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Matthias Goerne, Markus Hinterhäuser – Schumann: Einsamkeit – Lieder (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 51:11 minutes | 860 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © harmonia mundi
Following the Matthias Goerne Schubert Edition for harmonia mundi, a venture that has revealed his stature as the foremost interpreter of lieder, especially at its darkest, Matthias Goerne has now selected 19 gems, lovingly fashioned by Schumann in the year of his marriage (1840). They are contrasted with those of the Düsseldorf period (1849-52). From the fragrant flowers of the bouquet of ‘Myrtles’ to the nocturnal atmosphere of the ‘Six Poems and Requiem’ the mood spans Schumman’s joy in his marriage to his beloved Clara but also the darkest despair: in which he erects a worthy monument to his soulmate, the poet and arch-melancholic of his time, Nikolaus Lenau. An enchanted, sometimes brooding, nocturnal atmosphere dominates these impressive songs, whose piano accompaniment – hardly coincidentally – recalls the tone of Chopin’s Nocturnes, played here by Markus Hinterhäuser, artistic director of the Salzburg Festival and regular collaborator with Matthias.
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Patricia Kopatchinskaja, Markus Hinterhäuser, Reto Bieri – Galina Ustvolskaya: Trio, Sonata, Duet (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:06 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
Chamber music by Russian composer Galina Ustvolskaya is featured on the second ECM disc by Patricia Kopatchinskaja, recently described by Strings magazine as “the most exciting violinist in the world” and winner of the 2014 Royal Philharmonic Society Instrumentalist of the Year Award.
The unique expressiveness of the work of Galina Ustvolskaya (1919-2006) speaks to the listener with directness and nuanced layers of sound, the powerful, rhythmic stringency of the music testifying to the relentlessness of her vision. Fiercely independent, Ustvolskaya maintained that her music sounded like the work of no other composer, living or dead, and put herself outside all stylistic “schools”. Her work, said Viktor Suslin, has the “narrowness of a laser beam capable of piercing metal”. Its sense of concentration is sometimes ferocious. Entering this sound-world calls for a special kind of commitment and intensity.
Kopatchinskaja and Markus Hinterhäuser play the Sonata (1952) and the Duet (1964) for violin and piano, and together with Reto Bieri, the Trio (1949) for clarinet, violin and piano, all recorded in the acoustically superb studio in Lugano which has become one of ECM’s primary locations.
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