Ensemble Esperanza – Nordic Suites

ENSEMBLE ESPERANZA was presented with the Special Achievement Award 2017 at the International Classical Music Awards.

Ensemble Esperanza – Nordic Suites

The ENSEMBLE ESPERANZA was formed in 2015 by students of the International Academy of Music in Liechtenstein as part of an integral musical education programme. With the exception of the concertmaster and harpsichordist, the ensemble is made up of grantees of the International Academy of Music in Liechtenstein who are coming together for their musical projects from all over Europe. The young ensemble made their first appearance in February 2015 at the 5th FESTIVAL NEXT GENERATION in Bad Ragaz. Their three performances at the festival were highly successful and received praise from the international press. Since then, the ENSEMBLE ESPERANZA has performed with renowned soloists at concert venues in Germany, Liechtenstein, Austria, and Switzerland.

The ensemble’s repertoire ranges from Baroque to contemporary music. Led by concertmaster Chouchane Siranossian, the members of ENSEMBLE ESPERANZA are drawn from twelve European countries.

Florian Glemser – Robert Schumann

Once in a while there appears on the musical scene a talent so exceptional that it literally takes one's breath away. Florian Glemser is such a talent. When he performs there is a unique aura about him, a 'stillness' which he creates by an unusual combi-nation of musical instinct, a reverence for the composer and that undefinable gift of communication. His interpretations are a rare symbiosis between the wishes of the composer expressed in combination with his own, strong, but infinitely subtle and refined musical personality.

He demonstrates a particular and profound understanding of the Schumann works performed on this CD. The exhilaration, the depression, the obsession, the madness, the tenderness, the belligerence, the resignation, but above all the love and the beauty are all there, delicately and thoughtfully interwoven into the fabric of the performance. This is a powerful interpretation full of colour and hidden depths which carries the listener on a journey of fascinating exploration into the psyche of the tortured composer.This is a recording of rare insight and is worth listening to many times.
Janina Fialkowska

Duo Praxedis – grand duet – Originalwerke für Harfe & Klavier

During the late 18th century a series of transformations took place in the world of European art music that affected musical forms, instruments, performance practice, but also musical tastes, particularly in connection with the social renewal brought about by the emergence of the bourgeois public sphere. The harpsichord was replaced by the piano; the musical forms of the Baroque era sunk into oblivion; the sonata form prevailed and was increasingly used by the great composers. Meanwhile, new, less conventional and more imaginative musical forms emerged; at the time of the great Viennese composers, the variation form showed a strong inclination towards thematic theatricality, both in salon improvisations as well as in the sonata form. Another characteristic aspect of the pre-classical era was the growing significance of musical dilettantism. For more than a century, the amateur musician became the music publishing industry’s most important customer. The publishers, for their part, sought to satisfy the tastes and rather limited technical skills of their clientele. Meanwhile, the piano achieved considerable social significance in lockstep with the pace of its development. Much the same can be said about the harp, which had come to dominate the aristocratic and bourgeois salons. The harp as we know today was developed by the instrument maker Sébastien Érard; around the same time, the harp’s musical repertoire – which overlapped with that of the keyboard instruments since the tablatures of the 16th century – was beginning to change. In his Concerto for Flute, Harp and Orchestra, Wolfgang Amadeus Mozart made full use of the harp’s technical capabilities and instrumental characteristics while highlighting the major differences between it and the piano. More difficult passages, written by skilled instrumentalists for famous virtuosos, appeared soon after the harp began to play an important part, along with the keyboard instruments, in the development of the amateur repertoire of the so-called style galant. The combination of harp and piano was particularly common in the salons of the early 19th century, where it was often used as an alternative to the harp or piano duo.

Leticia Gómez-Tagle – Poems & Pictures

For this album I wanted to record two major works of the piano repertoire which I have performed in concert for many years: Mussorgsky’s Pictures at an Exhibition and Ravel’s Gaspard de la Nuit. These two pieces draw their inspiration from different artistic fields: painting and poetry. For this reason I decided to call the album “Poems and Pictures”. In order to balance the two dramatic works, I inserted two transcriptions of Schubert songs by Franz Liszt between them, which are also inspired by poetry: “The Miller and the Brook” and “To Be Sung on the Water”.