Jul I'm Sorry

The Berlin weekly journal Die Woche, issued from 1899 to 1944 by the publisher August Scherl, announced a composition competition in 1903 with the aim of encouraging new songs 'im Volkston' (in the style of folk music). Prominent composers of the time were approached by the publishers for this competition and asked to send in an appropriate song. Of the songs submitted, thirty were selected and published in a special issue that was available in shops. At the first performance of the songs of this first competition, however, it became clear that many of these songs were indeed in a folk-music style, but due to their complexity they were rather closer to the genre of the art song.

Estonian composer Arvo Pärt is almost exclusively associated with his later works. Born in 1935, his early music was very much ‘avant-garde’ in style. In the 1970s, he increasingly found his inspiration in medieval religious music, both western and eastern European. This first transpired in his Für Alina for piano. It features the telling low tempo and two layer structure which were to become trademarks of his later works.

Six years after their acclaimed disc devoted to Mendelssohn's works for cello and piano, Christian Poltera and Ronald Brautigam now tackle the two cello sonatas by Johannes Brahms, two central works in the repertoire, unquestionably the most important since those by Beethoven. The First Cello Sonata was composed between 1862 and 1865 when Brahms was in his thirties. He seemed intent on showcasing the lyricism of an instrument that is often compared to the human voice.

Six years after their acclaimed disc devoted to Mendelssohn's works for cello and piano, Christian Poltera and Ronald Brautigam now tackle the two cello sonatas by Johannes Brahms, two central works in the repertoire, unquestionably the most important since those by Beethoven. The First Cello Sonata was composed between 1862 and 1865 when Brahms was in his thirties. He seemed intent on showcasing the lyricism of an instrument that is often compared to the human voice.

The pieces of music on this live album were recorded during the concert tour of the Finnish composer, Tomi Räisänen in North Germany in 2014 and 2015, organised by Neue Musik im Ostseeraum (Lübeck). The tour documented the composer’s long-time collaboration and connection with Northern Germany, or as one perhaps can say more descriptively, from a Finnish perspective, with the Southern Baltic Sea.

Founded in 2010 by cellist Niklas Schmidt, ""Fontenay Classics International"" stands for fine chamber music, superior sound and exquisite design. FCI presents both young ensembles as well as recordings of Mr. Schmidt himself. Mostly first-time recordings, this disc offers much material for further musicological research and discussion. Text clouds surround the individual interpretations, as is the performers practice during staged recitals; the music can thus be enjoyed and analyzed in the company of introductory accounts of these great artists and their circles of friends.