Folha Sao Pablo 2020

Butch Morris is the legendary jazz musician and inventor of conduction (a practice in which he leads musicians in conducted interpretations and improvisation). Morris guides the orchestra of Nublu residents - Kenny Wollesen (Tom Waits, John Zorn), Eddie Henderson (Herbie Hancock) , Didi Gutman (Brazilian Girls), Ilhan Ersahin (Wax Poetic, Istanbul Sessions and Nublu founder), Sylvia Gordon (Kudu) Jesse Murphy (Love Trio, Brazilian Girls) and many more - through a series of musical pieces that touch on jazz, pop, dance floor.

Praised as “the soul of the Spanish guitar,” he has become a worldwide sensation known as this generation’s great guitarist. Pablo Sáinz-Villegas has been acclaimed by the international press as the successor of Andrés Segovia and an ambassador of Spanish culture in the world. His “virtuosic playing characterized by irresistible exuberance” (The New York Times) make him one of the most acclaimed soloists by prestigious conductors, orchestras and festivals.

Beethoven's five piano concertos relate, in a sense, part of the composers life: some twenty years during which a young musician from Bonn made several revised versions of the first concerto he wrote (a springboard to Viennese success that ended up being called no.2), before becoming the familiar Emperor of music embodied by the brilliant inspiration of no.5. Two hundred and fifty years after his birth, it is with these two extremes that Kristian Bezuidenhout, Pablo Heras-Casado and the Freiburger Barockorchester have chosen to start an exciting period-instrument trilogy of the concertos that bids fair to be a landmark!

In their own way Beethoven’s five piano concertos relate a part of their composer’s life. In the previous volume of this complete recording, Kristian Bezuidenhout, Pablo Heras-Casado and the musicians of the Freiburger Barockorchester explored the beginning (Concerto no.2, a springboard to Viennese fame) and the end (the ‘Emperor’) of the story. They now turn to the most personal of all the Beethoven concertos, the Fourth which, at a time when the spectre of total deafness threatened his career, shattered the conventions of the genre - as did such orchestral works as Coriolan and the Overture to The Creatures of Prometheus.

A fantasy that turned into a symphony? First and foremost, this double album enshrines the exemplary work of an ensemble whose designation 'Baroque Orchestra' by no means limits it's excursions into later repertories: under the watchful eye of a gifted conductor, the 'Freiburgers' (and co.) offer us a profoundly renewed vision of the Ninth, that myth among myths, that touchstone of a genre in quest of the absolute - and the direct descendant of a much earlier 'Choral Fantasy'. The latter work showcased one of Beethoven's most extraordinary talents: improvisation. Kristian Bezuidenhout has joined forces again with his concerto partners to let us experience this little-known score as if it had just been premiered… then transcribed by Beethoven himself!