NEWS CAvi-music



Her first Solo Recital
(from her remarks in the booklet)

“In this day and age, why another CD featuring art song?
From different sources we hear that art song is going through a crisis, and that the traditional vocal recital format lacks an audience and is no longer up-to-date.

Many people seem to regard the Lied genre as elitist, musty and outmoded. How can one explain this?

The act of singing, in itself, cannot be the problem. People are fortunately still singing in many
different contexts and venues: in nurseries, schools, choirs, in the shower, and in television
contests. What comes more naturally to a human being than singing songs?

Perhaps we should avoid terms such as “Lied” and “art song”. They might sound too artificial.
Perhaps the supposed lack of interest has to do with the texts, which are sometimes more than two centuries old…

Nevertheless, for us the answer is clear: these songs and texts have lost nothing of their current relevance. They still have the capacity to profoundly stir the emotions of listeners and performers. In short: the “Lied” lives on!.....

Release Date 17 November 2017  
ADAM FISCHER, conductor · GUSTAV MAHLER · Sinfonie Nr. 1
Düsseldorfer Symphoniker


“I am delighted to perform and record the complete symphonies of Gustav Mahler with the
Düsseldorfer Symphoniker. The result, we hope, should be something special: a rendition that
stems from an active collaboration in which we mutually inspire one another. This should not be “my” Mahler, but “our” Mahler……..

Gustav Mahler premiered his First Symphony at the age of 29. For personal reasons I feel a close bond with that 29-year-old Musical Director of the Hungarian State Opera. 120 years later, I was named General Music Director of the same opera house. We both hastily abandoned the institution after 2 1/2 years.

I would still like to relate a personal reminiscence of one of the performances of “my” First
Symphony. The First Symphony was the first occasion I ever heard music by Mahler live on stage: in Vienna when I was nineteen years old, and the experience marked me for life. . ."
(from his remarks in the booklet)

Release Date 17 November 2017  

Period instruments from Poland

CAPELLA CRACOVIENSIS was established in 1970 on the initiative of the then director of the
Cracow Philharmonic, Jerzy Katlewicz, who entrusted Stanisław Gałonski with the mission to form an ensemble that would specialize in early music.

Over the course of the years, the group has become organizationally independent, featuring highly diversified repertoire from the Middle Ages to world premieres of contemporary music. In November 2008, Jan Tomasz Adamus was named its executive and artistic director.

The repertoire of Capella Cracoviensis is thoroughly eclectic, ranging from Renaissance polyphony to Romantic operas, performed on period instruments and staged according to the guidelines of historical performance practice. With unswerving support from the City of Cracow, the band is able to bring its artistic ideas to life on a world-class artistic level, without compromises.

CC is often invited to major festivals and concert halls, such as Bachfest Leipzig, Schwetzingen SWR Festspiele, Händel Festspiele Halle, Haydn Festspiele Brühl, Opéra Royal Versailles, Theater an der Wien, NOSPR Katowice, the Szczecin Philharmonic, and is frequently a guest in Brussels, Ghent, Lvov, Riga, Tallinn, Yerevan, Tbilisi, and Kiev.

Release Date  17 November 2017  
PAULINE SACHSE,  viola & ANDREAS HECKER, harpsichord


„….Original compositions for viola as a solo instrument were quite rare before 1775. There are several reasons for this, and they go back a long way. In ensembles, the viola, as the middle part, usually played a subordinate role. In court and municipal orchestras, the posts of violists were generally poorly filled in terms of both quality and of quantity – also because violists were poorly paid.

The first author to highlight the viola’s pivotal role in harmony and voice-leading was Johann Mattheson (1681-1764), who pointed out in 1713 that everything would sound dissonant without the viola. Then, in 1738, Johann Philipp Eisel (1698-1763) described the viola as the “innards of music”.

Further statements can be found – for instance, Johann Samuel Petri (1738-1808), in his Manual of Practical Music-Making (1782), exclaimed: “Another mistake! The viola is so mistreated! A beautiful instrument that achieves such great effect is generally put through torture by ignorant apprentices or stupid old men.”

Release Date 13 October 2017 
MENAHEM PRESSLER, piano, KIMBO IISHI , conductor, Magdeburgische Philharmonie
MOZART  · Piano Concertos Nos 23 & 27


“…..Pressler has played Mozart’s piano concertos with such frequency that they can be reckoned among the works that have occupied him the most in his life. Fortunately, a wish that Pressler and the musicians of the Magdeburg Philharmonic Orchestra had been having for many years finally came true: in May and December 2016, Pressler performed as a soloist in his home town.

In May he performed Mozart’s Piano Concerto in B Flat Major K595, and in December he played the Piano Concerto in A Major K488. On the subject of Mozart, he remarks:

 “In Mozart there are no ‘empty’ passages. Musicians often just ‘play through’ a passage because they can play it well, and they are satisfied with that. However, if the interpretation of a passage has no content, I become adamant. I know it’s hard to phrase everything correctly. But I am still as critical as I ever was. First of all toward myself, then toward my co-performers.” ...
(Excerpt from the Liner Notes)

Release Date 13 October 2017 

For the love of Bach, to discover Ysa˙e VOL. 3

It was ANTJE WEITHAAS’ own idea to jointly record Johann Sebastian Bach’s six sonatas and partitas for solo violin in conjunction with Eugčne Ysa˙e’s six solo violin sonatas. “The works by Bach are rather well-known”, she remarks. “But what about the Ysa˙e sonatas? Ysa˙e is invariably shoved into the virtuoso corner, but as a composer he is to be taken quite seriously!” - Now the No. 3:

In 1720, in his new post as Kapellmeister in Köthen, he made a new copy of all the sonatas and partitas in his most beautiful handwriting for his own use, and in order to present his skill to others. Bach plotted the best points for page-turning , while thoughtfully placing ornaments and bowings in the score.

When his employer Prince Leopold took the court orchestra to play for him while he stayed at the health resort in Carlsbad, Bach finished the score there. “What a fortune for us violinists!” exclaims Antje Weithaas: on this recording she has followed the composer’s precise instructions. “I have applied all his original trills and bowings, purposefully avoiding mere ease and comfort; that’s the only way to make the music sound truly lively.” (Excerpt from the Booklet notes)

„ ….Nevertheless it is particularly exciting and refreshing to hear Weithaas in true isolation with her beautiful and varied tone (on her modern Greiner violin which she plays with extraordinary skill of compensation, especially when maintaining the heavy poise of the Chaconne) and absolutely meticulous technique. Most of all, you can hear her complex thinking clearly evidenced in the light but ever-present dance lilt in all Bach’s movements, despite their musical and intellectual gravities. …..“(The Gramophone, March 2015)

Release Date 15 September 2017  

Masked Impressions

In this new album, CATHY KRIER takes an original step and goes entirely against the grain of her previous programmatic approach. In her two most recent CDs she had juxtaposed the apparently divergent styles of Rameau and Ligeti, or Liszt vs. Berg/Schoenberg, uncovering astounding new connections among them.

The current release now takes the opposite path. At first glance, Claude Debussy – the inventor of musical Impressionism – and Karol Szymanowski – often called the ‘Polish Impressionist’ – would seem to have much in common. Both composers even use the same title in French: Masques (masks).

Cathy Krier affirms, nevertheless, that she is much more interested in the differences one can observe between these two works written roughly during the same period. Our listening experience is thus enriched thanks to a new, fascinating aesthetical perspective. “ (excerpts from the booklet notes by Clemens Matuschek)

"Krier steers her own path between sentimental and spiky, with a bright, forthright tone and an approach that underlines the music’s depth to Schumann and Brahms“(Boston Globe October 2015)

Release Date 15 September 2017  


Georgy Sviridov’s most impressive musical works featured the human voice: romances, cantatas, oratorios, and hymns. His instrumental chamber music is less well-known, but makes up a valuable and essential portion of his musical legacy.

If we divide music into three types according to Boethius, we can affirm that musica humana is well and alive in Sviridov’s musica instrumentalis. The result is actually a new synthesis, equivalent to what we conventionally call musica mundanа, “universal music”.

With that term we certainly do not mean World Music – which has resulted from cultural globalization – since Sviridov, quite to the contrary, was a down-to-earth, authentic Russian composer.

All of this confirms the time-honoured, well-known truth that the world only starts interesting itself for an artist when his art draws its authentic roots from folk culture.
(from the liner notes by Iossif Rajsskin) 

Release Date 18 August 2017  
MIKHAIL GLINKA · Variations for Piano


For me it has been a great joy to conceive and record the programme featured on this CD.

 The idea that inspired it was twofold: on the one hand, it is made up of variation cycles (with the exception of the Rondo brillante on a theme from Bellini’s opera ‘I Capuletti ed i Montecchi’).

 On the other hand, the programme’s chronological order not only traces the fascinating evolution of Glinka’s composition technique, but also the manner in which his successors used what he had invented:

the “Glinka-type variation” where the theme and/or structure are usually not modified, but the accompaniment is subjected to a great variety of transformations. Glinka was held in high regard as the “father of Russian music”.………”
(From the Booklet notes by Vladimir Stoupel)

Release Date 18 August 2017  
Düsseldorfer Symphoniker



“I am delighted to perform and record the complete symphonies of Gustav Mahler with the Düsseldorfer Symphoniker. The result, we hope, should be something special: a rendition that stems from an active collaboration in which we mutually inspire one another. This should not be “my” Mahler, but “our” Mahler……..

The Fourth is Mahler’s most transparent and lyrical symphony – almost a chamber symphony. Probably also due to its rather reduced format, it has been received in unique and contradictory ways.
Even during the time when international audiences had practically no knowledge of Mahler’s music, the Fourth remained relatively popular. . .

From my point of view, however, this stems from an unacceptable misunderstanding. Stylistically, the Fourth poses a truly special challenge I find quite exciting. It is Mahler’s “Pastoral Symphony”.
(from his remarks in the booklet)

Release Date 18 August 2017  
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