Bretonne - Gratieusement 07 Suite premiere lá mineur - Menuet 08 Suite troisiéme ré majeur - Prelude 09 Suite troisiéme ré majeur - Boutade de Saint Germain 10 Suite troisiéme ré majeur - Allemande 11 Suite troisiéme ré majeur - Courante 12 Suite troisiéme ré majeur - Sarabande L'Aurore 13 Suite troisiéme ré majeur - Gigue a L'Angloise 14 Suite troisiéme ré majeur - Gavotte 15 Suite troisiéme ré majeur - Fugue - Gayement 16 Suite troisiéme ré majeur - Echos de Fontainebleau 17 Suite deuxième ré mineur - Prelude 18 Suite deuxième ré mineur - Allemande La Jolie 19 Suite deuxième ré mineur - Courante La Dacier 20 Suite deuxième ré mineur - Sarabande 21 Suite deuxième ré mineur - Gigue L'Inconstante 22 Suite deuxième ré mineur - Le Folet 23 Suite deuxième ré mineur - La Fanchonette 24 Suite quatrième sol majeur - Prelude - Lentement 25 Suite quatrième sol majeur - Fantaisie - Gayement 26 Suite quatrième sol majeur - Allemande 27 Suite quatrième sol majeur - Courante 28 Suite quatrième sol majeur - Sarabande 29 Suite quatrième sol majeur - Gigue a L'Italian 30 Suite quatrième sol majeur - Rondeau Dauphin 31 Suite quatrième sol majeur - Menuet 32 Suite quatrième sol majeur - La Guerandoise et double 33 Chaconne en trio
music touches! It can create feelings in us, but also associations such as images, stories or even colors. The Russian pianist and composer Alexander Nikolayevich Scriabin, for example, traced the color phenomenon in his music by assigning certain colors to tones, tones or chords and making them an integral part of his compositional style. For the title of their debut CD “Violet”, the Ulf Manú Quartet has chosen a color that is seen as an expression of spirituality, mysticism and the mysterious. Ulf Manú is a seeker - not only for the higher connections of human existence, but also for ever new forms of musical expression. The classically trained guitarist has found his very own style through the fusion of the most diverse musical genres. Just as contrasting shades of color are fused with cold blue and warm red in the color violet, so Ulf Manú and his congenial fellow musicians form an exciting new cosmos of sound from supposed opposites. The quartet, with its unusual line-up of recorder, guitar, bass and percussion, manages to effortlessly combine medieval dance music, gypsy swing, jazz or world music sounds and take the listener on an associative sound journey beyond the horizon.
01 To Dro 02 Dever the Dancer 03 And again the moon 04 purple 05 Hanter Dro 06 Catch Me 07 Into the vastness 08 The Old Fairy Dance 09 A Hungarian in LA 10 Seven Steps to Spring 11 For the Great 12 country dance 13 evening mood
The recorder player Ute Schleich and Katharina Uzal on the cello form the Duo Colori Contrastanti, which, with temperament, empathy and practical performance knowledge, is dedicated to a musical niche that is worth illuminating and seeing. They are recording new works for recorder and cello – all world premiere recordings apart from the Variations by Bernstein. 'New' here does not only mean 'works from the 20th and 21st centuries'. - "Devaneio" by Diana Cemeryte, for example, was written for this duo in 2021 - but also the adaptation of Vivaldi's autumn for this cast and the first edition of the duets by Domenichini.
The CD contains works by Leonard Bernstein, Heinz-Martin Lonquich, Diana Cemeryte, Katerina Pinosova-Ruzickova, Diego Uzal, Antonio Vivaldi/Winfried Michel and Carlo Domenichini.
The great differences between the two instruments repeatedly require a struggle to find the best combination and an intensive interaction in terms of dynamics, intonation, articulation and timbre. Of course, there are ways and means by which these two very different instruments can communicate and deal with each other on an equal footing. The name Colori Contrastanti describes on the one hand the very different instrumental conditions of the duo, on the other hand also the colorful program, which is characterized by the most diverse music.
The two musicians got to know each other through joint teaching activities, and since 2015 they have been connected by an intensive and fruitful musical collaboration, based on personal sympathy and curiosity about the other instrument.
01 Statio - Seven Drawings - 1 Con espressione
02 Statio - Seven drawings - 2 Con grande intensita
03 Statio - Seven Drawings - 3 Agitato, ma Quasi agitato
04 Statio - Seven Drawings - 4 Lento, sconcertato
05 Statio - Seven Drawings - 5 Con espressione dolente
06 Statio - Seven drawings - 6 Insoglia del silenzio
07 Statio - Seven Drawings - 7 Calmo e con anima
08 Duetto 2 from "Sei Duetti a flauto dolce e violoncello" - Allegro Maestoso
09 Duetto 2 from "Sei Duetti a flauto dolce e violoncello" - Rondo Allegretto
10 Three Poems - 1 look
11 Three Poems - 2 Inescapable
12 Three Poems - 3 Before Spring
13 Variations on an Octatonic Scale Theme
14 Variations on an Octatonic Scale - Variation 1
15 Variations on an Octatonic Scale - Variation 2
16 Variations on an Octatonic Scale - Variation 3
17 Variations on an Octatonic Scale - Variation 4
18 Variations on an Octatonic Scale - Coda
19 Visage I
20 Duetto 1 from "Sei Duetti a flauto dolce e violoncello" - Adagio
21 Duetto 1 from "Sei Duetti a flauto dolce e violoncello" - Rondo (Menuetto con brio)
23 Concerto "L'Autunno" - Allegro
24 Concerto "L'Autunno" - Adagio
25 Concerto "L'Autunno" - Allegro
In November 2016 I was invited to Kassel for a concert at the International Minimal Music Festival. Also present were the dancer Alexander Peschko, the singing bowl musician Luna Martina Pracht and Henrik Forberg, who was responsible for the artistic lighting. The idea for this CD came to me as a result of my intensive occupation with minimal music. »images« for recorder and singing bowls by Ulli Götte had already been composed, his »dialoge« for recorder and violoncello were added at the end of 2016 and I asked Jens Josef for a composition for recorder and bassoon - which took shape with his »Duettino« at the beginning of 2018. These three compositions are each characterized by a particularly distinctive, rare and enriching instrumentation, as well as by the close relationship to minimal music. I feel honored that all three compositions were dedicated to me. The program is supplemented by "classics" of minimal music such as Philip Glass, Michael Nyman and Louis Andriessen, by Karel van Steenhoven with two of his minimal preludes - they refer to Philip Glass and Michael Nyman - and by Frans Geysen with 2 Pieces from his collection »City of Smile« - all pieces for recorder solo. Dealing with these works, commissioning compositions, selecting works, rehearsals with my colleagues and premieres kept me happily occupied for a long time. I am very pleased to now have a CD in my hands that documents this work.
01 Just A Song 02 Glass (For Philip Glass) 03 images: no. 1 04 images: no. 2 05 images: no. 3 06 images: no. 4 07 Arabesque in memory 08 Yamamoto Perpetual Motion No. 1 09 Yamamoto Perpetuo No. 2