It was always likely that Janine Jansen would make the violin her life’s work; she began playing aged six and both her parents were musicians, as are her two brothers. What was less predictable was that she would go on not just to play the instrument, but to become one of the true greats. A playing style that combines gripping presence with infinite subtlety of tone and phrasing has the critics reaching for every superlative in the book, wherever she plays across the world: “So golden, so delicate, almost ethereal” (The Times), “dazzling dexterity” (The Australian), “a tantalizing dance of colours and textures” (New York Times), “a stunning display of sustained intensity” (The Guardian).

Born in Soest in the Netherlands, she went on to study with Coosje Wijzenbeek, Philipp Hirshhorn and Boris Belkin. Her Concertgebouw debut in 1997 made her a great star in her native Holland, but she was destined for a wider stage. She was named a BBC New Generation Artist in 2002, made her London debut in the same year, with Vladimir Ashkenazy conducting the Philharmonia Orchestra, and three years later opened the 2005 BBC Proms with a performance of the Mendelssohn Violin Concerto that really put her on the international map. Along the way she received invitations from some of the world’s greatest orchestras, including the Royal Concertgebouw Orchestra, Berliner Philharmoniker, London Symphony Orchestra, New York Philharmonic, Philadelphia and Cleveland Orchestras, the NHK Symphony Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the London Symphony Orchestra and the Chamber Orchestra of Europe. She has worked with such eminent conductors as Lorin Maazel, Valery Gergiev, Riccardo Chailly, Neeme Järvi, Paavo Järvi, Esa-Pekka Salonen, Daniel Harding, Sir Antonio Pappano, Sir Mark Elder, Edo de Waart and Sir Roger Norrington.

Janine Jansen was the Featured Artist at the 2014 BBC Proms, culminating in an appearance at the globally-renowned Last Night of the Proms. Her 2015 diary takes her widely across Europe, with performances of the Brahms, Tchaikovsky, Beethoven and Mendelssohn violin concertos featuring prominently in the schedule. In February 2016 she tours Japan before playing a London concert then taking off again around Europe.

In addition to her concerto performances and projects, Jansen is a devoted recitalist. She established and curates the annual International Chamber Music Festival in Utrecht, and since 1998 she has been a member of Spectrum Concerts Berlin, a major chamber music series in the Berlin Philharmonie. Her chamber partners include Leif Ove Andsnes, Jean-Yves Thibaudet, Itamar Golan, Kathryn Stott, Julian Rachlin, Maxim Rysanov, Torleif Thedéen and Mischa Maisky.

In September 2003 Janine Jansen received the Dutch Music Prize from the Ministry of Culture – the highest distinction an artist can receive in The Netherlands. She has won many awards, including the Edison Classic Public Award four times, three Echo awards, the Royal Philharmonic Society Instrumentalist Award, the Preis der Deutschen Schallplattenkritik, the NDR Musikpreis for outstanding artistic achievement, the VSCD Klassieke Muziekprijs for individual achievement and the Concertgebouw Prize.

Janine Jansen could probably make magic on any violin, but a great instrumentalist deserves a great instrument. She currently plays the 1727 ‘Baron Deurbroucq’ Stradivarius, on loan from the Beare’s International Violin Society.

Artykuł SCHUMANN, STRAVINSKY, STRAUSS R., SAINT-SAENS, PAGANINI <br/>Itamar Golan, Janine Jansen<br/>The Most Beautiful Violin pochodzi z serwisu Cleartone.

Hyperion’s much-loved soprano Felicity Lott is here joined by the young, sought-after mezzo Angelika Kirchschlager who won a Grammy award in 2004 for her recording with René Jacobs of Mozart’s Le nozze di Figaro.

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SUPERSONIC AWARD – PIZZICATO MAGAZINE

‚The performances give unalloyed pleasure. Lott’s still-radiant soprano combines beautifully with with the vibrant, musky mezzo of Kirchschlanger, while Johnson’s sentient playing is a delight‘ (Gramophone)

‚Felicity Lott and Angelika Kirchschlager give delightfully characterised performances, whle Johnson’s playing is typically sensitive and pointed … an ingeniously planned and beautifully executed duet recital‘ (The Daily Telegraph)

‚I’ll leave you to experience the conjuring for yourself. For conjuring it is: any element of the didactic is totally absent in this seamless garment of word and music. Fragments of the Schumann we know and love surface and return like a mantra bedding itself deeper and deeper into the subconscious, as a point of reference for the outstanding performances of all three musicians. And, at the end, Johnson’s postlude to the Schumann elides into the entwined voices of Brahms’s Klänge – only to return as a curtain slowly falling at the end of a recital as near perfection as I know‘ (BBC Music Magazine)

‚Avec de telles artistes, on savait qu’on allait être musicalement comblés. Grandes habituées de l’exercice de Liederabend, elles rivalisent de musicalité, d’émotions et de compréhension des textes. Graham Jonhson est comme à son habitude un modèle d’attention à ses chanteuses. La qualité de la notice de présentation témoigne encore du savoir-faire Hyperion dans le domaine du disque de lieder‘ (www.resmusica.com)

Artykuł SCHUMANN, BRAHMS, MENDELSSOHN, LOEWE, WOLFF <br />Women’s lives and loves – A Liederspiel devised by Graham Johnson <br /> Felicity Lott, Angelika Kirchschlager pochodzi z serwisu Cleartone.

These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.

Experience by yourself…

Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.

ESOTERIC equipment used for re-mastering The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session.

This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.

Artykuł FRANCK, SCHUMANN <br />Symphony in D Minor / Symphony No.4 in D Minor, Op 120 <br />Otto Klemperer <br />The New Philharmonia Orchestra pochodzi z serwisu Cleartone.

Artykuł SCHUMANN ~<br />Davidsbündlertänze, Kinderszenen, <br />Sonata No 2 <br />Angela Hewitt pochodzi z serwisu Cleartone.

‚The clarity of line is a Hewitt hallmark. It is present through the buzzing Allegro vivace, passing from right hand to left and back with seamless fluency, and it soards with the most delicate lightness through the Aria … Hewitt’s Scherzo explodes with rhythm … the crushed notes are flashing sparks that might ingnite. The Finale almsot tumbles over itself with key-changes, expression and dynamics, but Hewitt contains all in a lover’s embrace … It is as if genius has stepped out of its trance. This is joyful and exuberant play … A compelling Schumann player‘ (Classic FM Magazine *****)

‚Her technical control remains as poised as ever, but Hewitt pushes much harder at the margins of the expressive world that directs it … In the often problematic F sharp minor Sonata, Hewitt is unreservedly superb, making the music cohere formally without ever undervaluing its flights of lyrical fantasy. For her the slow movement is the emotional heart of the whole sonata, but she is equally impressive in the rangy finale too, boldly characterising its component parts yet always conveying the sense of an organic whole‘ (The Guardian)

‚Angela Hewitt’s seemingly effortless but always adventurous interpretations … Her poise and amplitude lend it an unearthly beauty … She holds our attention as no other piesnist has, in my experience, quite managed in the giant rondo of a finale … Handsome in fortissimo and mesmerising in sotto voce, the piano range is well served by Hyperion’s Italian-based recording‘ (BBC Music Magazine *****)

‚As ever with this pianist, we get playing that is thoughtful, thought-provoking, finely finished and intricantly nuanced. She imbues the opening movement of the sonata with a sure sense of structure and pace, and finds more energy than many of her rivals in the Scherzo‘ (Gramophone)

‚Hewitt’s recordings are self-sufficient without the need for comparisons, but her Schumann sonata can hold its own against Maurizio Pollini’s impressive 1973 version … The best possible way to make its acquaintance‘ (International Record Review)

‚Her command of the keyboard is, as always, breathtaking … When Hewitt tackles composers that call forth her special talents, she has few equals‘ (Fanfare, USA)

‚This is very superior playing indeed: an object lesson in pianistic refinement, tonal expressive and psychological imagination, and musicianship of the highest order. Hewitt’s tonal palette is vast, exceptionally controlled and never indulged for its own sake … The tenderness and luminosity of tone in the slow movement of the sonata are quite haunting in thier immediacy – indeed that immediacy is amongst the hallmarks of the whole recording, be it haunting, jubilant, playful, morbid, dramatic or any of the other emotions and spiritual atmospheres that Schumann traverses almost as a matter of course‘ (Piano Magazine)

‚… This recording of Schumann’s first sonata is beyond exceptional. Her especial quality of moderate restraint gives Schumann a quality I have not heard from him before. I expect I’m being somewhat influenced by the marvelous engineering-her piano is all here. But I’ve yet to hear this much poetry and this much power not pull each other apart. The trick presumably is to rein in the power without appearing to do so, and she manages this compellingly… That she loves the work is expressed clearly and enthusiastically in her album notes; that she understands and is fully capable of demonstrating how emotionally inclusive it is comes through in her playing‘ (PositiveFeedback.com, USA)

‚Hewitt’s highly personal performances demonstrate a sure grasp of character. Her deep understanding of the music’s beauties, quirks, and pitfalls makes for a most compelling listening experience‘ (American Record Guide)

‚Dos jóvenespianistas aparecen en el horizonte del siglo XXI. Sin duda la antigua escuela de los Brendel, Lupu, etc. tiene difícil sustitución, pero un nuevo pianismo se presenta con estos nuevos artistas; un toque pulido, claro, buena técnica y no demasiado fervor, tratando a los genios románticos con cierta distancia, aliados con su calidad sin que su expresión empañe el discurso. Así parece expresarlo Angela Hewitt que propone dos muestras significativas y atractivas: Humoreske de Schumannn y, por otro lado, el monumento de El clave bien temperado de Bach, con cuidados legatos y una sonoridad homogénea‘ (La Vanguardia, Spain)

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Angela Hewitt’s recent Schumann performances in the concert hall were praised for their ‘urgency, jubilation and introspection’ and ‘power and finesse’. Now for the first time she has recorded two of his greatest piano works for Hyperion. Her clean, thoughtful, incisively musical playing which nevertheless allows a flow of passion to be released is perfectly suited to this music.
The Sonata in F sharp minor Op 11 was described by the composer to his beloved Clara Wieck as ‘a cry from my heart to yours’. From the arresting opening to the bouncing Allegro vivace of the first movement and through to the majestic, orchestral-sounding finale, Clara’s imprints are everywhere in the work and Angela Hewitt traces this influence in her scholarly yet deeply personal booklet notes. Humoreske in B flat major was also written for Clara, and is a study of changing and ambiguous moods, melancholy tempered with tenderness, interspersed with dazzling bravura moments including one of the most difficult passages in all his piano works — a breathtaking emotional tour de force.

Artykuł SCHUMANN <br />Humoreske and Sonata Op. 11 <br />Angela Hewitt pochodzi z serwisu Cleartone.

‚The clarity of line is a Hewitt hallmark. It is present through the buzzing Allegro vivace, passing from right hand to left and back with seamless fluency, and it soards with the most delicate lightness through the Aria … Hewitt’s Scherzo explodes with rhythm … the crushed notes are flashing sparks that might ingnite. The Finale almsot tumbles over itself with key-changes, expression and dynamics, but Hewitt contains all in a lover’s embrace … It is as if genius has stepped out of its trance. This is joyful and exuberant play … A compelling Schumann player‘ (Classic FM Magazine *****)

‚Her technical control remains as poised as ever, but Hewitt pushes much harder at the margins of the expressive world that directs it … In the often problematic F sharp minor Sonata, Hewitt is unreservedly superb, making the music cohere formally without ever undervaluing its flights of lyrical fantasy. For her the slow movement is the emotional heart of the whole sonata, but she is equally impressive in the rangy finale too, boldly characterising its component parts yet always conveying the sense of an organic whole‘ (The Guardian)

‚Angela Hewitt’s seemingly effortless but always adventurous interpretations … Her poise and amplitude lend it an unearthly beauty … She holds our attention as no other piesnist has, in my experience, quite managed in the giant rondo of a finale … Handsome in fortissimo and mesmerising in sotto voce, the piano range is well served by Hyperion’s Italian-based recording‘ (BBC Music Magazine *****)

‚As ever with this pianist, we get playing that is thoughtful, thought-provoking, finely finished and intricantly nuanced. She imbues the opening movement of the sonata with a sure sense of structure and pace, and finds more energy than many of her rivals in the Scherzo‘ (Gramophone)

‚Hewitt’s recordings are self-sufficient without the need for comparisons, but her Schumann sonata can hold its own against Maurizio Pollini’s impressive 1973 version … The best possible way to make its acquaintance‘ (International Record Review)

‚Her command of the keyboard is, as always, breathtaking … When Hewitt tackles composers that call forth her special talents, she has few equals‘ (Fanfare, USA)

‚This is very superior playing indeed: an object lesson in pianistic refinement, tonal expressive and psychological imagination, and musicianship of the highest order. Hewitt’s tonal palette is vast, exceptionally controlled and never indulged for its own sake … The tenderness and luminosity of tone in the slow movement of the sonata are quite haunting in thier immediacy – indeed that immediacy is amongst the hallmarks of the whole recording, be it haunting, jubilant, playful, morbid, dramatic or any of the other emotions and spiritual atmospheres that Schumann traverses almost as a matter of course‘ (Piano Magazine)

‚… This recording of Schumann’s first sonata is beyond exceptional. Her especial quality of moderate restraint gives Schumann a quality I have not heard from him before. I expect I’m being somewhat influenced by the marvelous engineering-her piano is all here. But I’ve yet to hear this much poetry and this much power not pull each other apart. The trick presumably is to rein in the power without appearing to do so, and she manages this compellingly… That she loves the work is expressed clearly and enthusiastically in her album notes; that she understands and is fully capable of demonstrating how emotionally inclusive it is comes through in her playing‘ (PositiveFeedback.com, USA)

‚Hewitt’s highly personal performances demonstrate a sure grasp of character. Her deep understanding of the music’s beauties, quirks, and pitfalls makes for a most compelling listening experience‘ (American Record Guide)

‚Dos jóvenespianistas aparecen en el horizonte del siglo XXI. Sin duda la antigua escuela de los Brendel, Lupu, etc. tiene difícil sustitución, pero un nuevo pianismo se presenta con estos nuevos artistas; un toque pulido, claro, buena técnica y no demasiado fervor, tratando a los genios románticos con cierta distancia, aliados con su calidad sin que su expresión empañe el discurso. Así parece expresarlo Angela Hewitt que propone dos muestras significativas y atractivas: Humoreske de Schumannn y, por otro lado, el monumento de El clave bien temperado de Bach, con cuidados legatos y una sonoridad homogénea‘ (La Vanguardia, Spain)

————————————————

Angela Hewitt’s recent Schumann performances in the concert hall were praised for their ‘urgency, jubilation and introspection’ and ‘power and finesse’. Now for the first time she has recorded two of his greatest piano works for Hyperion. Her clean, thoughtful, incisively musical playing which nevertheless allows a flow of passion to be released is perfectly suited to this music.
The Sonata in F sharp minor Op 11 was described by the composer to his beloved Clara Wieck as ‘a cry from my heart to yours’. From the arresting opening to the bouncing Allegro vivace of the first movement and through to the majestic, orchestral-sounding finale, Clara’s imprints are everywhere in the work and Angela Hewitt traces this influence in her scholarly yet deeply personal booklet notes. Humoreske in B flat major was also written for Clara, and is a study of changing and ambiguous moods, melancholy tempered with tenderness, interspersed with dazzling bravura moments including one of the most difficult passages in all his piano works — a breathtaking emotional tour de force.

Artykuł SCHUMANN <br />Humoreske and Sonata Op. 11 <br />Angela Hewitt pochodzi z serwisu Cleartone.

Bei diesem Titel handelt es sich um eine SHM-SACD. Dieses Format ist die Weiterentwicklung der Single-Layer-SACD und verwendet einen besonders lichttransparenten Kunststoff (Super High Material). Durch ihn wird eine deutlich bessere Auslesbarkeit der Pit-Land-Strukturen auf der Oberfläche erreicht als bei Hybrid-SACDs möglich. Die SHM-SACDs von Universal werden generell von den Masterbändern der Alben ohne Veränderungen neu in DSD digitalisiert. SHM-SACDs können auf jedem SACD-Spieler wiedergegeben werden. Bitte verwenden Sie weder L’Art du Son noch alkoholbasierte Reinigungsmittel. – Achtung: Alle Titel werden von Universal Music als Sammlerstücke in Limited Edition für den japanischen Markt konzipiert.

Schumann/Grieg: PIano Concertos. Lupu

Artykuł SCHUMANN, GRIEG <br />Piano Concertos <br />Radu Lupu <br />Andre Previn <br />The London Symphony Orchestra pochodzi z serwisu Cleartone.

In the works here featured (like in those of Volume 1, CDS 360) Paganini’s strong inventiveness blends in with that of composers such as Schumann, Chopin and Liszt, who left their personal imprint on famous themes, like for example that of La Campanella.

Artykuł SCHUMANN, CRAMER, HERZ, CHOPIN, LISZT, Marco Pasini<br/>Tribute To Paganini Vol. 2 pochodzi z serwisu Cleartone.

British playwright Ronald Harwood’s play Taking Sides (1995) is dedicated to Furtwängler’s much debated attitude during the Nazi regime. In 2001 the play was made into a motion picture starring Harvey Keitel and featuring Stellan Skarsgård in the role of Furtwängler.

Artykuł SCHUMANN, Berliner Philharmoniker, Wiener Philharmoniker, Wilhelm Furtwangler<br/>Symphony No.4 and No. 1 pochodzi z serwisu Cleartone.

Artykuł BRAHMS, SCHUBERT, SCHUMANN, Berliner Philharmoniker, Wilhelm Furtwangler<br/>Symphony No. 1 in C minor, Op. 68 / Rosamunde, D797: Overture / Manfred Overture, Op. 115 pochodzi z serwisu Cleartone.