Julius Berger

Stefan Wolpe

„Stücke sind wie Seismographen“ sagt Adriana Hölszky mit Bezug auf ihr eigenes Komponieren – und doch trifft dieser Satz auf alle Stücke dieses Albums zu: Musik als Seismograph für die ästhetischen Prämissen, musikalischen Vorstellungen und kompositorischen Gegebenheiten, aber auch über die Entstehungszeit hinweg für den Umgang, den Musiker wie Hörer mit ihr pflegen, das sich wandelnde Verständnis von Musik. Die Kombination der hier von Julius Berger und Stefan Hussong eingespielten Werke zeigt, dass bei allem Historismus des Musiklebens die neueste und die alte Musik sich nicht widersprechen, sondern gerade aus dem Blickwinkel und den Erfahrungen der neuesten sich überraschende Zugänge zur alten ergeben.

Bach & Hölszky: Wolke und Mond

Wolke und Mond

I. Adagio

II. Allegro ma non tanto

III. Andante

IV. Allegro moderato

I. Vivace

II. Adagio

III. Allegro

Miserere für Akkordeon

II. Allegro

IV. Allegro

III.

VII.

VIII. Andrei Pushkarev

Pavel Beliaev

Dmitri Shostakovich

Bach Frequencies 60-90

Margarita Höhenrieder

Ludwig van Beethoven

“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!

Beethoven: Complete Works for Piano & Cello

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.

Piazzolla: Le grand tango

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. Julius Berger

Bach & Hölszky: Wolke und Mond

歌曲列表

Bach & Hölszky: Wolke und Mond

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