Ilan Volkov

The Reger concerto has a formidable reputation—dense, harmonically complex and with far too many notes for the average pianist. Who better then to decipher it than Marc-André Hamelin? In his hands this rarely recorded behemoth reveals both passion and a lyricism so often lost in lesser performances. He is wonderfully partnered by Ilan Volkov and the Rundfunk-Sinfonieorchester who share the pianist’s desire to elucidate an often misunderstood work.

This disc juxtaposes two significant Russian works for violin and orchestra, each written by a composer with a close relationship to Tchaikovsky, and each dedicated to the great violinist and pedagogue Leopold Auer. These two concertos are both formidable display pieces, designed to show off Auer’s transcendental technique. Ilya Gringolts, acclaimed as one of the great young violin virtuosos of today and lauded for his debut recording on Hyperion, dazzles in this repertoire, ably supported by the BBC Scottish Symphony Orchestra under Ilan Volkov.

One of the most versatile trumpeters in the classical world, Simon Höfele, releases a new album “Nobody Knows” together with the BBC Symphony Orchestra under Geoffrey Paterson and Ilan Volkov. On his 4th album on Berlin Classics he plays the trumpet concertos by Bernd Alois Zimmermann, Christian Jost and Toshio Hosokawa, spanning an arc from the 20th to the 21st century and proves once again that the trumpet can do more than just "shine". “These three works are really important to me. I have played all three before and I was always fascinated by their darkness.”, he explains his choice of repertoire. “This is heavy, almost depressive music, and that applies to all three of these works. This is heavy music in two respects: loaded with gloom, and also not at all easy to play. The is a definitive political message to “Nobody Knows de Trouble I see”, which makes it even more fascinating.”

This CD brings together recent works by Edith Canat de Chizy, all written between 2011 and 2013. The three scores were inspired by the idea of movement / tempo / motion – a lightening gesture in Pierre D’eclair, the sphere of influence relayed by the electronics in Over the Sea, and the dialectic between mobile and immobile in Drift.

Ever since he was a child, Norwegian composer Henrik Hellstenius has sought to explore music more freely than by simply mastering the classics. His language, which draws its inspiration from the modes of expression of his time, takes shape in the course of his work through sound, movement, rhythm and silence, as well as in his encounters with musicians and their instruments. Here, much of what is expressed is part of an intense inner monologue: a litany of doubt, affirmation and frustration being whispered, said, sung and shouted. Everything about these two works, from their titles to their modes of expression, suggests that they are directed outwards towards society in general and towards individuals in particular. Public Behaviour is about how we act together in an age of extreme individualism.