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Regula Mühlemann, Chaarts Chamber Artists – Fairy Tales (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:57 minutes | 1,17 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Magical beings like fairies, elves, witches or ghosts have always fascinated and inspired mankind. Especially in music, one encounters all these unreal creatures at every turn. Antonín Dvořák, for example, dedicated an entire opera to the mermaid “Rusalka”. In Verdi’s “Falstaff,” a supposed fairy queen drums up a host of water and air spirits. And in Claudio Monteverdi’s famous “Lamento della Ninfa,” a nymph recounts her tragic love affliction
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Jonian Ilias Kadesha, Chaarts Chamber Artists – Suite italienne: Vivaldi, Sollima & Stravinsky (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 54:31 minutes | 982 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Linn Records
Suite italienne is the brainchild of violinist Jonian Ilias Kadesha – his second album on Linn – and the Swiss ensemble CHAARTS Chamber Artists. With Italy as the common thread through each of the three works, the riotous programme includes the premiere recording of Sollima’s TYCHE, a violin concerto that was composed specifically for Jonian. Echoing Jonian and Sollima’s mixed roots, the work absorbs musical ideas from different sources and, as the title suggests, reflects on the Greek goddess of fate, or the Italian equivalent Fortuna, and the ambivalence of life itself. The title work, Suite italienne from Stravinsky’s ballet Pulcinella , is performed here in an arrangement for string orchestra, harpsichord and violin; its playful style calls to mind the Commedia dell’arte. Vivaldi’s ‘Il Grosso Mogul’ concerto, likely named after one of the largest diamonds to have ever existed, completes the programme and finds in Jonian one of its most flamboyant champions.
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Claire Huangci, CHAARTS Chamber Artists – Beethoven Septet & Eroica (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 01:17:13 minutes | 714 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Berlin Classics
The American pianist Claire Huangci, winner of the 2018 Geza Anda Competition, continuously captivates audiences with her “radiant virtuosity, artistic sensitivity, keen interactive sense and subtle auditory dramaturgy” (Salzburger Nachrichten). With an irrepressible curiosity and penchant for unusual repertoire, she proves her versatility with a wide range of repertoire spanning from Bach and Scarlatti via German and Russian romanticism to Bernstein, Gulda and Corigliano.
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Felix Klieser & CHAARTS Chamber Artists – Baroque Arias for Horn (Beyond Words) (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 57:28 minutes | 1008 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Berlin Classics
Felix Klieser, on his new album Beyond Words, focuses on the language of music, the stories that it tells – all without any words at all. He places the emphasis on the images that arise before our mind’s eye when listening to the music, on the emotions triggered by the music. For Beyond Words the hornist has chosen various arias by Bach, Vivaldi, Handel and Gluck, each of which describes the various, self-contained musical worlds they encompass in a very individual manner.
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Sebastian Bohren, Chaarts Chamber Artists – Equal – Beethoven: Violin Concerto, Op. 61; Schumann: Fantasia, Op. 131; Françaix: Nonetto (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:34 minutes | 1,29 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © RCA Red Seal
A singular combination of Beethoven’s only violin concerto (most recently recorded for SONY by Lisa Batiashvili in 2007) with Schumann’s “Fantasy For Violin & Orchestra” Op. 131. The Fantasy was lauded at its premiere but today it is rarely seen on concert programs. In a letter dated June 2nd, 1853 and accompanied by a score of Beethoven’s Violin Concerto – the link to our recording -, Joachim requested Schumann to write a Fantasy for the violin. A few months later in September, within a few short days, Schumann had sketched the Fantasy and sent it to Joachim for review. Joachim performed the Fantasy at the Schumann’s home on September 28th and premiered it in Düsseldorf on October 27th with the orchestra under the baton of Schumann himself. The following year, on January 21st, Joachim performed the Fantasy again. On the same program, Schumann’s wife Clara also performed Beethoven’s Piano Concerto in E-flat major. It would be the last time Schumann heard both of them perform.
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