DG120 VIDEO COUNT-UP
A 120-day-long journey
The magnificent DG120 Gala Concert at the Beijing Forbidden City is just a start. The DG120 VIDEO COUNT-UP series brings you to a 120-day-long journey to witness the amazing 120 years of Deutsche Grammophon with 120 DG artists´ videos.
SEARCH ARTISTS BY ALPHABETH
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Avi AVITAL
Avi, Avital - Maroc
Music history proved unkind to the classical mandolin, whose popularity declined during the nineteenth century as tastes changed and more powerful orchestral instruments were developed. In recent years, however, Avi Avital has raised the mandolin’s international profile and revitalised its repertoire, moving it from the margins to the mainstream of concert life. “I see it as my mission to fill the historical gap in the mandolin repertoire, so there will be no shortage of good compositions for the instrument in future,” he comments. His eloquent artistry, applied to everything from daredevil transcriptions of Vivaldi’s The Four Seasons to new commissions, combines jaw-dropping virtuosity, scintillating musicianship and expressive intensity.
Music history proved unkind to the classical mandolin, whose popularity declined during the nineteenth century as tastes changed and more powerful orchestral instruments were developed. In recent years, however, Avi Avital has raised the mandolin’s international profile and revitalised its repertoire, moving it from the margins to the mainstream of concert life. “I see it as my mission to fill the historical gap in the mandolin repertoire, so there will be no shortage of good compositions for the instrument in future,” he comments. His eloquent artistry, applied to everything from daredevil transcriptions of Vivaldi’s The Four Seasons to new commissions, combines jaw-dropping virtuosity, scintillating musicianship and expressive intensity.
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Daniel HOPE
Rumänisch
Few performers can match the intensity and humanity of Daniel Hope’s music-making or his passion for artistic exploration. The British violinist’s musicianship connects with connoisseurs and newcomers to classical music alike, winning hearts and stimulating minds with its lyricism and insight. His understanding of musical line and expression took root under the early care of his mentor, Yehudi Menuhin; it has matured fully since, enabling him to deliver strikingly personal interpretations of everything from Bach, Handel and Vivaldi to Takemitsu, Tavener and Turnage. The Frankfurter Neue Presse has described Hope as “a musician with a sense and feeling for something extraordinary”, echoing a theme that runs through so many reviews of his work. That “feeling” fuels his desire to break down barriers that separate individuals, communities and nations, and drives his work as a self-styled musical activist.
Few performers can match the intensity and humanity of Daniel Hope’s music-making or his passion for artistic exploration. The British violinist’s musicianship connects with connoisseurs and newcomers to classical music alike, winning hearts and stimulating minds with its lyricism and insight. His understanding of musical line and expression took root under the early care of his mentor, Yehudi Menuhin; it has matured fully since, enabling him to deliver strikingly personal interpretations of everything from Bach, Handel and Vivaldi to Takemitsu, Tavener and Turnage. The Frankfurter Neue Presse has described Hope as “a musician with a sense and feeling for something extraordinary”, echoing a theme that runs through so many reviews of his work. That “feeling” fuels his desire to break down barriers that separate individuals, communities and nations, and drives his work as a self-styled musical activist.
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Ksenija SIDOROVA
Medley Seguidillas/Habanera/Chanson Bohème
Praised as “superbly subtle and virtuosic” (The Arts Desk) and “an amazingly accomplished artist” (Classical Source), Ksenija Sidorova is the leading ambassador for the accordion. Encouraged to take up the instrument by a grandmother steeped in the folk tradition of accordion playing, Ksenija started to play the instrument aged eight under the guidance of Marija Gasele in her hometown of Riga. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate at the Royal Academy of Music studying under Owen Murray. This Performance of Bizet's Carmen will renew your perception about accordion again.
Praised as “superbly subtle and virtuosic” (The Arts Desk) and “an amazingly accomplished artist” (Classical Source), Ksenija Sidorova is the leading ambassador for the accordion. Encouraged to take up the instrument by a grandmother steeped in the folk tradition of accordion playing, Ksenija started to play the instrument aged eight under the guidance of Marija Gasele in her hometown of Riga. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate at the Royal Academy of Music studying under Owen Murray. This Performance of Bizet's Carmen will renew your perception about accordion again.
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Daniil TRIFONOV
Rachmaninov: Piano Concerto No. 4 in G Minor, Op. 40 - 1. Allegro vivace (Alla breve)
Whenever Daniil Trifonov performs, time appears to stand still. Out of profound silence emerges a rare kind of music-making, transcendent and revelatory, never predictable yet always alive to the composer’s intentions and rooted in the music’s nature. “What he does with his hands is technically incredible,” observed one commentator shortly after the young Russian pianist’s winning performance in the final of the International Tchaikovsky Competition in Moscow in 2011. “It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.” This was the opinion not of a professional critic but of one of the world’s greatest pianists, Martha Argerich. She concluded that Trifonov was gifted with “everything and more”, a view endorsed since by a flood of rave reviews, audience ovations and international prizes. This is a music video for one of his recordings from his new album Departure, a collaboration with The Philadelphia Orchestra and Yannick Nézet-Séguin.
Whenever Daniil Trifonov performs, time appears to stand still. Out of profound silence emerges a rare kind of music-making, transcendent and revelatory, never predictable yet always alive to the composer’s intentions and rooted in the music’s nature. “What he does with his hands is technically incredible,” observed one commentator shortly after the young Russian pianist’s winning performance in the final of the International Tchaikovsky Competition in Moscow in 2011. “It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that.” This was the opinion not of a professional critic but of one of the world’s greatest pianists, Martha Argerich. She concluded that Trifonov was gifted with “everything and more”, a view endorsed since by a flood of rave reviews, audience ovations and international prizes. This is a music video for one of his recordings from his new album Departure, a collaboration with The Philadelphia Orchestra and Yannick Nézet-Séguin.
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Franco FAGIOLI
Franco Fagioli: Ombra mai fu
It takes a special artist to excel in the fiendishly difficult arias that are central to the landscape of Baroque and early bel canto opera. Franco Fagioli possesses the necessary combination of technical agility, tonal variety and vocal range required to triumph in works that leave many other countertenors perplexed. As well as gaining a reputation as one of today’s finest Handelians, he also specialises in Mozart and in roles originally written for castrato singers. His astonishing artistry has been hailed by critics worldwide and regularly attracts capacity audiences eager to hear a performer blessed with an uncanny ability to deliver the spectacular runs, leaps and turns of even the most difficult virtuoso showpieces.
It takes a special artist to excel in the fiendishly difficult arias that are central to the landscape of Baroque and early bel canto opera. Franco Fagioli possesses the necessary combination of technical agility, tonal variety and vocal range required to triumph in works that leave many other countertenors perplexed. As well as gaining a reputation as one of today’s finest Handelians, he also specialises in Mozart and in roles originally written for castrato singers. His astonishing artistry has been hailed by critics worldwide and regularly attracts capacity audiences eager to hear a performer blessed with an uncanny ability to deliver the spectacular runs, leaps and turns of even the most difficult virtuoso showpieces.
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Lisa BATIASHVILI
Halvorsen: Passacaglia on a Theme by Handel [ Live From Yellow Lounge Berlin / 2018 ]
Described by The Times (London) as “the complete musician”, Lisa Batiashvili commands her place among the world’s foremost artists with performances of great insight and expressive eloquence. The German-based Georgian violinist has been acclaimed by critics for her virtuosity, sensitivity and charismatic power. She was named Musical America’s “2015 Instrumentalist of the Year”, an accolade reserved for artists of the highest calibre, and also stands among the winners of Italy’s prestigious International Accademia Musicale Chigiana Prize. Here she plays at a DG Yellow Lounge concert in Berlin.
Described by The Times (London) as “the complete musician”, Lisa Batiashvili commands her place among the world’s foremost artists with performances of great insight and expressive eloquence. The German-based Georgian violinist has been acclaimed by critics for her virtuosity, sensitivity and charismatic power. She was named Musical America’s “2015 Instrumentalist of the Year”, an accolade reserved for artists of the highest calibre, and also stands among the winners of Italy’s prestigious International Accademia Musicale Chigiana Prize. Here she plays at a DG Yellow Lounge concert in Berlin.
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Alice Sara OTT
Grieg: To Spring (Lyric Pieces Book III) - Wonderland
Armed with formidable technical mastery and profound musical sensitivity, Alice Sara Ott stands among the most compelling artists of her generation. The German-Japanese musician’s poetic pianism, hailed by critics for its refinement and intensity, has prompted favourable comparisons with great performers from the past. Ott’s music-making is guided by a desire to connect with the essential spirit of the works in her repertoire; above all, it flows from her innate ability to channel a vast range of emotions and imaginative responses into every performance.
Armed with formidable technical mastery and profound musical sensitivity, Alice Sara Ott stands among the most compelling artists of her generation. The German-Japanese musician’s poetic pianism, hailed by critics for its refinement and intensity, has prompted favourable comparisons with great performers from the past. Ott’s music-making is guided by a desire to connect with the essential spirit of the works in her repertoire; above all, it flows from her innate ability to channel a vast range of emotions and imaginative responses into every performance.
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Gustavo DUDAMEL
Bernstein: West Side Story - Mambo
The première of Leonard Bernstein´s West Side Story took place in New York in 1957. At the piano was the famous Stephen Sondheim, who wrote the lyrics for the musical.
Decades later, Gustavo Dudamel, at the podium, goes over the music with his beloved Simon Bolivar Symphony Orchestra in Caracas, Venezuela.
Leonard Bernstein (composer)
Gustavo Dudamel (conductor)
“West Side Story” – Symphonic Dances, 4. Mambo
Simón Bolívar Youth Orchestra of Venezuela
The première of Leonard Bernstein´s West Side Story took place in New York in 1957. At the piano was the famous Stephen Sondheim, who wrote the lyrics for the musical.
Decades later, Gustavo Dudamel, at the podium, goes over the music with his beloved Simon Bolivar Symphony Orchestra in Caracas, Venezuela.
Leonard Bernstein (composer)
Gustavo Dudamel (conductor)
“West Side Story” – Symphonic Dances, 4. Mambo
Simón Bolívar Youth Orchestra of Venezuela
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Joep BEVING
Joep Beving: Ab Ovo
At nearly six foot ten, with his wild hair and flowing beard, the Dutch pianist resembles a friendly giant from a book of children’s fairy tales. But his playing – understated, haunting, melancholic – marks him out as the gentlest of giants, his delicate melodies soothing the soul in these troubled times.
“The world is a hectic place right now,” says Joep. “I feel a deep urge to reconnect on a basic human level with people in general. Music as our universal language has the power to unite. Regardless of our cultural differences I believe we have an innate understanding of what it means to be human. We have our goosebumps to show for it.” In his Ab Ovo, let the connection be rebuilt.
At nearly six foot ten, with his wild hair and flowing beard, the Dutch pianist resembles a friendly giant from a book of children’s fairy tales. But his playing – understated, haunting, melancholic – marks him out as the gentlest of giants, his delicate melodies soothing the soul in these troubled times.
“The world is a hectic place right now,” says Joep. “I feel a deep urge to reconnect on a basic human level with people in general. Music as our universal language has the power to unite. Regardless of our cultural differences I believe we have an innate understanding of what it means to be human. We have our goosebumps to show for it.” In his Ab Ovo, let the connection be rebuilt.
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Evgeny KISSIN
Beethoven: Piano Sonata No. 23 In F Minor, Op. 57 - "Appassionata"
Russian pianist Evgeny Kissin is one of the most distinguished musicians of his generation, revered the world over by audiences and critics alike for the virtuosity and eloquence of his pianism and the imagination and insight of his interpretations. He was recently described by the Financial Times (London) as a “formidably intelligent pianist” and hailed by the New York Times for his “blend of technical mastery and eloquent artistry”.
At the age of six, he enrolled at Moscow’s Gnessin School, an elite establishment for young musicians, where he received lessons from Anna Pavlovna Kantor, who became his only teacher. Kissin’s progress was such that he gave his first full performance with orchestra at the age of ten, making his debut with Mozart’s Piano Concerto in D minor K466; he presented his first recital in Moscow the following year.
Russian pianist Evgeny Kissin is one of the most distinguished musicians of his generation, revered the world over by audiences and critics alike for the virtuosity and eloquence of his pianism and the imagination and insight of his interpretations. He was recently described by the Financial Times (London) as a “formidably intelligent pianist” and hailed by the New York Times for his “blend of technical mastery and eloquent artistry”.
At the age of six, he enrolled at Moscow’s Gnessin School, an elite establishment for young musicians, where he received lessons from Anna Pavlovna Kantor, who became his only teacher. Kissin’s progress was such that he gave his first full performance with orchestra at the age of ten, making his debut with Mozart’s Piano Concerto in D minor K466; he presented his first recital in Moscow the following year.
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Richard GALLIANO
Mozart: Concerto pour clarinette en la majeur, K. 622 - Arrangement pour accordéon
In the past, there never seemed to have been one great artist associated with the accordion, an instrument that, because of its connotations, seemed as far removed from swing as it is possible to be. Then along came Richard Galliano, fired by an unrivalled determination to share his conviction that the accordion was worthy have a place at the heart of jazz alongside the saxophone and trumpet. This interpretation of Mozart takes the art of accordion one step further. Accordion, in his hands, finally finds its place in vast world of traditional classical music.
In the past, there never seemed to have been one great artist associated with the accordion, an instrument that, because of its connotations, seemed as far removed from swing as it is possible to be. Then along came Richard Galliano, fired by an unrivalled determination to share his conviction that the accordion was worthy have a place at the heart of jazz alongside the saxophone and trumpet. This interpretation of Mozart takes the art of accordion one step further. Accordion, in his hands, finally finds its place in vast world of traditional classical music.
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Jan LISIECKI
Frédéric Chopin: Nocturne in C sharp minor
Just 23, Canadian pianist Jan Lisiecki has won acclaim for his extraordinary interpretive maturity, distinctive sound, and poetic sensibility. The New York Times has called him “a pianist who makes every note count”. Lisiecki’s insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age. This perform of Chopin´s Nocturne in C sharp minor reveals to you the future of classical music on the shoulders of the new generation of artists.
Just 23, Canadian pianist Jan Lisiecki has won acclaim for his extraordinary interpretive maturity, distinctive sound, and poetic sensibility. The New York Times has called him “a pianist who makes every note count”. Lisiecki’s insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age. This perform of Chopin´s Nocturne in C sharp minor reveals to you the future of classical music on the shoulders of the new generation of artists.
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Max RICHTER
Max Richter - Dream 13
Born in West Germany in 1966, but raised in England, Britain’s Max Richter has spent much of his life refining his approach to musical communication. Recognised nowadays as one of the most influential composers of his generation, his endeavours have spanned three decades, encompassing diverse fields, from his own successful solo recordings to extensive work for stage and screen. Despite his music’s all-embracing nature, he was classically trained: educated in Bedford, England, where he’d lived since he was a child, he studied composition and piano at Edinburgh University, then London’s Royal Academy of Music, before joining Luciano Berio, the innovative Italian composer, in Florence. Back in London, he co-founded Piano Circus, a six-piano ensemble, in 1989, and he spent much of the next ten years championing the minimalist works of, among others, Arvo Pärt, Steve Reich, Terry Riley and Michael Nyman.
Born in West Germany in 1966, but raised in England, Britain’s Max Richter has spent much of his life refining his approach to musical communication. Recognised nowadays as one of the most influential composers of his generation, his endeavours have spanned three decades, encompassing diverse fields, from his own successful solo recordings to extensive work for stage and screen. Despite his music’s all-embracing nature, he was classically trained: educated in Bedford, England, where he’d lived since he was a child, he studied composition and piano at Edinburgh University, then London’s Royal Academy of Music, before joining Luciano Berio, the innovative Italian composer, in Florence. Back in London, he co-founded Piano Circus, a six-piano ensemble, in 1989, and he spent much of the next ten years championing the minimalist works of, among others, Arvo Pärt, Steve Reich, Terry Riley and Michael Nyman.
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Kian SOLTANI
Demenga: New York Honk [ Live From Yellow Lounge Berlin / 2018 ]
New worlds of imagination appear whenever Kian Soltani makes music. A sense of individuality, depth of expression and charismatic presence are among the elements of the young Austrian cellist’s captivating artistry. Rave reviews and invitations to perform at the world’s leading concert halls have propelled the 25-year-old musician from rising star to one of the most exciting musicians of his generation. Soltani’s status was confirmed in February 2017 when he won Germany’s prestigious Leonard Bernstein Award, and underlined five months later when he signed an exclusive contract to record for Deutsche Grammophon. His debut DG album, Home, comprising works for cello and piano by Schubert, Schumann and Reza Vali, is set for international release in January 2018.
New worlds of imagination appear whenever Kian Soltani makes music. A sense of individuality, depth of expression and charismatic presence are among the elements of the young Austrian cellist’s captivating artistry. Rave reviews and invitations to perform at the world’s leading concert halls have propelled the 25-year-old musician from rising star to one of the most exciting musicians of his generation. Soltani’s status was confirmed in February 2017 when he won Germany’s prestigious Leonard Bernstein Award, and underlined five months later when he signed an exclusive contract to record for Deutsche Grammophon. His debut DG album, Home, comprising works for cello and piano by Schubert, Schumann and Reza Vali, is set for international release in January 2018.
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Nemanja RADULOVIC
Tchaikovsky: Concerto For Violin And Orchestra In D Major, Op. 35, TH 59, 3. Finale.
With his extravagantly flowing locks, gothic fashion style and show-stopping virtuosity, violinist Nemanja Radulović is a throwback to the Romantic composers of a bygone era. He’s also a one-off in the world of classical music. While some use gimmicks to sell themselves, Nemanja prefers to let the music speak for itself – and his violin do his talking for him. “I try to find the sound of the human voice,” he explains. “For me the violin is the best way I have found to express myself.”
Not yet 30 years old, Nemanja is a former child prodigy who has overcome all sorts of obstacles to bestride some of the world’s greatest concert stages.
With his extravagantly flowing locks, gothic fashion style and show-stopping virtuosity, violinist Nemanja Radulović is a throwback to the Romantic composers of a bygone era. He’s also a one-off in the world of classical music. While some use gimmicks to sell themselves, Nemanja prefers to let the music speak for itself – and his violin do his talking for him. “I try to find the sound of the human voice,” he explains. “For me the violin is the best way I have found to express myself.”
Not yet 30 years old, Nemanja is a former child prodigy who has overcome all sorts of obstacles to bestride some of the world’s greatest concert stages.
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Albrecht MAYER
Seine berufliche Laufbahn begann Albrecht Mayer 1990 als Solo-Oboist der Bamberger Symphoniker. Seit 1992 hat er die gleiche Position bei den Berliner Philharmonikern inne und parallel dazu machte er sich zunehmend einen Namen als Konzertsolist. Inzwischen ist er einer der gefragtesten Oboisten unserer Zeit. Als Solist hat er mit großen Dirigenten wie Claudio Abbado, Sir Simon Rattle und Nikolaus Harnoncourt gearbeitet, 2007 gab er sein Debüt in der Carnegie Hall mit dem Orpheus Chamber Orchestra und zudem ist er ein begeisterter Kammermusiker, mit Partnern wie Hélène Grimaud, Leif Ove Andsnes und Lars Vogt.
Im Dezember 2006 erhielt Mayer den Bamberger E.T.A.-Hoffmann-Kulturpreis. Er wurde dreimal mit dem Echo-Klassik ausgezeichnet, zweimal davon als Instrumentalist des Jahres. 2013 wurde er in die »Hall of Fame« der Zeitschrift Gramophone aufgenommen und erhielt zudem den Kulturpreis Bayern.
Im Dezember 2006 erhielt Mayer den Bamberger E.T.A.-Hoffmann-Kulturpreis. Er wurde dreimal mit dem Echo-Klassik ausgezeichnet, zweimal davon als Instrumentalist des Jahres. 2013 wurde er in die »Hall of Fame« der Zeitschrift Gramophone aufgenommen und erhielt zudem den Kulturpreis Bayern.
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Hélène GRIMAUD
Debussy’s La cathédrale engloutie - Water
1969 in Aix-en-Provence geboren, studierte sie bei Jacqueline Courtin am dortigen Konservatorium und anschließend bei Pierre Barbizet in Marseille. Im Alter von nur 13 Jahren wurde sie am Pariser Conservatoire angenommen, wo sie schon drei Jahre später 1985 den ersten Preis im Fach Klavier erhielt. Weiteren Unterricht nahm sie bei György Sándor und Leon Fleisher. 1987 gab sie ihr erfolgreiches erstes Recital in Tokio und im selben Jahr lud sie der angesehene Dirigent Daniel Barenboim ein, mit dem Orchestre de Paris aufzutreten. Dies war der Beginn von Grimauds glanzvoller Karriere. Sie ist gekennzeichnet durch Konzerte mit internationalen Spitzenorchestern und berühmten Dirigenten.
1969 in Aix-en-Provence geboren, studierte sie bei Jacqueline Courtin am dortigen Konservatorium und anschließend bei Pierre Barbizet in Marseille. Im Alter von nur 13 Jahren wurde sie am Pariser Conservatoire angenommen, wo sie schon drei Jahre später 1985 den ersten Preis im Fach Klavier erhielt. Weiteren Unterricht nahm sie bei György Sándor und Leon Fleisher. 1987 gab sie ihr erfolgreiches erstes Recital in Tokio und im selben Jahr lud sie der angesehene Dirigent Daniel Barenboim ein, mit dem Orchestre de Paris aufzutreten. Dies war der Beginn von Grimauds glanzvoller Karriere. Sie ist gekennzeichnet durch Konzerte mit internationalen Spitzenorchestern und berühmten Dirigenten.
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Piotr BECZALA
La fleur que tu m'avais jetée
Der polnische Tenor Piotr Beczala, weltberühmt wegen der einzigartigen Schönheit seiner Stimme, steht in einer reichen musikalischen Tradition. Er studierte an der Musikakademie von Katowice, wo große Sänger wie Pavel Lisitsian und Sena Jurinac zu seinen Lehrern gehörten. Seine internationale Karriere nahm ihren Anfang, als er Ensemblemitglied am Opernhaus Zürich wurde, und er festigte seine Präsenz auf den großen Opernbühnen 2004 mit Debüts am Royal Opera House, Covent Garden und der San Francisco Opera. Schon bald gehörte er weltweit zu den gefragtesten lyrischen Tenören.
Der polnische Tenor Piotr Beczala, weltberühmt wegen der einzigartigen Schönheit seiner Stimme, steht in einer reichen musikalischen Tradition. Er studierte an der Musikakademie von Katowice, wo große Sänger wie Pavel Lisitsian und Sena Jurinac zu seinen Lehrern gehörten. Seine internationale Karriere nahm ihren Anfang, als er Ensemblemitglied am Opernhaus Zürich wurde, und er festigte seine Präsenz auf den großen Opernbühnen 2004 mit Debüts am Royal Opera House, Covent Garden und der San Francisco Opera. Schon bald gehörte er weltweit zu den gefragtesten lyrischen Tenören.
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Rafal BLECHACZ
J.S. Bach: Italian Concerto In F Major, BWV 971, 1. (Allegro)
Profound thought and feeling merge in Rafał Blechacz’s music-making to create interpretations of irresistible energy and penetrating insight. The Polish pianist’s artistry is recognised by reviewers as rare by any measure – his many plaudits include being dubbed “a musician in service to the music, searching its depths, exploring its meaning and probing its possibilities” (Washington Post) – and arises from his total command of the keyboard and ability to unlock his instrument’s full expressive range. Those qualities, driven by innate curiosity and openness, have supported Blechacz’s artistic and professional development in the years since he took first prize at the 2005 International Chopin Piano Competition. He stands today among the world’s finest pianists, a young artist in high demand for the honesty and vision he brings to performances of everything from Bach and Beethoven to Chopin and Szymanowski.
Profound thought and feeling merge in Rafał Blechacz’s music-making to create interpretations of irresistible energy and penetrating insight. The Polish pianist’s artistry is recognised by reviewers as rare by any measure – his many plaudits include being dubbed “a musician in service to the music, searching its depths, exploring its meaning and probing its possibilities” (Washington Post) – and arises from his total command of the keyboard and ability to unlock his instrument’s full expressive range. Those qualities, driven by innate curiosity and openness, have supported Blechacz’s artistic and professional development in the years since he took first prize at the 2005 International Chopin Piano Competition. He stands today among the world’s finest pianists, a young artist in high demand for the honesty and vision he brings to performances of everything from Bach and Beethoven to Chopin and Szymanowski.
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Gidon KREMER
Kremerata Baltica - Movement IV
Gidon Kremer was born in Riga (Latvia) in 1947, the only child of parents of German origin. After receiving his first musical instruction at home - both father and grandfather were professional violinists - he studied at the Riga School of Music and then at the Moscow Conservatory under David Oistrakh. Kremer enjoyed notable success at competitions in Brussels (1967), Montreal and Genoa (1969), and Moscow (1970). After extended tours through the former Soviet Union, he began appearing with increasing frequency in the West: his first concert in Germany came in 1975, followed by debuts at the Salzburg Festival (1976) and in New York (1977). Gidon Kremer was also one of the artistic directors of the music festival "Art Projekt '92" in Munich.
Gidon Kremer was born in Riga (Latvia) in 1947, the only child of parents of German origin. After receiving his first musical instruction at home - both father and grandfather were professional violinists - he studied at the Riga School of Music and then at the Moscow Conservatory under David Oistrakh. Kremer enjoyed notable success at competitions in Brussels (1967), Montreal and Genoa (1969), and Moscow (1970). After extended tours through the former Soviet Union, he began appearing with increasing frequency in the West: his first concert in Germany came in 1975, followed by debuts at the Salzburg Festival (1976) and in New York (1977). Gidon Kremer was also one of the artistic directors of the music festival "Art Projekt '92" in Munich.
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Anna NETREBKO
La Wally / Act 1, “Ebben? Ne andro lontana” - Catalani
Nur selten wird ein Künstler über die Grenzen der klassischen Musik hinaus berühmt und findet weithin Anerkennung, aber Anna Netrebko hat genau dies erreicht und noch weit mehr. In ihrer erst knapp 15 Jahre währenden Aufnahmetätigkeit hat sie nicht nur die Welt der Klassik mit der Schönheit ihrer Stimme, ihrer ausgezeichneten stimmlichen Kontrolle und Musikalität erobert – sie ist auch zu einem internationalen Idol geworden. Anna Netrebko ist nicht einfach eine große Diva, sondern eine außerordentlich charismatische Frau, deren Stil und Bühnenpräsenz ebenso gefeiert werden wie ihre musikalischen Fähigkeiten.
Nur selten wird ein Künstler über die Grenzen der klassischen Musik hinaus berühmt und findet weithin Anerkennung, aber Anna Netrebko hat genau dies erreicht und noch weit mehr. In ihrer erst knapp 15 Jahre währenden Aufnahmetätigkeit hat sie nicht nur die Welt der Klassik mit der Schönheit ihrer Stimme, ihrer ausgezeichneten stimmlichen Kontrolle und Musikalität erobert – sie ist auch zu einem internationalen Idol geworden. Anna Netrebko ist nicht einfach eine große Diva, sondern eine außerordentlich charismatische Frau, deren Stil und Bühnenpräsenz ebenso gefeiert werden wie ihre musikalischen Fähigkeiten.
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Murray PERAHIA
Bach - French Suite No. 5 in G, BWV 816, “Courante”
Anyone eager to learn about the fine art of musical interpretation should seek instruction from Murray Perahia. The American pianist’s readings of great repertoire landmarks by everyone from Bach and Beethoven to Chopin and Liszt offer timeless lessons in sensibility, sophistication and expressive intensity. While his approach invariably draws attention to the music not the musician, he stands in the tradition of the great keyboard virtuosi as an artist armed with consummate technical skills, boundless imagination and near-mystical eloquence. Perahia’s pianism, recognised as exceptional since his student days, has matured over more than four decades to deliver unique insights into music’s spiritual qualities, its power to communicate where words end.
Anyone eager to learn about the fine art of musical interpretation should seek instruction from Murray Perahia. The American pianist’s readings of great repertoire landmarks by everyone from Bach and Beethoven to Chopin and Liszt offer timeless lessons in sensibility, sophistication and expressive intensity. While his approach invariably draws attention to the music not the musician, he stands in the tradition of the great keyboard virtuosi as an artist armed with consummate technical skills, boundless imagination and near-mystical eloquence. Perahia’s pianism, recognised as exceptional since his student days, has matured over more than four decades to deliver unique insights into music’s spiritual qualities, its power to communicate where words end.
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Patricia PETIBON
Nouveau Monde - Baroque Arias And Songs
The soprano Patricia Petibon was born in Montargis, France. Already interested in the piano and fine arts as a child, she earned a bachelor’s degree in musicology at the Paris Conservatoire and then went on to study singing there with Professor Rachel Yakar, graduating with a first prize in 1995. She was discovered by the acclaimed American conductor and harpsichordist William Christie and consequently often worked with his orchestra Les Arts Florissants, appearing with Christie at the Aix-en-Provence Festival, La Scala in Milan, the Teatro Colón in Buenos Aires and the Wigmore Hall in London. Patricia Petibon has been awarded three Victoires de la musique classique – as “Best Young Talent” in 1998 and as “Best Opera Singer” in 2001 and 2003.
The soprano Patricia Petibon was born in Montargis, France. Already interested in the piano and fine arts as a child, she earned a bachelor’s degree in musicology at the Paris Conservatoire and then went on to study singing there with Professor Rachel Yakar, graduating with a first prize in 1995. She was discovered by the acclaimed American conductor and harpsichordist William Christie and consequently often worked with his orchestra Les Arts Florissants, appearing with Christie at the Aix-en-Provence Festival, La Scala in Milan, the Teatro Colón in Buenos Aires and the Wigmore Hall in London. Patricia Petibon has been awarded three Victoires de la musique classique – as “Best Young Talent” in 1998 and as “Best Opera Singer” in 2001 and 2003.
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Anoushka SHANKAR
Anoushka Shankar - Land Of Gold ft. Alev Lenz
Land of Gold, das vierte Album von Anoushka Shankar bei Deutsche Grammophon, entstand in Reaktion auf das Trauma und Unrecht von Flüchtlingen und Kriegsopfern. Die Musik, eine Botschaft der Hoffnung in dunklen Zeiten, wurde angeregt durch jüngste Bilder in den Medien – Menschen auf Flucht vor Bürgerkrieg, Unterdrückung, Armut und Not. Das Album ist eine Mahnung an Menschlichkeit und ihre Kraft, jene wieder zusammenzubringen, die durch Hass und Angst entzweit sind. »Die humanitäre Notlage der Flüchtlinge war der Anlass für Land of Gold«, sagt Shankar. »Ich hatte mein zweites Kind zur Welt gebracht und war zutiefst betroffen; während ich für mein Baby sorgen konnte, versuchten andere verzweifelt, ihren Kindern die gleiche Sicherheit zu geben – und waren nicht in der Lage dazu.«
Land of Gold, das vierte Album von Anoushka Shankar bei Deutsche Grammophon, entstand in Reaktion auf das Trauma und Unrecht von Flüchtlingen und Kriegsopfern. Die Musik, eine Botschaft der Hoffnung in dunklen Zeiten, wurde angeregt durch jüngste Bilder in den Medien – Menschen auf Flucht vor Bürgerkrieg, Unterdrückung, Armut und Not. Das Album ist eine Mahnung an Menschlichkeit und ihre Kraft, jene wieder zusammenzubringen, die durch Hass und Angst entzweit sind. »Die humanitäre Notlage der Flüchtlinge war der Anlass für Land of Gold«, sagt Shankar. »Ich hatte mein zweites Kind zur Welt gebracht und war zutiefst betroffen; während ich für mein Baby sorgen konnte, versuchten andere verzweifelt, ihren Kindern die gleiche Sicherheit zu geben – und waren nicht in der Lage dazu.«
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Seong-Jin CHO
Seong-Jin Cho - Ballade No.1 In G Minor, Op.23 (Live From The Yellow Lounge)
»Seong-Jin Cho ... widmet sich mit seinem unaufdringlichen, federnden Klavierspiel Debussy, und seine Darbietung ist so fesselnd wie immer.« The Guardian, Rezension zu Debussy, November 2017
Es ist die Verbindung von gedanklicher Tiefe und Ausdruck, durch die Seong-Jin Cho sein Publikum berührt. Die musikalische Reife und die künstlerischen Fähigkeiten des jungen Pianisten aus Südkorea sicherten ihm im Oktober 2015 den ersten Preis beim 17. Internationalen Chopin-Wettbewerb. Es folgten überwältigende Kritiken und eine große internationale Fangemeinde. Als Deutsche Grammophon Mitschnitte von Chos Wettbewerbsaufführungen herausbrachte, sprang das Album allein durch seine Vorbestellungen auf Platz 1 der südkoreanischen Pop-Charts und schaffte innerhalb einer Woche nach Erscheinen Verkaufszahlen von Dreifach-Platin.
»Seong-Jin Cho ... widmet sich mit seinem unaufdringlichen, federnden Klavierspiel Debussy, und seine Darbietung ist so fesselnd wie immer.« The Guardian, Rezension zu Debussy, November 2017
Es ist die Verbindung von gedanklicher Tiefe und Ausdruck, durch die Seong-Jin Cho sein Publikum berührt. Die musikalische Reife und die künstlerischen Fähigkeiten des jungen Pianisten aus Südkorea sicherten ihm im Oktober 2015 den ersten Preis beim 17. Internationalen Chopin-Wettbewerb. Es folgten überwältigende Kritiken und eine große internationale Fangemeinde. Als Deutsche Grammophon Mitschnitte von Chos Wettbewerbsaufführungen herausbrachte, sprang das Album allein durch seine Vorbestellungen auf Platz 1 der südkoreanischen Pop-Charts und schaffte innerhalb einer Woche nach Erscheinen Verkaufszahlen von Dreifach-Platin.