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Johannes Brahms, Cesar Franck and Gabriel Fauré bring together three of the most beloved works ever written for violin and piano – pieces that continue to captivate listeners with their lyricism, intimacy, and emotional depth.
Artist of the World Federation of International Music Competitions (WFIMC) - One of the world's most exceptional musical artists - Signed Artist of the British Classical Music Record Label Sheva - Piano Lecturer at the Tübinger Music School, Baden-Württemberg, Germany -Graduated from the University Mozarteum Salzburg, Austria, and the State University of Music and Performing Arts Stuttgart, Germany.
As different as their life stories were, and as different as their compositional styles developed, Emánuel Moór, Egon Wellesz and Sándor Jemnitz shared a similar cultural background. All three grew up in the Austro-Hungarian Empire, Moór and Jemnitz as native Hungarians, Wellesz in Vienna as the son of Hungarian parents. All three had Jewish roots, and all three were influenced as composers primarily by the musical tradition of the German-speaking cultural sphere. Their careers all led them away from their homeland: in Jemnitz's case only temporarily, as he settled permanently in Hungary after extended stays in Germany, and as a traveling Kapellmeister in Bohemia, Ukraine and the Netherlands. Moór also went to distant lands as a young man, first to America, then to England and finally to Switzerland. Wellesz, on the other hand, did not leave Vienna until he was forced to do so by the Nazi persecution of the Jews, and subsequently lived in England until his death.
Remarked in The Boston Globe for his “mesmerizing performance,” Canadian pianist Barry Tan enjoys a multifaceted career as a soloist, collaborative artist, and educator based in Los Angeles. Barry has performed at notable venues worldwide, including the Chan Centre for the Performing Arts (Vancouver, Canada), Tanglewood Music Center (Massachusetts, USA), Mozarteum (Salzburg, Austria), Banff Centre’s Rolston Recital Hall (Banff, Canada), War Memorial Opera House (San Francisco, USA), Gilles-Lefebvre Concert Hall (Quebec, Canada), Herbert Zipper Concert Hall (Los Angeles, USA), and Weill Recital Hall at Carnegie Hall (New York City, USA). His performances have been broadcast on Michigan’s IPR Radio WIAA 98.7FM from Interlochen’s Studio A, featured performances with the Tanglewood Music Center Orchestra on the Boston Symphony Orchestra’s BSO Now streaming platform, and various collaborative performances at the Colburn School via The Violin Channel.
Nel cuore del XIX secolo, l’Europa musicale era attraversata da un fervore straordinario per l’opera italiana. Tra tutti i protagonisti, Gioachino Rossini brillava come una vera e propria stella. Le sue ouverture, celebri tanto quanto le opere che introducevano, divennero rapidamente repertorio amatissimo anche al di fuori dei teatri, grazie a trascrizioni e arrangiamenti pensati per la musica da camera e per la dimensione piů intima del salotto.
China, a nation with a profound historical legacy, witnessed the flourishing of a remarkable era during the Tang Dynasty (618 - 907). In the domain of music, China's heritage traces back to ancient times. In the Zhou Dynasty (1046 BC - 256 BC), the "Sanfen Sunyi" temperament system came into being, and simultaneously, the musical genres of Yayue (雅楽) and Suyue (俗楽) emerged. Long before the Han Dynasty (202BC - 220 BC), dozens of musical instruments had already been developed, accompanied by a classification system for these instruments.
Marco Albrizio was born in Rome in 1961 and graduated with highest honors from the Conservatory of Santa Cecilia under the guidance of Anna Maria Martinelli. He later studied with Sergio Cafaro. He earned his degree cum laude from the DAMS program at the University of Bologna, with a thesis on Constant Compositional Elements in W.A. Mozart’s Piano Sonatas, which was later published. On this subject, he participated as a speaker at the Second National Conference on Musical Analysis in 2001, and he has given lectures as a Guest Lecturer at Assumption University in Bangkok, as well as seminars and post-graduate Masterclasses at the University of Calabria. He is the head Professor of Piano and Professor of Instrumental Teaching Methodology and Repertoire Analysis at the Conservatory of Perugia. Awarded in various national and international competitions, he performs extensively in Italy and abroad, appearing in recitals, chamber ensembles, and as a soloist with orchestras.
Ann Tayler's journey in the world of music began at a young age, marked by her exceptional talent in piano, which earned her recognition with an award in the Ho-Hai-Children Piano Competition. Growing up attending a Catholic girls' school, she deeply appreciated the moral teachings instilled by the church. Throughout her high school and undergraduate years at National Taiwan Normal University, Ann immersed herself in music, playing the violin in the school orchestra and later exploring composition during her studies.
The combination of clarinet and guitar is far less common than the more frequently encountered ones of flute-guitar or violin-guitar, even though there are references to it already at the end of the 18th century. Dimitri Ashkenazy and Jean-Paul Greub met in 2001, and parallel to what became an extraordinary friendship they shared an interest in rediscovering their duo's repertoire as well as continuing their search for concert material by commissioning new works. This undertaking led to concerts in Switzerland, Germany and Russia, playing works from three centuries both original and transcribed, many of them premieres.
Franz Schubert contributed significantly to Romanticism by creating works that became a vessel for the most intimate sentiments of the human soul, especially through the use of the aphoristic forms of Romantic pianism, true keys to the compositional experimentation of the time. Among these, the six Moments Musicaux D 780 certainly represent one of the highest points in the expressive condensation process carried out by the Viennese composer, who worked on them repeatedly between 1823 and 1828.
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