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NIKOLAI KAPUSTIN - Piano Concertos Nos. 2 & 6
Frank Dupree · SWR Big Band · SWR Symphonieorchester · Dominik Beykirch
When the music of Nikolai Kapustin was discovered by a wider audience in the West, it was positively shocking: Who was this Soviet (!) composer, whose music sounded more like an Oscar Peterson improvisation than anything else – but who wrote detailed scores, black with notes?! As we discover more and more of his music and as we again can hear on the present recording, Kapustin developed his style subtly and steadily. He went with the times. As the music that influenced him changed, so did Kapustin’s. The development of Big Band Jazz can be traced in his work. In that sense Kapustin never settled on one style (within the parameters of his unique fusion of jazz and classical, granted) but remained flexible about the musical material and the way he related it to the orchestra.
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Alfred Schnittke - Film Music Vol. 6
Svetlana Mamresheva · Martha Jurowski · Elisaveta Blumina · Maxim Suchanow · RUNDFUNK-SINFONIEORCHESTER BERLIN · VLADIMIR JUROWSKI
Alfred Schnittke’s film music encapsulates almost everything that characterises the Russian composer’s compositional style. A self-described polystylist, he began writing for film in the 1960s, penning 66 film scores between 1962 and 1984 for Soviet film companies. His method of drawing on the past was rejected by the avant-garde but embraced by filmgoers and concertgoers too. Volume six in this CD Edition of Schnittke’s film music presents music from the film series "Little Tragedies" (1979) based on popular novels by Alexander Pushkin. After longtime research conductor Vladimir Jurowski also recorded all parts of the score which have been cancelled at the end for the final Film Version.
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BÉLA BARTÓK - The Piano Concertos
Deutsches Symphonie-Orchester Berlin · Christoph Eschenbach
Béla Bartók is one of the unquestionably “great” composers and one of the few modern composers who established themselves in the repertoire. His three piano concertos are central to his biography and musical output, but only the Third, with some generosity, could be considered “popular”. Although well represented on disc, the first two are rare concert program guests. Tzimon Barto sees a problem in an all-too-mechanical approach to these two percussive works: “Even Bartók needs a supple touch. If you bang away at it, without rhythmical buoyancy, of course it will become tedious.” These recordings are his attempt, at doing justice to his Bartók-ideal.
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WALTER BRAUNFELS - JEANNE D'ARC
Juliane Banse · Johan Reuter · Pavol Breslik Norbert Ernst Salzburger Bachchor ORF Vienna Radio Symphony Orchestra MANFRED HONECK
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Premiere Portraits - IRÈNE DUVAL
IRÈNE DUVAL, violin ANGUS WEBSTER, piano
Praised for “her mastery of phrasing and of the dramatic dimension” (Diapason), “astonishing virtuosity” (Revelation Classiques) and “her infinite delicacy” (Le Populaire du centre), French violinist Irène Duval is establishing herself as a uniquely compelling performer with a strong interest in combining works central to the repertoire with little-known gems. Born in France to a French father and Korean mother, Irène Duval grew up in Japan, Indonesia, and Hong Kong before returning to France at the age of eleven. She studied with Suzanne Gessner and Jean-Jacques Kantorow, before entering the Conservatoire National Supérieur de Musique de Paris in 2008 in the class of Roland Daugareil; in 2014 she joined the Kronberg Academy in Germany, where she studied with Mihaela Martin for three years.
