Solo Instrumenta

Des cloches sonores

George Enescu
Suite No. 2 D major op. 10
Franz Schubert
Sonata G major op. 78, D 894
Alexander Scriabin
Sonata No. 5 op. 53

Catalin Serban piano

catalog number: 21107

"While looking for exciting correlations and comparisons of works and composers who, for a long time, have touched and inspired me, I discovered these three compositions – stylistically completely different, and yet united by their bell-like motifs and sounds. George Enescu’s Suite op. 10 No. 2 even has the title “Des cloches sonores” (Eng. “Sonorous Bells”), and the bell sounds are unmistakeably audible in all four movements of the Suite, albeit in very differing dynamics and atmospheric sound colours. The G major Sonata op. 78 D 894 by Franz Schubert is a piece with which I have a long and close association. What greatly influenced my interpretation of the famous first movement was my contemplation of the long, expansive chords – these sound as if they are produced by a faraway bell in a quiet, profound landscape. The impressive ending and the highlight of the Sonata No. 5 op. 53 by Alexander Scriabin uses the very gentle harmonies and individual notes of the beginning, which develop from distant tolling bell to become an overpowering, mighty peal of bells." Catalin Serban

Markus Becker Kiev Chicago

Markus Becker: Piano

Catalog number: 21085

This is not a crossover album! Two musical worlds are juxtaposed to shed new lights upon one other: 'Kiev' stands for the Russian Romanticism of the late 19th century, 'Chicago' for the cosmos of Jazz. How do these two vastly different worlds relate? When I was considering the concept for this album I found two aspects of the relationship between these worlds very interesting: one ‘external’, such as the 'groove' in some of the 'Pictures at an Exhibition' or the somewhat jazzy harmonies in the Scriabin Préludes. I was especially interested in the ‘internal’ connections between 'Kiev' and 'Chicago': it is the compositional or improvisational freedom, colours, generosity, temperament, potential for surprise and sensuality, which is the bridge between both parts of the programme.

Balthasar Hens

Balthasar Hens: Piecen for bass clarinet

Works by Owen Elton, Eugène Bozza, Keith Ramon Cole, David Bennet,
Werner Heider, Edwin York Bowen

Balthasar Hens, bass clarinet
Hsiao-Yen Chen, piano

Catalog number 21084

This recording collects pieces for the bass clarinet from the 20th century, which range in their diversity from the late romantic sound­ideal via the Broadway sound of the 1930’s, right up to contemporary, enthralling sound spectrums. Especially those pieces, which have become unjustly forgotten or which are unknown, have been tracked down here.

Yu Jung Yoon plays Alexander Scriabin

Yu Jung Yoon
plays Alexander Scriabin

24 Préludes Op.11
Sonate Nr.2 Op.19 ('Sonate-Fantaisie')
Sonate Nr.5 Op.53

Catalog number: 21080

Yu Jung Yoon was celebrated in her childhood as a child prodigy and won numerous competitions in her home country Korea. When aged 15 she became one of the youngest students ever at the renowned Conservatory in St. Petersburg. After seven years in St. Petersburg she moved – after a short intermezzo in Germany – to Paris. Her playing combines virtuosity with a deep natural musicality. On her debut CD she performs works by Alexander Scriabin whose music she describes as being her ‘musical home’, ever since she was in her teens.


TWO. Works for accordeon and electronics


Margit Kern, accordeon

Catalog number 21055

TWO, strangeness and oneness, togetherness and alone again. Accordion alone and together with ‘live electronic’ are the playing situations in TWO. The inner tension of the CD is to be found in the alternation between the pair. The solo works have a direct relationship to shadow, thus broach- ing the issue of “two” on a completely different level, since the shadow always needs that some- thing which throws the shadow. Loneliness, togetherness - symbiosis - alienation, oneness - this is the intellectual space of this sound constellation, the gravitational point for the tonal diversity which is opened up by both sit- uations. The solo works by Samir Odeh-Tamimi and Edison Denisov are dualistic because of their theme, shadows. “Tslalim” is an Arabian term. It means shadows. The word only exists in the plu- ral, it always means lots. “Des ténèbres à la lumière” - from the shadows to the light - is the grand compositional theme to which Denisov dedicated himself in his last works.
Margit Kern

Edison Denisov                 
Des ténèbres  à la lumières (1995)
premier recording

Ali Gorji                                
Flatterflügel (2006)
premier recording

Joachim Heintz                  
Schlagschatten (2006)
premier recording

Samir Odeh-Tamimi          
Tslalim (2007)

premier recording 

Charlotte Seither                
Inventaire de départ (2006)
premier recording

A Co-production with Deutschlandfunk, Cologne

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