Piano Anna Rose Carter

Marco Ceccato and Anna Fontana are well-known performers on the international baroque circuit and familiar faces thanks to their recordings for Outhere labels Alpha, Arcana and Zig-Zag Territoires (including Marco's 2015 Diapason d'or Award winning recording of Boccherini with Accademia Ottoboni). Now they have come together to tackle the two revolutionary works for piano and cello composed by Ludwig van Beethoven in 1796 and dedicated to King Frederick William II of Prussia. Their interpretative approach deepens our understanding of the final years of that century when a young Beethoven, a child of the 18th century, was grappling with one of his most extraordinary stylistic innovations. These two expert performers have set out to reconstruct historically reliable versions of the works, linking Beethoven’s revolutionary harmonic solutions with the 18th-century stylistic features that were still in vogue, from phrasings to Beethoven’s meticulously notated articulations.

What are the origins of the Mexican/Dutch/Russian violist Dana Zemtsov and Ukrainian/Dutch pianist Anna Fedorova? Throughout years of friendship, they discovered many similarities in their upbringing. Both Dana and Anna’s parents met in Moscow’s conservatory. Dana’s parents - Julia Dinerstein and Mikhail Zemtsov - are both renowned violists. Anna’s parents - Tatiana Abayeva and Borys Fedorov - are incredible pianists and famous piano professors.

Near the beginning of his career, Michel Legrand was primarily known as a jazz pianist, so it shouldn't be surprising to learn that none of his compositions are present on these 1959 studio sessions, which were issued by Phillips. With bassist Guy Pederson and drummer Gus Wallez, Legrand covers songs by French composers of the day along with the ever-popular "Moulin Rouge" and a somewhat upbeat arrangement of Edith Piaf's usually maudlin "La Vie en Rose," as well as standards from the Great American Songbook by Cole Porter, Jerome Kern, Vernon Duke, and Mack Gordon. Most of the songs have a Parisian theme to them. Legrand's piano style is hard to define, as he shows a variety of influences without letting any of them overwhelm his sound…

As part of the Royal Academy of Music Bicentenary Series, violinist Anna Im has compiled a tender programme that includes Fauré’s Violin Sonata No. 1 and Amy Beach’s Romance. Entitled Rêverie , the album fosters feelings and memories from imaginary worlds: Fauré’s sonata weaves a tapestry of emotions that transcends time and space; Beach’s Romance is a tribute to love which conjures up bittersweet memories. For this recording, Anna was graciously loaned the ‘Maurin’ Stradivari violin.

When Anna Burch introduced herself on her 2018 debut Quit The Curse, it was with a concentrated wash of energetic, serotonin-boosting pop. Jangly guitars, blithe vocal harmonies and an occasional undercurrent of grungy fuzz all converged in seemingly straightforward songs that hid their complexities under sunny hooks. The impact of the songs was immediate and exciting, presenting narratives of confusion and upheaval with melodies so bright it was hard to do anything but smile. Two years later, Burch’s follow up If You’re Dreaming takes us down a different path than its predecessor, shedding some nervous energy in favour of a deeper exploration of an internal world.

A cult record if there ever was one, Patrick Cohen’s Satie goes far beyond any one of the many versions of this music on the market. It is simply something else. Possibly the best CD Glossa has ever produced, it has provoked controversies of all sorts since its release in 1998, not only due to the interpretation and the instrument used, an 1855 Érard piano, but also because of the polemical essay which accompanies the recording.

Con questo Vol. I d'una Opera Omnia ancora in corso, arriviamo subito alla piena maturità dell'importante musicista finlandese, ma anche forse del Meta4, importante quartetto connazionale: direi che si son fatti un regalo reciproco con questa produzione, ovviamente Ondine. Seppure resta per me sospeso il giudizio se queste possano essere delle interpretazioni di riferimento.

Here is a superb recital following Piers Lane’s earlier Hyperion release of d’Albert piano concertos (4/96) and, once again, provoking astonishment that music of such quality could have lain neglected for so long. Variety is, indeed, the spice of d’Albert (1864-1932), the legendary, six times married pianist so greatly admired by Liszt. Tending to leave his wives as soon as they bore him children (one for the Freudians), his occasional sense of confusion – including an outburst to Teresa Carreno, his second conquest, “Come quickly, my child and your child are fighting with our child” – hardly detracted from a dazzling career and a series of compositions of a special richness.

Tom [ Scherman, of the Little Orchestra Society ] came to me and said, “Hey Kubik, I’m being pestered all the time by the pianist in my orchestra, Frank Glazer, for a solo appearance, and by Bob Nagel, my trumpet player, and the principal violist [ Theodore Israel ] .” And so Tom, figuring to kill three birds with one stone said, “Can’t you write me a piece for piano, viola, trumpet, and orchestra, and I’ll have my three players do the solo parts and they’ll get off of my back?” I said, “Sure.” And since it came within a month or so after I’d finished recording the score to the film C-Man, which had exactly those three solo instruments, I just re-wrote it as the Symphony Concertante. Don’t do that thinking that you’re going to save time. It’s twice as hard, it’s ten times as hard, than to just write a new piece.