3 d Studio

Born in Budapest in 1893, Jelly d’Arányi was the youngest of three remarkable sisters who all became prominent musicians. Jelly studied with Jeno Hubay at the Royal Academy in Budapest, and completed her studies in 1907.

Late sixteenth-century Florence was alive with theater. Seeking to achieve the perfect blend between music and poetry, intermedi (interludes) were inserted into plays. These interludes were presented with lavish visual and musical resources. After reaching an initial peak in 1589 with the intermedi composed for Bargagli's La pellegrina, the tradition survived the burgeoning genre of opera through the work of such composers as Peri, Caccini, Monteverdi and Gagliano. On this release, rather than aiming for the impossible ideal of a reconstruction, Raphaël Pichon has devised a sort of imaginary intermedi by selecting the finest gems from this repertory, featuring the figures of Apollo, Orpheus and Eurydice, and above all Cupid.

Dietrich Buxtehude was a key figure of the north German instrumental repertory for violin and viol. It was he who firmly established the prestige of the German trio sonata by introducing into it the stylus phantasticus, that highly contrasted and dramatic instrumental language in which imagination and virtuosity reign supreme.

Certainly, there are the Four Seasons and all the violin concertos which are more famous and virtuosic than other works. But it is here, in his concertos for solo strings, that Antonio Vivaldi showcases his writing talent at its highest and purest level: concise, vivacious, deep and immediately emotional. A Vivaldi in the firmament, served here with passion and excellence by Accademia Bizantina.

As if he had become one with Wilhelm Müller’s hero, Schubert explores solitude, emotional turmoil, the lure of new horizons, disappointed or impossible love – and death too. In this first instalment of the Schubert series that Samuel Hasselhorn and Ammiel Bushakevitz will be offering us every year at 200-year intervals from the composition of the songs in their programme, they give a poetic and poignant reading of this founding masterpiece of the lied.

Hermann Scherchen (21 June 1891 – 12 June 1966) was a German conductor.

Violinist Julia Fischer was born in 1983, in Munich, Germany. She began taking lessons on the violin at age 3 from Helge Thelen, and at 4 began simultaneous studies on the piano with her mother, Viera Fischer, an amateur pianist.

As a young boy he was trained by his mother to play piano but later decided to exchange the instrument for the violin. In 1928, convinced by Bronisław Huberman (a friend of the family), Szeryng went to Berlin to study under Karl Flesch. His debut concert took place in Warsaw in 1933 when he performed Ludwig van Beethoven's Violin Concerto in D major with Warsaw Philharmonic Orchestra under the baton of Bruno Walter. In the same year he played in Bucharest, Vienna, and Paris, achieving acclaim both from the audience and the critics. In the years 1933-1939 the artist continued to learn violin under Jacques Thibaud and Gabriel Bouillon and studied composition under Nadia Boulanger.

Co-chief conductors Riccardo Minasi and Maxim Emelyanychev take turns on the podium leading this period-instrument band in a rousing collection of concertos by Haydn. Il Pomo d'Oro has been hailed 'a wonderful ensemble, and Minasi an outstanding musician' capable of 'bringing the house down with his virtuosity' (The Guardian). Emelyaychev's award-winning harpsichord joins Minasi's violin in the soloists' spotlight, along with the distinguished natural horn of Johannes Hinterholzer. The concertos are complemented by Haydn's Symphony No 83 (known as The Hen, because of the ‘clucking’ figures on the strings in its second movement) and his Keyboard Fantasia Hob.XVII:4.

"It is difficult not to be seduced by the sunny palette of this young pianist, as enthusiastic in her playing as in her approach to all repertoires.