Anna Loannova

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.

Soprano Anna Prohaska and violinist Patricia Kopatchinskaja are both well known for their taste for eclecticism, experimentation and adventure. As they are also are friends, it was only to be expected that one day they would devise and record a programme together, and here it is: Maria Mater Meretrix… What is the relationship between Hildegard von Bingen and Gustav Holst, Antonio Caldara and Lili Boulanger? The two musicians and their partners in Camerata Bern explore the image of woman through ten centuries of music: the figure of the Virgin Mary – among other works, the triptych Magnificat - Ave Maria - Stabat Mater (1967/68) by Frank Martin, an unclassifiable composer whom both artists venerate – but also Mary Magdalene, in pieces by Caldara and Kurtág. The Saint, the Mother, the Whore… The expression of two women musicians of today, a journey full of meaning and a sensory exploration featuring solos, duets, quartets and works for large orchestra.

'Mighty Vertebrate' is the International Anthem leader debut from Adelaide, Australia-born bassist and composer Anna Butterss.

The music of Michal Spisak was much more recognizable and available to a wide audience during the composers lifetime than nowadays. This album contains three compositions of this artist: the Piano Sui t e (a piece with a transparent texture in which Spisak clearly refers to the Baroque tradition), Sonata for violin and piano (for a change, very rich, diverse texture, full of violin dyad passages, varied in terms of harmony and sound colour) and Concerto for two pianos (very spectacular work, extremely diverse, as far as the sound is concerned; highly demanding for the pianists). The aforementioned pieces are a cross-section of the compositional techniques typical of Michl Spisaks musical language; they also introduce a whole range of neoclassical features confirming the composers stylistic affiliation.

Related to the harp but positioned horizontally by the player, the kannel possesses an uncommon timbre, at times reminiscent of the harpsichord. Anna-Liisa Eller offers us a chance to discover this treasured symbol of Estonia’s musical heritage courtesy of her own transcriptions of well-loved pieces by Couperin, Byrd, Dowland, and Rameau… A magical journey across centuries and musical styles, rounded off by original improvisations and a contemporary work by the young Estonian composer Helena Tulve, in which the instrument’s myriad colours can shine through in all their rare variety.

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.