NEWS CAvi-music



LINOS PIANO TRIO · CPE BACH · Complete Piano Trios

"In Hamburg, 1775, Carl Philipp Emanuel Bach, by then an internationally celebrated and well-connected figure, was surely aware of the genre’s popularity. After all, his half-brother, the London-based Johann Christian, was central in promoting this new culture of domestic piano playing.

Despite the title, Bach referred to these works at times as Trios, at times as Sonatas, and sometimes even as “Trios (which are also Solos)”. It seems he didn’t really know what to call them, as they sat in between his previously clear categories of Trios (in the Baroque trio-sonata format of two equal instrumental parts accompanied by basso continuo), keyboard solo works, and the “Soli” (works for various solo instruments to be accompanied by the continuo).

Business acumen aside, these works reveal C.P.E. Bach at the height of his career and are full of invention, expression, and shocking surprises that at times surpass what even Beethoven might dare to do..…..“ (Excerpt from the liner notes )

First Prize and Audience Prize winner of the Melbourne International Chamber Music Competition 2015, the LINOS PIANO TRIOis increasingly recognised as one of Europe’s most creative trios.

Drawing on the rich and varied backgrounds of its members, which encompass five nationalities, as well as specialisms in historically informed performance and new music, the Linos Piano Trio possesses a distinctive musical voice.

Release Date  29 May 2020


BEETHOVEN TRIO BONN · BEETHOVEN  · Gassenhauer Trio & Symphony No. 6

The little 3-CD-Series on Beethoven: Vol. 3

Piano Trio, Op. 11 (“Gassenhauer”) & Symphony Nr. 6 . Standard versus „Home music“
Large-scale music as chamber music

The very well-known Piano Trio No. 4 (Gassenhauer) with his enormous witty playfulness (we listen to the version with the violin instead of the clarinet) and his three (!) movements is partnered with the Symphony No. 6, in an arrangement of the Brahms friend Christian Gottlieb Belcke (1796-1875).
 Listening to it will be a big surprise, as the Sixth is a lovely flowing full body music piece with all the details not forgotten, wonderfully balanced with all its pastoral melodies.

Vol. 3 rounds up the trilogy “Original versus „Home music-versions” of large-scale symphonic works. And surely some of the six pieces contains quite nice surprises, showing the music in different (new?) aspects.

 All of that is owed to the playing of the Beethoven Trio Bonn (“BTB”) with its richness of nuances and colours, interpreting the six trios, highly expressive as well as impressive.

Release Date  29 May 2020


BEETHOVEN TRIO BONN · BEETHOVEN  · Trio Op. 70 No. 2 & Symphony No. 2

A 3-CD series, pairing Beethoven’s original piano trios with arrangements

 Vol. 2  Standard vs. “domestic” music

Vol. 2 presents the young fresh Symphony No. 2 in Beethoven own trio arrangement coupled with the less known but definitely beautiful Trio No. 6. It sounds as if the Symphony was a trio in its original form, natural and favourable.

Also in this arrangement, the piano carries the main load of all the orchestral voices. “BTB”, the Beethoven Trio Bonn is mastering this major challenge again and makes also this Vol. 2 to a little diamond and enjoyable CD.

Thanks to BTB there is a fascinating, committed tempo and clarity, a major portion of musicality and joy in the performance.

Release Date  17 April 2020


BEETHOVEN TRIO BONN · BEETHOVEN  · Ghost Trio  · Triple Concerto

A 3-CD series, pairing Beethoven’s original piano trios with arrangements

Vol. 1 “Ghost” Trio  · Triple Concerto: standard vs. “domestic” music

In a series of 3 CDs, the Beethoven Trio Bonn explores the confrontation between one of Beethoven’s standard works for piano trio with a further “house music” arrangement of one of his orchestral works.

More than providing an interesting pairing, the Beethoven Trio Bonn was keen on interpreting an original work for piano trio alongside an arrangement of an orchestral work “downsized” to piano trio format. This new concept delivers surprising, unforeseen results.

Composers and publishers in Beethoven’s day sought to indulge the pleasures of the middle class: dozens of arrangements and transcriptions of orchestral works were in wide circulation for domestic use.

Haydn, Mozart and many others had always tried to provide access to the wonders of symphonic music for those members of the population who could not gain entrance to the grand concerts of the upper classes.

Release Date  13 March 2020




PERSONAL NOTES by the Amatis Trio

As a piano trio, we find it particularly interesting to discover music that is seldom recorded or performed. We enjoy the artistic challenge of interpreting such works using our own individual approach and it enables us to offer interesting and diverse programming.

The idea of uncovering and recording lesser known pieces for our first CD led us to include a wonderful early work by George Enescu, his Trio No. 1, along with the youthful Benjamin Britten’s Introduction and Allegro.

Finding our own voice with these scores, free from preconceived musical ideas or influences, is a process that inspires us. It is an exploration that we regard as an invaluable experience. Both Enescu and

Britten found inspiration through Ravel’s music and this in turn led us to his Piano Trio in A minor, hailed as one of the great masterworks of the 20th century.

Release Date  13 March 2020



A Water Damage turned into luck

“The Rhine is where Richard Wagner’s cycle of operas “Der Ring des Nibelungen” begins and ends – and it was beside the Rhine in 1851 that the composer first dreamed of this equally visionary and monumental work.

 Even if Wagner’s plans for a festival would ultimately be realised in an entirely different part of Germany, the performance of a “Ring on the Rhine” will always remain something very special.

And where better to make this happen than at the Deutsche Oper am Rhein? Two cities, two orchestras, two casts of singers – with the Rhine opera’s fantastic ensemble of singers and its two outstanding orchestras, the Duisburger Philharmoniker and the Düsseldorfer Symphoniker, at their two venues in Duisburg und Düsseldorf, the essential conditions were in place.

The “Ring on the Rhine” staged by Dietrich W. Hilsdorf and under my own musical direction gradually began to take shape from June 2017 onwards.

However, a few weeks before the premiere of “Götterdämmerung”, a defective sprinkler system flooded Theater Duisburg. The damage this caused made completing the staged “Ring” cycle in Duisburg (for the time being) impossible.…..“

(From the Editorial of the musical director Axel Kober)

Release Date  27 March 2020



TWO - Violin & Viola solo

In her solo album TWO, violinist and violist Elisabeth Kufferath presents compositions of four
modern composers, each represented by one work for the violin and one work for the viola.
Four composers.

Four pairs of works exhibiting an immense musical spectrum while sharing a
wealth of cross-references . . . . ?

The number of correspondences one can find is striking: relationships between composers,
interpreters, compositions, and instruments, stretching throughout the centuries and into our
own. The more one searches, the more one can find . . . .

(extensive interview and comments to all works in the Booklet)

Release Date 28 February 2020




"The International Art Song Competition held by the Hugo Wolf Academy in Stuttgart was the birthplace of this CD. During the competition, Fiona Pollak and I took a certain amount of musical risks and were ultimately rewarded with the First Prize, as well as with the opportunity to record this CD.

This recording features songs by composers from the period of the kaiserlich-und-königlich Dual Monarchy of Austria-Hungary around the turn of the 20th century.

We wanted to venture outside our comfort zone to discover as many different timbres and new songs as possible. We have selected composers from the Austro-Hungarian Empire of that time, including the region of Vojvodina, which is now part of Serbia.

The variety of art songs featured here not only reflects the Austro-Hungarian period, but also the
Austria of today, along with each of our individual artistic personalities. We are two musicians with entirely different origins and religious backgrounds: Austria is where we met and started making music together. .  ."

© 2019 Ilker Arcayürek

Release Date 14 February 2020


Viola Sonatas, Op. 120 · Piano Trio, Op. 114

The late Brahms

BRAHMS – Viola-Sonatas & Trio

Brahms’ Sonata in F Minor, Op. 120 was one of the first works Daniel and I played together 22 years ago. We already noted the work’s weighty, intense urgency: with wide interval leaps and abrupt emotional shifts from the onset, it feels like a voyage between continents.

The beginning flows like lava; later on, the second theme raises its sweet melody in soft hues, striving toward heaven.

Through the years, Daniel and I have explored and played many works by Brahms. Daniel has gotten to know Brahms’ lieder output particularly well; in my case, I have become quite familiar with the chamber and orchestral music.

Each new exploration of a work by Brahms has added something to our insight; our current interpretation of the late sonatas, Op. 120, has profited from that accumulated

Thus we have worked through his output from back to front, so to speak. . . "

 Release Date 14 February 2020

Brahms, Op. 120 Nr. 1



“Until it all completely dissolves” - in conversation with the Oberon Trio

An interview by Friederike Westerhaus

“Duality” is the title of your new album. In your trio lineup, are you confronted with duality on a basic level?

Jonathan Aner: All the time! A piano trio combines two different instrumental families: this is already something “dual”. We even ask ourselves how the piano can form a unity with string instruments at all! But piano trio repertoire shows that it is possible. The combination is almost magical.

Antoaneta Emanuilova: However, when I think of the three of us and our personalities, I find that we do not form a duality. We are three strong, proactive personalities: in our trio each one of us is autonomous, and we make music as equals.

Henja Semmler: Perhaps a sort of duality is nevertheless at work in the very fact that the trio forms a unity, on the one hand, but is made up of three different personalities on the other. Of course we find it important to work together until we become homogeneous.

(Excerpt from the Booklet interview)

Release Date  15 January 2020


Live Recordings 2019



„ On these three CDs I am thrilled to present seven highly gifted young pianists who gave their début performances at the Ruhr Piano Festival 2019 – promising artists from whom we can expect and are sure to hear much more in the future.

The most recent volumes of our Ruhr Piano Festival Boxed Edition mainly featured work of the 18th and 19th centuries, in accordance with each Festival edition’s chosen themes; this year, however, we can feature Baroque und Early Classical repertoire on almost two entire CDs.

On CD 3 we then plunge headlong into the Romantic 19th century with major challenging works by Brahms and Liszt. ……“
(Excerpt from the forword by Franz Xaver Ohnesorg, Director)

Release Date  17 January 2020



Now available separated in  Book I and Book II



The Pianist DINA UGORSKAJA has recorded Book I & II of Bach’s Well-Tempered Clavier within the year 2015 in Co-operation with Bayerische Rundfunk in Munich.

She reflects her dialogue with Bach in a large interview in the two booklets referring to tempo, characteristics, form, colours, interpretation, style of playing, and many other aspects.

 „A Keyboard Magnificat” – “An Encyclopedia of Bach’s Univers” „

........Continuity only installed itself when I was preparing the recording. Every morning, when I awoke, I thought to myself that I was about to spend another entire day with Bach – every day the same, but only apparently identical: a prelude and a fugue.

 And I knew that I was going to devote myself exclusively to that activity, fully concentrated. That discipline gave me a firm grounding, but also directed my gaze upwards.

The idea of infinity never seemed as evident to me as when I was working on the WTC. Its intensity carried me through the day...... I tried to free myself from certain clichés that had ‘gotten stuck’ in a series of interpretations. This was particularly difficult in Vol. I, since I had often heard those pieces in the hands of outstanding performers, also ofstudents.. ........

 Sure, I’m performing on a modern grand and I use its potential, but my intention is not to make a Steinway sound like a harpsichord or a clavichord. The modern grand is capable of evoking all those instruments, along with all the other ones that Bach’s shades of color bring to mind........ And in this recording I occasionally try to slow things down!“ (Excerpts from the large interview in the two booklets of the set)

Release Date  18 November 2019

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