Cathy Krier Rameau & Ligeti (2014) {deutschlandradio Avi Service For Music, Cologne}

Poetic music, musical poetry: The new Genuin album by internationally renowned pianist Cathy Krier from Luxembourg evokes the connections between sound and words, composers and language. Iconic repertoire pieces such as Maurice Ravel's "Gaspard de la Nuit" and Franz Liszt's transcriptions of Schubert songs enchant us, alongside excerpts from Sergei Prokofiev's musical-choreographic fairy tale "Cinderella" and works by two successful contemporary female composers: Konstantia Gourzi and Catherine Kontz.

Poetic music, musical poetry: The new Genuin album by internationally renowned pianist Cathy Krier from Luxembourg evokes the connections between sound and words, composers and language. Iconic repertoire pieces such as Maurice Ravel's "Gaspard de la Nuit" and Franz Liszt's transcriptions of Schubert songs enchant us, alongside excerpts from Sergei Prokofiev's musical-choreographic fairy tale "Cinderella" and works by two successful contemporary female composers: Konstantia Gourzi and Catherine Kontz.

Poetic music, musical poetry: The new Genuin album by internationally renowned pianist Cathy Krier from Luxembourg evokes the connections between sound and words, composers and language. Iconic repertoire pieces such as Maurice Ravel's "Gaspard de la Nuit" and Franz Liszt's transcriptions of Schubert songs enchant us, alongside excerpts from Sergei Prokofiev's musical-choreographic fairy tale "Cinderella" and works by two successful contemporary female composers: Konstantia Gourzi and Catherine Kontz.

The opera Platée by Jean Philippe Rameau is not just a comic opera but an opera in which the Gods of Olympus play a part. With his tragedies lyriques Jean Baptiste Lully had banned all comical characters from the opera, and musical comedies had become unfashionable. Thanks to works by André Campra and Jean-Joseph Mouret, however, the genre had not disappeared completely, and Rameau made his own contribution with Platée.

In February 2016 the recording took place in the Studio 2 of the Bayerischer Rundfunk in Munich. Dina Ugorskaja pursued the finishing process of the master with great impulse and unbelievable energy during all the time when her health abated, even to the point where she selected and approved herself the booklet notes by Tatjana Frumkis. This project will stay simply as a singular milestone, there was a lot planned by the two artists They were also ambivalent toward one another. Prokofiev accused Shostakovich of devouring everything (the fact that the younger composer dared to incorporate the street genres of entertainment music into his classical compositions), and affirmed that Shostakovich had no gift for melody.