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Antje Weithaas, Dénes Varjon – Beethoven: Violin Sonatas Nos. 1, 5, 6 & 10 (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:39:25 minutes | 932 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Cavi-Music
Antje Weithaas completes her survey of Beethoven’s Violin Sonatas. Within a very short time of about 10 years Beethoven’s technique of composing developed rapidly. The artists of this recording wanted to show the comparison between earlier and later pieces.
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Giovanni Guzzo, Máté Szűcs, Miklos Perenyi, Dénes Varjon – Brahms: Complete Piano Quartets (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:01:14 minutes | 2,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Hungaroton
Brahms’ piano quartets are the undisputed highlights of the composer’s oeuvre. Hungaroton has recorded this album with some of the most prominent current classical artists, which allows the pieces to reveal their distinctive characteristics in a unique and unified atmosphere.
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Jorg Widmann, Tabea Zimmermann, Denes Varjon – Es war einmal… (Once Upon a Time…) (2017)
FLAC (tracks) 24 bit/192 kHz | Time – 01:10:27 minutes | 3,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Myrios Classics
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder(Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal… Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet.
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Dénes Várjon – Precipitando: Alban Berg, Leoš Janáček, Franz Liszt (2012)
FLAC (tracks) 24 bit/44,1 kHz | Time – 58:00 minutes | 318 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
After important contributions to Heinz Holliger’s “Romancendres” and acclaimed performance, with Carolin Widmann, of Schumann’s Violin Sonatas, here is the first New Series solo recording from Hungarian pianist Dénes Várjon. It is a recital that draws the listener in from the first moments – beginning with the dark, brooding language of Alban’s Berg’s Piano Sonata Op. 1, shaped in the shadow of Schoenberg, and continuing into the nebulous regions of Janáček’s impressionistic and near-contemporaneous “In the mists”, finally emerging into the clear light of Liszt’s immense – and immensely-influential – B-minor Sonata.
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Dénes Várjon – De la nuit (Maurice Ravel – Robert Schumann – Bela Bartok) (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:06:17 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
Since the first composers started calling their works things like “nocturnes” or “serenades”, there has been music designed specifically to evoke the dusk or the night. And then from the romantic period onward, the night began to become associated with worry, or even terror. Schumann’s Phantasiestücke (1837) contain at least one nocturne movement in which the night is presented in a terroristic light (so to speak). In der Nacht, one of the great Schumannian moments, is concentrated into scarcely four minutes. Seventy years later, Ravel took the fear even further with Le Gibet, the central movement of Gaspard de la nuit – even more night – which tells of the gibbet where the hanged men twist gently to the sound of the night chimes; whileScarbo closes the triptych on the image of a nightmare dwarf. Finally, while Out of Doors by Bartók isn’t necessarily all set at night, the fourth movement, The Night’s Music, remains one of the most unsettling moments in all of piano literature. Born in Budapest in 1968, Dénes Várjon studied with György Kurtág and András Schiff. The winner of Liszt prizes as well as of Budapest’s Géza Anda and Leo Weiner competitions, he has performed at the festivals of Salzburg, Lucerne, Davos and with the Vienna Chamber Orchestra, the Zürich Tonhalle, the Academy of St. Martin-in-the-Fields, and the Kremerata Baltica.
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