Berio Pezzi

Unlike many of his radical new music colleagues, Bruno Maderna (1920-1973) had a great affection for older music, especially that of the Italian Renaissance and Early Baroque eras. But his transcriptions had little to do with the orthodoxy of so-called ‘historically informed’ interpretation. In the belief that works of art can be removed from their original contexts, he used contemporary instrumental resources to discover new meaning and a new validity in the works of old masters.

Unlike many of his radical new music colleagues, Bruno Maderna (1920-1973) had a great affection for older music, especially that of the Italian Renaissance and Early Baroque eras. But his transcriptions had little to do with the orthodoxy of so-called ‘historically informed’ interpretation. In the belief that works of art can be removed from their original contexts, he used contemporary instrumental resources to discover new meaning and a new validity in the works of old masters.

Violinist Michelle Makarski's versatility, technique, and intuitive grasp of multiple traditions place her in alignment with the most accomplished of late 20th and early 21st century violinists, including Paul Zukofsky, Gidon Kremer, and Irvine Arditti. Released in 2000, her album Elogio per Un'ombra is an extraordinary achievement which defines both her artistry and the expanded philosophy of musical presentation that has come to characterize Manfred Eicher's ECM label since the introduction of its New Series and the inclusion of diverse works dating from different centuries.