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Hamlet Piano Trio – Beethoven CD Release

Hamlet Piano Trio:

Paolo Giacometti (piano), Candida Thompson (violin) & Xenia Jankovic (cello)

Ludwig van Beethoven:
Piano Trio No. 5 in D major, Op. 70 No. 1 ‘The Ghost’
Piano Trio No. 6 in E flat Major, Op. 70 No. 2
Variations in G major on Wenzel Muller’s Ich bin der Schneider Kakadu, Op. 121a

 

Three world-class musicians decided to join forces in 2011. As the Hamlet Piano Trio their reputation grows fast worldwide. All three have earned their stripes, both as soloists and as chamber musicians.

“For our second cd we have chosen to record Beethoven trios. Once again we had an adventure playing on gut strings, classical bows and the beautiful Salvatore Lagrassa, 1815 piano from the Edwin Beunk collection. As a musician one has individual timing, ones approach to colours, articulation and phrasing which are pretty personal. It could be akin to how one uses language to express oneself. The peculiar effect of using the historic instruments is how one suddenly has a new dialect in a language that one felt relatively at home in. This opens up new expressions and creates a different sound world, every nuance of emotion or thought that has been experienced becomes more rooted, there is more edge, so many small details are more vivid in colour and articulation which gives a very different picture of the whole. Its perhaps close to a restoration of a picture only much of what is restored happens to us!
A recording is but a moment in time, hopefully capturing moments of inspiration.”

HamletTrio-Beethoven

I dischi di Natale, di Ferruccio Nuzzo

Johannes Brahms

The Complete Nine Sonatas – Xenia Jankovic: violoncello, Alexandre Brussilovsky: violino, Jan Talich: viola, Guy Dangain: clarinetto, Silke Avenhaus, Inger Södergren, Stanislav Bogunia, Jean-François Heisser: pianoforte – Indésens (49’07 + 70’38 + 39’37 + 45’37)

La “copertina” del cofanetto potrebbe trarre in inganno, con l’imponente immagine del compositore – che era anche un eccezionale pianista – davanti allo strumento, tuttavia non si tratta qui delle Sonate per pianoforte, ma dell’integrale delle Sonateper strumento solista con accompagnamento di pianoforte: le tre per violino, le due per violoncello e quelle per clarinetto (con la trascrizione di quest’ultime che lo stesso Brahms adattò alla viola).

Gli interpreti sono i solisti più interessanti del catalogo Indésens e Calliope, con la straordinaria Xenia Jankovic – di cui vi ho recentemente parlato in occasione della sua registrazione dei Concerti di Franz Joseph Haydn – al violoncello. Un insieme di grande coerenza ed un regalo ideale per gli appassionati di Brahms e del repertorio cameristico romantico.

Pubblicato il 5 dicembre 2017 in , da Ferruccio Nuzzo

New CD Release: Johannes Brahms – The Complete Nine Sonatas

livret CAL1746-v2Since childhood, Johannes Brahms (1833–1897) has been creating wonders with his piano and his composition. In the 1850s, he was able to make a living out of his art. is is the period he met many key musicians for his career: Clara and Robert Schumann and the violinists Joseph Joachim and Eduard Remény. He is encouraged by Liszt, Berlioz and during all his life, mingled in the music circles with personalities such as Wagner or Dvorak. His works are often praised and appreciated. Although he mainly composed for piano solo and orchestra, Brahms took his rst steps into chamber music in 1866 with his Sonata for Cello, op. 38. is chamber music period is the most inspired and sentimental of his repertoire. Many Lieder, Trios, Quartets, Quintets and Sextets, as well as his Sonatas for solo instruments with piano are gathered in this album.

Fourteen years only after his very first Sonata for Cello, Brahms composed his next Sonata, for Violin and Piano, op. 78, in 1879. Much later in life, the composer wrote maturer chamber music pieces to di erentiate himself from his maestro Beethoven (specially for Quartets). Indeed, there is a real evolution in his composition. e second and the last of his three Sonatas for Violin (op. 100 in 1886 and op. 108 in 1888) are breaking free from the classical in uence of Bach, Mozart or Beethoven. And the gap is even bigger between the two Sonatas for Cello and Piano – twenty years: between 1862 and 1865 for op. 38 and 1886 for op. 99. In the latter, the composing of Brahms draws away from his early classical in uences and forms. It is much more passionate.

 

A few years later, Brahms met Richard Mühlfeld, the clarinettist virtuoso (from the Meiningen court Orchestra). At his side, he explored in depth the possibilities of the instrument. In his time, Mozart also composed a Concerto for Clarinet, as well as a Quintet with Clarinet, after having listened to Anton Stadler, the clarinettist, in 1791. For the Romantics, Carl Maria von Weber is the one who composed the best music for this instrument with many pieces between 1811 and 1816. Brahms’s encounter with Mühlfeld is decisive.

 

He composed his last four chamber music works for clarinet: Trio, op. 114, Quintet, op. 115; then, during the 1894 summer, two Sonatas for Clarinet, op. 120, dedicated to Mühlfeld. ey are the wonderful expression of a melodic language with an intimate, free and meditative theme. A few years later, at the request of Simrock, his publisher, the composer transcribed these Sonatas for alto and piano. e piano part remains identical. But although the alto’s tessitura is similar to the clarinet, a few unavoidable alterations due to its technique can be spotted. But it does not remove the elegance of these two last chamber music works by Brahms.

L’ÉLÉGANCE CLASSIQUE DE XENIA JANKOVIC DANS LES CONCERTOS POUR VIOLONCELLE DE HAYDN

Xenia JankovicSans forcément révolutionner la vision que l’on peut avoir des deux concertos pour violoncelle de , ce disque intéresse tout autant par la qualité de l’arrangement pour orchestre à cordes de Mladen Miloradovic, que par celle de la lecture que propose .

Le Concerto n° 1 en ut majeur, redécouvert récemment, en 1961, dans le fonds Radenin du Musée National de Prague, et composé probablement entre 1765 et 1769, fut dédié au violoncelliste virtuose Joseph Weigl. De facture éminemment classique, voire galante, il s’appuie sur une virtuosité assez ostentatoire et des contrastes très marqués. Sans doute plus élaboré, le Concerto n° 2 en ré majeur est plus tardif : il fut composé en 1783, vraisemblablement à l’attention d’Anton Kraft, principal violoncelliste de l’orchestre Esterhazy dont fut le Kapellmeister pendant plus de trente ans. Une œuvre qui explore nombre des possibilités techniques de l’instrument, mais qui fait également une large place aux vents (du moins dans la version originale !).

Force est de reconnaître que cette version pour cordes exclusives parvient, et c’est bien là tout son mérite, à nous faire oublier totalement l’absence de vents, tant la symbiose entre les et la violoncelliste est totale, dépassant l’égo pour atteindre à l’égrégore. Une interprétation dynamique, équilibrée, faite d’élégance et de cantabile, où la virtuosité le dispute à la magnifique sonorité du violoncelle moderne Ragnar Hayn 2010 joué par la violoncelliste russo-serbe.

Un disque qui ne déparera pas les discothèques particulières, aux côtés d’interprétations d’autres violoncellistes et chefs d’orchestre dont Xenia Jankovic fut l’élève, comme Rostropovitch, Pierre Fournier, André Navarra ou encore Sándor Végh.

tous les dossiers(1)

Pizzicato Review

Joseph Haydn: Cellokonzerte Nr. 1 C-Dur & 2 D-Dur (Arr. für Streichorchester von Mladen Miloradovic; Xenia Jankovic, Cello, St George Strings; 1 CD Calliope 1741; Aufnahme 11/2012, Veröffentlichung 25/08/2017 (50’34) – Rezension von Remy Franck

Das serbische Streichorchester ‘St. George Strings’ besteht seit 25 Jahren Arbeit. 2012 wurde die heute 58-jährige serbisch-russische Cellistin Xenia Jankovic, eine Schülerin von Mstislav Rostropovich Pierre Fournier und Sandor Vegh, vom Ensemble angefragt, ein CD-Projekt vom Cello aus zu leiten.Sie entschied sich für ein Haydn-Projekt mit Transkriptionen der beiden Cellokonzerte für Streichorchester. Musiziert wird auf modernem Instrumentarium, und die Cellistin benutzt nicht ihr Gregorio Antoniazzi von 1733, sondern ein 2010 gefertigtes Cello des Berliner Geigenbauers Ragnar Hayn. « Es war eine große Freude dieses Instrument zu spielen, das einen sonnigen und brillanten Klangqualität hat », schreibt die Solistin.

Und dieser feine Celloklang hebt sich in der Tat bestens vom etwas kernigen Sound der Sankt Georgs-Streicher ab. Die Interpretationen sind klassisch, elegant und im Großen und Ganzen recht feminin. Gelegentliche Geräusche und auch geringfügige klangliche Unreinheiten fallen nicht ins Gewicht und werfen die Frage auf, ob nicht zumindest Teile dieser Aufnahme aus Konzerten stammen. Wie auch immer: die Aufführungen sind ausdrucksvoll, und Jankovic beweist eben so viel Fantasie wie das Orchester. Sie kann dank der Wärme ihres Timbres die Lyrik und den Zauber von Haydns Musik voll verwirklichen. Mit feinsten Nuancen, prächtigem Klang und schönsten Schattierungen spielen die ‘St. George Strings’ Musiker ganz im Geiste der Solistin und bilden mit ihr eine selten schöne Einheit.

Both of Haydn’s Cello Concertos are beautifully played by Xenia Jankovic, whose effortless virtuosity and lyrical poise are matched by the inspired and elegant playing of the Serbian St. George Strings.

06/09/2017

CD e altre musiche di ottobre, di F. Nuzzo

Joseph Haydn    

Cello Concertos 1 & 2 – Xenia Jankovic: violoncello, St Georges Strings – Calliope(50’34)

Più o meno consapevolmente siamo tutti condizionati dai primi incontri con un’opera musicale. Sono stato, quindi, colto di sorpresa all’inizio dell’ascolto di questa nuova incisione di due capolavori del repertorio della musica per violoncello.

I due Concerti di Franz Joseph Haydn – che il compositore (ma qualche dubbio sull’attribuzione sussiste ancora per il primo) scrisse per due virtuosi, Joseph Weigl e Antonin Kraft, come lui alle dipendenze della corte del principe Paul II Anton Esterházy – hanno all’origine un organico che comprende oboi e corni, due strumenti che danno all’orchestra uno slancio piccante, quasi percussivo, introducendo ed incoraggiando le impennate del solista.

È questa la prima registrazione che ascolto di una trascrizione per violoncello ed orchestra d’archi, e non riuscivo ad immaginare cosa avesse indotto la brava Xenia Jankovic a questa scelta, se non, forse, il piacere di essere accompagnata dai valorosi archi dei St Georges Strings, un ensemble che, dopo i primi successi di Belgrado, ha rapidamente conquistato una rinomanza internazionale.

“Sono stata tentata – ha detto Xenia – di trovare un modo particolare di suonare questi Concerti con un’orchestra d’archi, e di creare una versione nella quale non si senta la mancanza dei fiati dell’edizione originale. L’arrangiamento di Mladen Miloradovic per archi è particolarmente riuscita, e dà ai St Georges Strings la possibilità di mettere in valore le sue sonorità ed un virtuosismo fur dal comune”.

Il risultato è, comunque, dopo la sorpresa iniziale, estremamente gradevole, grazie sopratutto al virtuosismo ed alla bellezza del suono dello strumento di Xenia.

Pubblicato il 2 ottobre 2017 in , da Ferruccio Nuzzo

CD Release – Haydn Cello Concertos

 

Haydn Cover

Xenia Jankovic playing Haydn Cello Concertos with the St George Strings.

Here, a note about the arrangement and choice of instrument from Xenia Jankovic:

“As I was asked by the St George Strings to lead a project from my instrument, I immediately thought about a Joseph Haydn project – his two famous cello concertos, and «The Seven Last Words of Christ». Among other things, it was inspiring and motivating for me to nd a special way of playing in the strings, so that the colour of the winds from the original version of the two cello concertos would not be missed. Certainly, in Haydn’s time, and also in the last 250 years, these concertos were performed as often with winds in the orchestra as they were without. I would like to give special thanks to my student and colleague, Mladen Miloradovic, a wonderful cellist and arranger, for his very precise and intelligent arrangement. I believe we succeeded in creating an interesting and beautiful string version of the Haydn Cello Concertos.

I did not play on my Gregorio Antoniazzi instrument (1733 from the workshop of Montagnana) for this concert and recording, but instead on my new Ragnar Hayn Cello from 2010, made in Berlin. It was a great pleasure to play on this instrument, which has a sunny and bright quality of sound, working particularly well with this version of the concertos.”

“Talent as Destiny” – Xenia Janković

In this segment, Xenia Janković talks about Talent, and how it influences the whole life. She explores what is special, difficult, and nice about talent and she opens up about her childhood and her professors – Rostropovich, Fournier and Navarra.

We hear many recordings from her concerts, as well as concerts from her home in Belgrade, Serbia.

Kulturtipp!

For more insight into Xenia Janković’s ideas behind Chamber Music Plus at Musikdorf Ernen, take a look at this article in magazine “Kulturtipp”

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