Bruno Monsaingeon, at the very beginning of Filmer la musique, you legitimize your undertaking by saying that « if words stumble over sounds, images reinforce them. » Does that mean you’re filming as a musician, given that you’re a violinist?
I could never have made my films without my knowledge of the repertoires of the violin, the piano, the cello and the quartet. What’s more, as a filmmaker myself, I necessarily have a relationship with the score. The idea is not to make a documentary about music, but to film it for its own sake. Read More →
As a conductor, researcher, and leader of major Hungarian cultural institutions, you have a wide range of responsibilities. Which one is closest to you?
At about the age of 15, I decided that music would be my vocation, the most important thing in my life, after my family. I founded the Purcell Choir and the Orfeo Orchestra in the early 1990s, when I was still a university student, and I also began my teaching career at the Liszt Academy of Music in Budapest, and although I have conducted several symphony orchestras over the years and have been asked to conduct several times at the Hungarian State Opera, these ensembles are still of fundamental importance to me. Read More →
Since 2018 Cassie Martin has traveled the world, won several awards, and participated in numerous festivals. Her repertoire combines early, contemporary and world music. As a Eurostrings artist in 2020, she took part in Gautier Capuçon’s Un été en France 2022 tour and then represented France in Sergio Assad’s The Woman and the Guitar project.
Your repertoire ranges from Bach to traditional world music: Brazilian, Austrian, Italian and French. Where do you want to go with your next project, be it on stage or on record?
I have a lot of plans. Of course, I’d like to continue introducing the public to the vast, little-known repertoire of the guitar, from the Baroque to the contemporary. One of my current concert programs is entitled La guitare à travers les siècles, in which I take the listener on a journey through time, showing all the facets of this beautiful instrument. Read More →
Jean Sibelius wäre wohl entsetzt, ich runzle zunächst die Stirn, aber im dritten Satz muss ich lachen: Yannick Nézet-Séguins auf orchestrale Show getrimmte zweite Sibelius ist wohl kaum ernst zu nehmen. Zu manieriert, zu theatralisch, zu pathetisch, zu zirzensisch ist diese Interpretation, als dass man sie als auch nur halbwegs respektvoll dem Komponisten gegenüber bezeichnen könnte. Read More →
We have been notified of the death of French-American pianist Eugen Indjic (born March 11, 1947 in Belgrade). Emigrating to the United States with his mother, an amateur pianist, at the age of four, he there became fascinated by the piano and started studying the instrument. Read More →
Mit Aufführungen und einer neuen Aufnahme von Maurice Duruflés Requiem hat sich Stephen Layton nach 17 Jahren als Dirigent des Trinity College Cambridge verabschiedet. Es wurde ein mehr als bemerkenswerter Abschied, denn diese Duruflé-Interpretation ist schwerlich zu toppen. Read More →
Fux und Pergolesi sind bekannte Komponistennamen. Aber bei Fux verbinden viele eher seine musiktheoretischen Schriften mit dem Namen, Pergolesi ist für sehr wenige ausgewählte Werke bekannt, aber nicht für die hier zu hörende Messe. Read More →
Zum Brucknerjahr bringt Brilliant Classics eine Box mit 9 CDs heraus, mit den Symphonien Nr. 1-9 und der f-Moll-Messe. Es ist dies eine Wiederveröffentlichung von Aufnahmen, die zuerst bei Pentatone herauskamen. Wieso Brilliant gerade diesen schwachen Zyklus auflegt, ist rätselhaft. Read More →
Lenka Hlávková, director of the Institute of Musicology, is among the victims of the mass shooter who killed 14 people in Prague and uninjured a lot of other individuals at the Faculty of Arts. Read More →
The Berlin Philharmonic offers a free concert each weekend in the Digital Concert Hall until Christmas! Here is what to expect: Read More →