Beigel Christine

Maria Bach, who studied with Joseph Marx at the University of Music and the Performing Arts in Vienna, was able to establish herself as a serious, successful composer during the 1930s. She received outstanding newspaper reviews, and renowned publishers were interested in her music. For example, Doblinger published her "Volga" Quintet. Her relationship with the Russian composer and conductor Ivan Boutnikoff came during this period of her first great successes; he instructed her in instrumentation, and she traveled with him throughout Europe. The three works recorded here for the first time – the "Volga" Quintet of 1928, the Sonata for Cello and Piano composed in 1924, and the String Quintet of 1936 – provide a representative overview of her chamber oeuvre.

Star soprano Christine Schafer sings scenes and arias from one of Handel’s most popular operas. The combination of Handel and Schafer ensure this is going to a major release.

Alessandro Stradella’s colourful life and eventual murder have since furnished writers with material for novels and stageworks. But he was very highly regarded as a composer during his short life, and made important contributions to several musical forms with operas, instrumental sinfonie and cantatas. This programme features five seldom performed chamber cantatas and two of his sinfonie or sonatas. Soprano Christine Brandes has a light, pleasing voice, and an athletic technique which enables her to circumnavigate most of Stradella’s often demanding vocal writing. But she is stretched to her limits, perhaps even a shade beyond, in the virtuoso, fiendishly difficult ‘Ferma il corso e torna al lido’.

Christine Hoock is a versatile virtuoso. She can be heard in the most varied constellations in classical music, world music and jazz. Concert tours have taken her all around the world. Today, Christine Hoock is Professor of Double Bass at the Mozarteum University Salzburg. She plays an English instrument by William Tarr built in 1848.

What sort of voice did Pauline Strauss have? She was a professional singer when she first met Richard Strauss and he seems have been inspired by her voice, writing a considerable number of songs for her. Before she retired from stage she had sung Elisabeth (Tannhäuser), Agathe (Die Freischutz), Leonore (Fidelio) and Donna Anna which implies a voice of some size. But elsewhere she is described as having a voice which was neither large nor beautiful. It should be admitted that the majority of songs which Strauss wrote for her were lieder, with just piano accompaniment.

Lassée par la lecture d'une satire misogyne, Christine de Pizan se lamente d'être née fille. Aidée de Raison, Droiture et Justice, elle construit une cité imprenable où la gente féminine est à l'abri des calomnies. Dans ce texte paru en 1405, l'auteure évoque des thèmes tels que le viol, l'égalité des sexes et l'accès des femmes au savoir. …

Telemann could be exuberantly grotesque and also almost inhumanly serious. He loved large and brash and sometimes outré instrumental ensembles, and wrote brilliantly for them, but he also wrote copiously for small groups and for amateurs, in the most elegant style. One or two of his cantatas were once pardonably mistaken for Bach, and one or two movements of his orchestral suites might even now be mistaken for a mid-twentieth-century composer in a puckish mood. He is, in short, rather a difficult personality to pin down.

Christine Hoock is a versatile virtuoso. She can be heard in the most varied constellations in classical music, world music and jazz. Concert tours have taken her all around the world. Today, Christine Hoock is Professor of Double Bass at the Mozarteum University Salzburg. She plays an English instrument by William Tarr built in 1848.