Rochat

During the first lockdown, violist Mathis Rochat rediscovered the music of Rachmaninoff for himself. He was so taken with the works of the Russian late romantic that he decided to put together a complete programme with his own arrangements for viola and piano. The aim was to give the Russian-inspired melodies completely new colours through the choice of instruments.

On this new release, Nadège Rochat performs Antonín Dvorák's Cello Concerto in B minor, Op. 104, and André Caplet's mystically spiritualized Épiphanie, Op. 22, together with the Royal Scottish National Orchestra under Benjamin Levy. Nadège Rochat is a distinguished expressive voice among young cellists.

Swiss-french violist Mathis Rochat is quickly gaining attention as “one of the most upcoming and creative violist of his generation” (concerti.de). As a soloist, Mathis has appeared with the Geneva Chamber Orchestra, The Camerata Schweiz and the Norddeutsche Philharmonie.

Alongside the flourishing musical life of Germany’s numerous courts and princely seats, which were of equal cultural eminence with the autonomous »free cities« of the Holy Roman Empire, the country’s cultural landscape became further enriched in the last two-thirds of the 18th century by a burgeoning enthusiasm for concert-going among the middle classes. The Prussian capital, Berlin, came to play a special role in this respect because the young kingdom had in Frederick II (the third monarch to be honoured with the sobriquet »the Great«) a ruler who was particularly fond of music. However, the capital subsequently lost out when, long before he became known as »old Fritz«, the young Frederick transferred his courtly household from Berlin to Potsdam. There he presided over a men’s music club and »put on chamber concerts every evening, in which he usually played flute concertos composed by himself«, as described in Nikolaus Forkel’s biography of Johann Sebastian Bach, where we read of the visit by »old Bach« to his son, Carl Philipp Emanuel, then employed as »chamber harpsichordist« to the Prussian king.

Gilles Colliard presents his vision of two of Schumann's most moving concerti in the entire repertoire.

Während des ersten Lockdowns hat der Bratscher Mathis Rochat die Musik Rachmaninoffs für sich neu entdeckt. Er war von den Werken des russischen Spätromantikers so angetan, dass er sich dafür entschied, ein komplettes Programm mit eigenen Arrangements für Bratsche und Klavier zusammenzustellen. Ziel war es, den russisch beseelten Melodien durch die Instrumentenwahl ganz neue Farben zu verleihen.

Even if the title refers more to the gothic sacred buildings of England, Nadege Rochat, inspired by her two-year studies in London, wanted to place the no less spectacular mansions of the island a musical monument. With works by Elgar, Walton and Boyle, she takes us to the time of the series Downton Abbey and designs a musical panorama of England at the beginning of the 20th century.

Tra il 1935 e il 1945 l'Italia fu in guerra senza interruzioni in Etiopia, Spagna, nel Mediterraneo, nei Balcani, in Africa settentrionale, in Russia. Dal 1935 al 1941 il governo italiano dichiarò guerra a: Etiopia, Spagna, Albania, Gran Bretagna, Francia, Grecia, Jugoslavia, Unione Sovietica, Stati Uniti. In questo libro, la sintesi aggiornata e completa di questi conflitti. Una storia militare che mette in luce la continuità tra la politica fascista e il ruolo che le forze armate ebbero nel tradurre in atti concreti la ricerca di potenza nazionale: il principale scopo e giustificazione della dittatura mussoliniana.