Dana Dericks

We know Gabriel Fauré the composer well but little the pedagogue. This recording aims to highlight the influence of the composer in France and even in Europe when, in 1896, he became professor at the Paris conservatory taking over from Massenet. The program of this disc wishes to bring together one of the work of his last périod and compositions by his illustrious students: Ravel, Boulanger et Enesco.

Born Chantal Vanlee in Hasselt in 1965, Dana Winner found fame in the early '90s with Flemish cover versions of the Carpenters' "On Top of the World" ("Op Het Dak van de Wereld") and the Cats' "One Way Wind" ("Westenwind"). Guided by Belgian composer Jean Kluger, she released her debut album, Mijn Paradijs, in 1994 and went on to achieve success in South Africa and Germany at the end of the decade after recording material in various different languages…

Stravinsky suffered from the First World War and its consequences for Europe; Bartok spoke out before and during the Second World War against the nationalist mood in twentieth-century Europe; Bartok’s friend and colleague, the Hungarian violinist Joseph Szigeti, to whom he dedicated his Contrasts trio, had to flee Hungary for the USA in 1939 on account of the dangerous antisemitic climate in the country. Mordechai Zeira and Yaakov Orland suffered from the violence and antisemitic attacks in Imperial Russia at the start of the 20th century; they had to emigrate and found a new homeland in what is now Israel. The German composer Jörg Widmann addresses the political question: “Do the Muses have the right to remain silent when the weapons speak?”. And finally there is the “Poema” trio by Roglit Ishay. It is dedicated to the people of Le Chambon-sur-Lignon (France), who risked their lives to save strangers from their Nazi persecutors. Music in spite of all – that is the principle common to our whole musical program.

It’s tempting to think that the Internet destroyed the music business, but music has always been driven by economics, to a certain extent. When touring became too expensive, the big bands became smaller bands. It had less to do with choice than with salary. But there’s still a place for that large, lush sound. Even in this streaming age. Dana Fuchs shows that with Love Lives On…