OP Art

Two world premiere recordings on the new album «Swiss Treasures» by the Portugal-based Art’Ventus Quintet: The Wind Quintet by Peter Mieg (1906-1990) from 1970 and «Adagio und Scherzino» (1963) by Paul Huber (1918-2001). In addition, there is the Quintet op. 84 by Paul Juon (1872-1940) and the highly original Divertimento for Wind Quintet op. 69 (1977) by the Graubünden composer Gion Antoni Derungs (1935-2012).

Art’Ventus Quintet, founded in 2020, is an eclectic woodwind quintet formed by five of the most notable Portuguese musicians who found in this wind quintet a form of chamber music, transforming the artistic possibilities of this formation into a peculiar experience. This quintet seeks to bring the best of chamber music to this formation, covering erudite, traditional, popular and contemporary repertoire. Each musician, through different instruments, contributes to the construction of their own sound, seeking to provide the sharing of various personal and artistic experiences. Art’Ventus Quintet represents respect for the score, bringing their own interpretation and instilling all the passion they feel for each piece. For this quintet, the concert means bringing sound and aesthetic details to the stage, contributing directly and authentically to a unique experience for its audience.

This new release from DUX presents a collection of recordings commemorating Jewish composers active mainly before World War II. Their music represents various stylistic trends of their era and was inspired by numerous ideas. The Hebrew Melody for violin and piano, Op. 33 by Joseph Achron (1886-1943) resulted from his fascination with the religious music of Ashkenazi Jews, while the Sonata for violin and piano by Joachim Mendelson (1887-1943), the recording of which is also the Polish recording premiere, reveals neoclassical interests of its author, which is also the case of the Sonata for cello and piano by Szymon Laks (1901-1983).The Capriccio by Jozef Koffler (1896-1944) is an avant-garde composition through and through, using the dodecaphonic technique combined with a neoclassical form.