Birringer

For her second solo recital album for Rubicon, Esther Birringer turns to Debussy with a recital that includes both books of his Images. Composed in 1901-5 (book 1) and 1907 (book 2), the composer was very pleased with Images, writing about the first set: “Without false pride, I feel that these three pieces hold together well, and that they will find their place in the literature of the piano… to the left of Schumann, or to the right of Chopin.”

For her first solo violin album Lea Birringer has selected three partitas for her instrument: partitas transformed over the centuries since Bach, commencing with Bach’s great Partita No.3 in E major and ending with Auerbach’s 2007 example ‘par.ti.ta’. Lothar von Knorr’s Partita from 1946 will most likely be a discovery for most listeners. Her programme also includes works by Reger and Ysaÿe.

Lea Birringer’s first concerto recording is a fascinating combination of the well known with a delightful concerto that does not deserve the obscurity to which it has been consigned.
Christian Sinding (1856-1941) composed his concerto 1898. It proved a great success, so its neglect today is difficult to understand. It is certainly demanding on the soloist, but also flatters them. Full of memorable tunes and with brilliant use of the orchestra, this is a cleverly constructed work that deserves to be better known.
The later Romance published in 1910 is a wonderfully tender, romantic piece similar to those by Bruch or Dvořák. Mendelssohn’s evergreen concerto of 1845 occupies a place in the pantheon of great violin concertos. It was to be his last orchestral composition (a 3rd piano concerto remained unfinished), and represents perfection – playing without a break, it has many surprises, not least the entry of the soloist after a bar of accompaniment.

On her new solo album Di tanti palpiti violinist Lea Birringer launches a fireworks display.

Esther Birringer has chosen three great Russian ballets for her recital album.

Franz Liszt forms not only the centre point of Lea & Eather Birringer’s recital, he also is the central figure that draws together Grieg– of whom he was very supportive, and Cesar Franck, whose development of germinal motifs to create large scale complex movements was a direct influence of the Hungarian master.

Franz Liszt forms not only the centre point of Lea & Eather Birringer’s recital, he also is the central figure that draws together Grieg– of whom he was very supportive, and Cesar Franck, whose development of germinal motifs to create large scale complex movements was a direct influence of the Hungarian master.

In contrast to their debut album of sonatas by Franck & Grieg, violinist Lea Birringer with her pianist sister Esther offer a sparkling virtuosic recital of some of the most famous showpieces for violin and piano in the repertoire.

For her second solo recital album for Rubicon, Esther Birringer turns to Debussy with a recital that includes both books of his Images.  Composed in 1901-5 (book 1) and 1907 (book 2), the composer was very pleased with Images, writing about the first set: “Without false pride, I feel that these three pieces hold together well, and that they will find their place in the literature of the piano… to the left of Schumann, or to the right of Chopin.”Esther Birringer began playing piano aged three and made her debut as soloist with an orchestra aged just six. A meteoric career has followed both in Europe and around the world, where Esther both performs and teaches, as well as promoting young talent.