Janine Jansen Klaus Käkelä

The final exam can be regarded as a concert and will largely consist of self-written pieces that I will perform with my trio. These pieces are representative of what I have been working on over the past few years and where my interests mainly lie. I have now thoroughly explored the idiom of instrumental jazz fusion and want to contribute to it with my own pieces. From the compositions and playing style it can be deduced that guitar heroes such as Scott Henderson, John Scofield and Pat Metheny are the basis of my inspiration. Music with rich harmonic environments, strong melodies, solid drum grooves and some guitar violence here and there would be a good description of the repertoire that will be presented at my final exam.

The final exam can be regarded as a concert and will largely consist of self-written pieces that I will perform with my trio. These pieces are representative of what I have been working on over the past few years and where my interests mainly lie. I have now thoroughly explored the idiom of instrumental jazz fusion and want to contribute to it with my own pieces. From the compositions and playing style it can be deduced that guitar heroes such as Scott Henderson, John Scofield and Pat Metheny are the basis of my inspiration. Music with rich harmonic environments, strong melodies, solid drum grooves and some guitar violence here and there would be a good description of the repertoire that will be presented at my final exam.

The final exam can be regarded as a concert and will largely consist of self-written pieces that I will perform with my trio. These pieces are representative of what I have been working on over the past few years and where my interests mainly lie. I have now thoroughly explored the idiom of instrumental jazz fusion and want to contribute to it with my own pieces. From the compositions and playing style it can be deduced that guitar heroes such as Scott Henderson, John Scofield and Pat Metheny are the basis of my inspiration. Music with rich harmonic environments, strong melodies, solid drum grooves and some guitar violence here and there would be a good description of the repertoire that will be presented at my final exam.

"An excellent master of his craft" (M. Harras). For four decades, bass-baritone Klaus Mertens has been acclaimed by critics in concerts and nearly 200 album recordings as "unearthly radiant" (klassik com), "wonderfully slender, clearly delineating" (mdr Figaro) and "unchanged fresh and immensely homogeneous" (klassik com) for his interpretations of music ranging from early to avant-garde.

It is hardly an exaggeration to describe Klaus Doldinger as Germany's most successful jazz artist: for 55 years now, the musician and composer has played the stages of the world, won countless awards, sold over two million albums and composed about 2000 music pieces. Some of his works have already become part of our pop culture cosmos, such as the soundtrack to Wolfgang Petersen’s classic movie 'Das Boot' or the 'Tatort Melody', the theme music to Germany’s most popular TV crime series. With his band Passport, founded by Doldinger in 1971, he has also written music history and caused quite a stir in the international, particularly the American music scene.

About ‘Deus Arrakis‘ Klaus Schulze says: „On the one hand this album was created as spontaniously as all my albums before, on the other hand it has a special history: when I produced my eleventh album ‘Dune‘ in 1979 I already knew the ‘Dune‘ triology by Frank Herbert inside out like other people knew their ‘Lord of the Rings‘. I was totally fascinated by this monumental story of the desert planet und I read the books over and over again. I asked Arthur (Brown) and Wolfgang (Tiepold) to come to my studio and started creating my own musical ‘Dune‘…“

Felix Mendelssohn Bartholdy was the last great 19th century composer whose works were not completely listed. In the Mendelssohn anniversary year of 2009 this loophole has been closed thanks to the publishing of the Leipzig Edition of the works of Felix Mendelssohn Bartholdy by the Saxon Academy of Sciences in Leipzig. It was only in 2007/2008, as a result of research work that the musical public first gained awareness of among other pieces, 61 of a total of 115 songs composed for voice and piano. The "forgotten" songs included in this CD date from throughout the composer’s entire creative period, and demonstrate superbly the many facets, colours and richness of ideas of his musical creations.

Friedrich Theodor Fröhlich, born in Brugg in 1803, is probably the most important Early Romantic composer in Switzerland. However, he shares with many of his colleagues the fate of being forgotten after his death in 1836. Today, more than 700 works are kept in the manuscript archive of the Basel University Library. Thanks to the International Friedrich Theodor Fröhlich Society based in Brugg, this legacy has been rediscovered since 2017, edited piece by piece and performed in concerts. Bass-baritone Klaus Mertens follows in Fröhlich's footsteps and, together with lied pianist Volodymyr Lavrynenko, takes an exciting look at Fröhlich's extensive lied oeuvre…

Franz Schubert's song cycle from Die Schöne Müllerin as a premiere recording? Anyone who wanted to claim this in view of the international discographic landscape would undoubtedly have to reckon with a storm of indignation. Unless, that is, the release announced as a world premiere had something unprecedented to offer - and the present production certainly does: instead of the original and endlessly performed version for voice and piano, cpo offers an all-round successful hypothesis here.

About ‘Deus Arrakis‘ Klaus Schulze says: „On the one hand this album was created as spontaniously as all my albums before, on the other hand it has a special history: when I produced my eleventh album ‘Dune‘ in 1979 I already knew the ‘Dune‘ triology by Frank Herbert inside out like other people knew their ‘Lord of the Rings‘. I was totally fascinated by this monumental story of the desert planet und I read the books over and over again. I asked Arthur (Brown) and Wolfgang (Tiepold) to come to my studio and started creating my own musical ‘Dune‘…“