Tchaikovsky & Grieg Piano —

Rundfunk-Sinfonieorchester Peter Ilyich Tchaikovsky (1840-1893) Piano No. 1 in B-fl at minor, Op. 23 These are two of the most popular piano concertos ever composed, 1 Allegro non troppo e molto – Allegro con spirito 20. 53 two pieces that have been performed and recorded hundreds of times, 2 Andantino semplice – Prestissimo – Tempo I 7. 04 and yet are still compellingly attractive for every new generation of 3 Allegro con fuoco 7. 11 musicians and music lovers.

Both Tchaikovsky and Grieg had strong ties with their respective (1843-1907) motherlands, both were inspired by the of their countries in , Op. 16 and one can hear this in every note of these works.

4 Allegro molto moderato 12. 46 For me they represent the most important sides of our existence, such 5 Adagio 6. 14 as beauty, contemplation of the natural world and the distinctive 6 Allegro moderato molto e marcato 10. 12 resonance of the culture of diff erent lands.

Denis Kozhukhin

Total playing time: 64. 37

Denis Kozhukhin, piano Rundfunk-Sinfonieorchester Berlin (Radio Berlin) Erez Ofer, concertmaster Denis Kozhukhin Conducted by Vassily Sinaisky © Felix Broede Virtuoso warhorses. more as simple “applause-gatherers,” this move with keen insight. “Grieg’s With the exception of the piano him right. And that came about, to the “Grieg motif” – a frequently fantasy for piano and orchestra than completing the work, Tchaikovsky appealing to thrill-seeking audiences? work mirrors for us the intellectual concerto, the fact that Grieg as a despite his focus on the more intimate deployed sequence of descending a concerto. This is not a musically decided to seek professional advice Really? Let’s try to get to the bottom of this. upheaval going on in the , devoted himself more to musical genres, thanks to his Piano octaves, sevenths, and fi fths – which empty virtuoso concerto, glammed up from a . On Christmas Eve 1874, and his own response to this; as well as the less expansive musical genres Concerto. he borrowed from the traditional with simple eff ects without any claim he played the new concerto for his This CD contains the two piano Although in his teens Edvard Grieg had the make-up of his artistic personality is certainly due in part to his failed Norwegian folk music. In the fi rst to autonomous, musical art; on the friend Nikolai Rubinstein, the principal concertos by Grieg and Tchaikovsky received his basic musical education in and his determination to achieve attempt at a symphony, to which the Grieg composed his only piano movement, Grieg narrates a number contrary, the pianistic demands are on of the recently founded Moscow featuring the exclusive piano and composition at the originality.” (Krellmann). Grieg was in great Nils W. Gade had egged him concerto in the summer of 1868 at of small and varied stories, which are a par here with the musical demands Conservatoire. He wanted Rubinstein, artist, Denis Kozhukhin. If one were Conservatory, throughout his lifetime a position to discern new infl uences, on in 1863. The craftsmanship of the the age of 25. His friend Benjamin set out in an extremely diff erentiated of the composition. Here, Grieg has an excellent pianist, to advise him to initially label them collectively as he retained his status as a Norwegian to accept them as innovative and, work is more than solid; however, it Feddersen had rented for him a manner, with intricately chiselled penned a concerto with symphonic on technical issues in particular. “virtuoso warhorses,” then by no means artist born and bred, which ultimately by immediately combining them shows no sign of the individuality of holiday house in Søllerød (just outside instructions regarding both tempo and aspirations. However, the evening turned into a would this be meant disrespectfully. established his world-wide fame. He did with the traditional national styles Grieg’s later style. Less than two years of ), where he could style of playing. Thus, he transforms disaster. After an initially icy silence, On the contrary. These exceptional not become embroiled in unedifying of composition, to incorporate them after completing the symphony, the devote himself to his creative work the initially powerful main theme into And Tchaikovsky’s Piano Concerto in Rubinstein roared his contempt for concertos rank among the most imitation, but discovered his own highly and adjust them to his own musical composer pronounced the verdict without being disturbed. Grieg used something that is almost lyrical. By B fl at minor? The virtuoso warhorse the work, declaring the themes to be magical in the and personal path; here, he was certainly language. This was the only way this that it “should never be performed...”. Schumann’s Piano Concerto as a model means of an extended melody in the par excellence?! In November 1874, hackneyed, clumsy, awkward, and not are equally popular with and encouraged by the cultural-sociological specifi cally Norwegian oeuvre could Rather, Grieg decided to concentrate for his three-movement concerto. strings, the short middle movement Tchaikovsky began work on the worthy of improvement. Next came audiences alike. So far, so good. But a changes taking place with regard to have come about. We understand in future – inspired by his Norwegian Not only did he take over the key of A evokes an image of the harsh and concerto, but it caused gave him allegations such as “feeble concept,” closer look under the brilliantly polished the production and reception of music. from Grieg himself that he perceived compatriots and Rikard minor and the cascading, captivating lonely Norwegian landscape. Most quite some problems. No wonder, and even worse – that Tchaikovsky had surface defi nitely reveals features For centuries, music had been the his study period in Leipzig to be more Nordraak – on a new, nationalistic beginning of the fi rst movement, particularly in the fi nal movement, the up until then piano music had been committed plagiarism. And anyway – and stylistic elements that require a plaything of the wealthy nobility, but a suff ocating straightjacket than a path, by resorting to the rich repertoire other similarities can also be observed Norwegian fl avour is expanded even of secondary interest only to him. the work was unplayable. If Tchaikovsky more detailed diff erentiation. Were now it was moving into the reach of creative liberation of his personal of Nordic folk music, and mixing it with in the details of the movements. further; here, Grieg uses the rhythm of “Basically, I am infl icting violence upon expected him to play the work in public, Grieg’s solitary and Tchaikovsky’s fi rst the emerging middle-class. New works individuality. After all, there he was his ideas and knowledge of Central- Nevertheless, Grieg developed a work the spring dance “Halling” over quint myself by forcing my brain to come then it would have to be completely contribution to the genre perhaps were required for new audiences. And forced to bow to a conservatively European in order to based on Schumann’s model that basses. Being less strictly elaborated up with piano passages,” he told his rewritten, apart from two or three not written primarily with an eye having been born in 1843, precisely as classical canon of aesthetics (which create a unique combination. His demonstrates his already mentioned, and rather more free and well-nigh brother Anatol during the course of pages. This deeply stung the insulted to “pianistic showing off ”? Perhaps times were changing, Grieg followed were soon to become history). subsequent world-wide success proved new Nordic sound, in particular thanks rhapsodic, the work feels more like a the composition. Thus, even before and humiliated composer. “I am no

English longer a stupid boy, indulging in an swamped by the collective power of between two equal forces,” as he Denis Kozhukhin, with his own Cervantes Trio. After Deutsches Symphonie-Orchester and Rafael Frühbeck de Burgos) attempt at composition; I do not need the orchestra – are considered to be informed his patron, Nadezhda von his studies in Madrid, Kozhukhin was Berlin, , have contributed to shaping the lessons from anyone.” Without further unnecessarily demanding by more than Meck. For although his Piano Concerto Piano invited to study at the Piano Academy Vienna Symphony, Philharmonia and orchestra into a fl exible ensemble that ado, Tchaikovsky then dedicated the just a few pianists. As regards thematic No. 1 is indeed virtuoso and extremely at Lake Como where he received tuition Philadelphia . experienced the vicissitudes of German concerto to the German pianist Hans invention, it must be said that the challenging for the soloist, as far as its Denis Kozhukhin was launched onto from amongst others Fou Ts’ong, history during the 20th century in a von Bülow, who was full of praise for truly rousing main theme of the fi rst symphonic aspirations are concerned – the international scene after winning Stanislav Yudenitch, Peter Frankl, Boris particular way. Since its foundation, the work, and was later the soloist at movement has its origins in a Ukrainian and here it is very similar to Grieg’s First Prize in the 2010 Queen Elisabeth Berman, and Andreas Radio Symphony the RSB has been particularly interested its triumphant première in Boston in folk song, the “Song of the Blind.” In the concerto – it ranks far above all other Competition in Brussels at the age of Staier. He completed his studies with in contemporary music, inviting major 1875. middle movement, a melody (disguised virtuoso concertos of his time. It is 23. Born in Nizhni Novgorod, , in Kirill Gerstein in Stuttgart. Orchestra Berlin to conduct or to perform as a waltz) from the then popular a work full of suggestive power and 1986 into a family of musicians, Denis as soloists in their own works. These Now, one could quite simply tear into French chanson “Il faut s’amuser, danser charisma that exerts a tremendous pull Kozhukhin began his piano studies Kozhukhin has quickly established The Rundfunk-Sinfonieorchester Berlin have included Paul Hindemith, Sergei Rubinstein, describing his behaviour et rire” can be heard; and Tchaikovsky on the listener from the very fi rst bars, at the age of four with his mother. a formidable reputation and has (RSB) dates back to the fi rst days of Prokofi ev, , and Igor as the typical pedantry of a hardline uses yet another Ukrainian melody as casting its spell with tremendous eff ect. As a boy, he attended the Balakirev appeared at many of the world’s music-broadcasting on the German Stravinsky, as well as, more recently, conservative, who simply failed to a volatile main theme in the fi nale. Here, the alternation of vital impulsivity School of Music where he studied most prestigious festivals and concert radio in October 1923, and has since Krzysztof Penderecki, Peter Ruzicka, recognize Tchaikovsky’s genius. But So during that Christmas Eve in 1874, and expressive melancholy, the sensitive under Natalia Fish. From 2000 to 2007, halls. As a recitalist, he has performed sustained its position amongst the and Jörg Widmann. is there truly nothing to Rubinstein’s some of Rubinstein’s criticism – let’s just dialogue between soloist and orchestra, Kozhukhin was a pupil at the Reina at the Concertgebouw’s Master leading orchestras in Berlin and other accusations, which appear so harsh at forget his harsh tone for a moment! – the increased emphasis on expression Sofía School of Music in Madrid learning Pianists Series, Lucerne Festival, radio orchestras throughout Germany. The RSB is especially attractive to fi rst glance? He found fault mainly with was thoroughly justifi ed; however, his of the huge fi rst movement are just as with Dimitri Bashkirov and Claudio Cologne Philharmonie, Wigmore Hall, From 2002 to 2015 Marek Janowski was young conductors on the international three aspects: the piano passages, or conventional and conservative attitude impressive as the short, concentrated Martinez-Mehner. Auditorium du Louvre in Paris, and chief conductor and artistic director music scene. Already, Andris Nelsons, rather their technical implementation; did not permit him to recognize that middle movement. The almost brutal London’s International Piano Series. of the RSB. Vladimir Jurowski has Kristjan Järvi, Yannick Nézet-Séguin, the weak and not highly original Tchaikovsky had attained new heights hymnic development of power with the Upon graduating, he received his Kozhukhin is in demand with many of been named as his successor. Previous Vasily Petrenko, Jakub Hrůša, Alain (thematic) concept; and the work in creating a well-balanced relationship recurring rondo-like main theme, played diploma personally from the Queen of the leading international orchestras chief conductors (including Sergiu Altinoglu and Alondra de la Parra as a whole. In fact, some of the solo between solo piano and orchestra. “con fuoco,” brings the work to Spain and was named best student in and conductors, including the Royal Celibidache, Eugen Jochum, Hermann have been invited to guest-conduct. passages – which, moreover, are entirely Here, Tchaikovsky portrayed a “struggle a triumphant conclusion. his year and twice best chamber group Concertgebouw, Chicago Symphony, Abendroth, Rolf Kleinert, Heinz Rögner, Additionally, exemplary concerts of fi lm

Artists music take place regularly under guest- Vassily Sinaisky, Sinaisky has worked as a guest Vassily Sinaisky’s other recordings Virtuose Griegs einziger und Tschaikowskys nun in die Arme der aufstrebenden eigenen Individualität wahrgenommen conductor Frank Strobel. conductor with orchestras such include an acclaimed four-disc series erster Gattungsbeitrag vielleicht gar bürgerlichen Gesellschaft. Neue hat. Musste er sich doch dort einem Conductor as the Cleveland Orchestra, Los of the of Franz Schmidt Schlachtrösser. nicht primär für die „volle Pranke“ Werke für ein neues Publikum waren (kurz vor der historischen Überwindung The collaboration with Deutschlandradio, Angeles Philharmonic, London with the Malmö Symphony Orchestra, geschrieben? Mehr als rein Beifall gefragt. Und diesem Kurs folgte der stehenden) konservativ-klassizistischen the main shareholder of the ROC Vassily Sinaisky is one of the great Philharmonic, Berlin Radio Symphony, and many with the BBC Philharmonic Wirklich? heischende, publikumswirksame 1843 direkt in die Zeiten des Wandels Ästhetik-Kanon unterordnen. GmbH Berlin to which the RSB belongs, Russian conductors schooled in the Gewandhausorchester Leipzig, NDR including works by Shostakovich, Reißer? Gehen wir der Sache auf den hineingeborene Grieg mit feinem has born rich fruit on CD. Starting in tradition of Musin and Kondrashin Sinfonieorchester Hamburg, Stuttgart Tchaikovsky, Rimsky-Korsakov, Wenn man die beiden hier vom Grund. Gespür. „Griegs Werk spiegelt für uns Dass Grieg sich mit Ausnahme des 2010, together with PENTATONE, great and has a distinguished pedigree Radio Symphony, Czech Philharmonic, Shchedrin, Glinka, Liadov, Schreker PENTATONE-Exklusivkünstler Denis die geistige Umbruchssituation im 19. Klavierkonzertes als Komponist eher eff ort was put into the live recording of as both an operatic and symphonic Royal Concertgebouw Orchestra, and Szymanowski. Kozhukhin eingespielten Klavierkonzerte Edvard Grieg, der als Jugendlicher Jahrhundert sowie Griegs Reaktion den kleineren musikalischen Formen the Wagner cycle: the 10 SACDs have conductor. From 2010 to 2013, he was Orchestre Philharmonique de Radio von Edvard Grieg und Peter Iljitsch seine grundlegende musikalische darauf wider, ferner seine Verfassung widmete, hängt sicherlich auch mit subsequently triggered a world-wide Chief Conductor and Music Director France and NHK Symphony, Tokyo. Tschaikowsky zunächst einmal Erziehung in Klavier und Komposition als künstlerische Persönlichkeit und seinem gescheiterten symphonischen reaction. of the , Moscow, pauschal als „virtuose Schlachtrösser“ am Leipziger Konservatorium erhalten seine Zielstrebigkeit in Richtung Versuch zusammen, zu dem ihn der where he conducted many acclaimed In the opera house Sinaisky conducted etikettiert, so ist dies keinesfalls hatte, bewahrte sich zeitlebens seinen Originalität.“ (Krellmann). Grieg war in große Nils W. Gade 1863 ermutigt Other activities in which the orchestra productions. Iolanta and Francesca da Rimini in despektierlich gemeint. Im Gegenteil. Status als norwegischer Künstler. Was der Lage neue Einfl üsse zu erkennen, hatte. Das Werk ist handwerklich is involved include special concerts productions by Stephen Lawless at Diese Ausnahme-Konzerte zählen letztlich seinen Weltruhm begründete. diese als neu zu akzeptieren und im mehr als solide, weist aber keinerlei for family and children, in which the Vassily Sinaisky’s international career Vienna’s Theater an der Wien and Boris zu den absoluten Sternstunden Er verstrickte sich nicht in ein Sinne der Findung seiner eigenen Zeichen des später so individuellen musicians often take a very personal was launched in 1973 when he won the Godunov at San Francisco Opera. Other der konzertanten Klavierliteratur. unerquickliches Epigonentum, sondern Tonsprache durch die Verknüpfung mit Griegschen Stils auf. Keine zwei Jahre interest, as well as guest performances Gold Medal at the prestigious Karajan projects have included productions Gleichermaßen populär bei Pianist fand seinen ganz persönlichen Weg. nationalen musikalischen Vorlagen nach der Fertigstellung versah es in the major national and international Competition in Berlin. Soon after he of Carmen and Der Rosenkavalier wie Publikum. So weit, so gut. Aber Dabei sicherlich auch durch sofort wieder zu überwinden. Nur der Komponist mit dem Verdikt „soll concert halls, which have taken place was appointed Chief Conductor of the for English National Opera and an bei einem genaueren Blick unter die den kultursoziologischen Wandel in daraus konnte dieses so spezifi sch niemals aufgeführt werden“... Vielmehr over the past 50 years. In addition to Latvian National Symphony Orchestra, acclaimed Lady Macbeth of Mtsensk glanzvoll polierte Oberfl äche entdeckt der Produktion und Rezeption von norwegische Gesamtwerk entstehen. konzentrierte sich Grieg - angeregt regular tours in Asia, the orchestra also a post he held from 1976 to 1987. He then with Hans Neuenfels at the Komische Vassily Sinaisky man durchaus Merkmale und auch Musik begünstigt. Die Musik – Von Grieg selber wissen wir, dass er durch seine norwegischen Landsleute performs in European festivals and became Music Director and Principal Oper Berlin. © Jesper Lindgren Stilmittel, die nach einer genaueren über Jahrhunderte Spielball des sein Studium in Leipzig eher als enge Ole Bull und - von other Germany music centres. Conductor of the Moscow Philharmonic. Diff erenzierung verlangen: Sind fi nanzstarken Adels – begab sich Fessel denn als kreative Befreiung der nun auf einen neuen, nationalen

Deutsch Weg, indem er auf das reichhaltige vollgriffi ge Beginn des Kopfsatzes stärker ausgebreitet, Grieg verwendet Gewalt an und zwinge meinen Kopf, Und überhaupt – das Werk sei Er beschwerte sich hauptsächlich über vergessen wir den barschen Ton! – Melancholie, der feinfühlige Dialog Repertoire der nordischen Volksmusik sind übernommen, bis in Details hier den Rhythmus des Springtanzes Klavierpassagen auszudenken“, teilte unspielbar. Falls Tschaikowsky ihm drei Aspekte: die Klavierpassagen durchaus berechtigte kritische Ansätze zwischen Solist und Orchester, die zurückgriff und seine Vorstellungen der Satzfaktur hinein lassen sich „Halling“ über Quintbässen. Weniger er seinem Bruder Anatol im Verlauf der zumute, das Werk in der Öff entlichkeit bzw. deren technische Umsetzung, vorzuweisen, verkannte aber in seiner gesteigerte Ausdrucksemphase des und Kenntnisse der mitteleuropäischen Verwandtschaften feststellen. Dennoch streng gearbeitet als vielmehr frei Arbeit mit. Noch vor der Fertigstellung zu spielen, müsse es bis auf zwei, drei die schwache und nicht originäre konventionell-konservativen Einstellung, gewaltigen Kopfsatzes sind dabei Romantik mit diesen Vorlagen zu einer entwickelt Grieg auf Schumanns Folie und geradezu rhapsodisch wirkt das suchte Tschaikowsky dann berufenen Seiten völlig verändert werden. Beim so (thematische) Erfi ndung sowie dass Tschaikowsky in der Gestaltung genauso eindrucksvoll wie der kurze, einzigartigen Kombination verknüpfte. ein Werk, das insbesondere durch Konzert fast eher wie eine „Phantasie pianistischen Rat. Am Heiligabend zutiefst beleidigten und gedemütigten das Werk als Ganzes. In der Tat des ausbalancierten Verhältnisses konzentrierte Mittelsatz. Die fast Sein Welterfolg gab ihm Recht. Und das der norwegischen Volksmusik für Klavier und Orchester“. Dies ist 1874 spielte er seinem Freund Nikolai Komponist saß der Stachel tief. „Ich halten nicht wenige Pianisten einige zwischen Solo-Klavier und Orchester brutale hymnische Kraftentfaltung der wurde trotz der Konzentration auf entnommene „Grieg-Motiv“ – eine kein musikalisch leeres, durch simple Rubinstein, dem Leiter des erst vor bin kein dummer Junge mehr, der sich der Solo-Passagen für unnötig sich zu neuen Höhen aufschwang. mit dem rondoartig wiederkehrenden, intimere Gattungen eben mit dem oftmals verwendete absteigende Eff ekte aufgedonnertes Virtuosen- kurzem gegründeten Moskauer in Kompositionsversuchen ergeht, ich anspruchsvoll, die darüber hinaus vom Tschaikowsky gestaltete hier einen ,,con fuoco” gespielten Hauptthema Klavierkonzert eingeleitet. Folge von Oktave, Septime und Konzert ohne autonom-musikalischen Konservatoriums, das neue Werk vor. brauche von niemandem Belehrungen.“ vollen Orchester zugedeckt werden. „Kampf zweier ebenbürtiger Kräfte“, bringt das Werk zu einem triumphalen Quinte jenen bereits angesprochenen, Kunstanspruch, im Gegenteil, die Der herausragende Pianist Rubinstein Kurzerhand widmete Tschaikowsky In puncto thematische Erfi ndung wie er seine Mäzenin Nadeschda von Abschluss. Grieg komponierte sein einziges neuartigen nordischen Ton aufweist. pianistischen Anforderungen sind sollte ihn vor allem in spieltechnischen das Konzert daraufhin dem deutschen muss man konstatieren, dass das Meck wissen ließ. Denn das Erste Klavierkonzert im Sommer 1868 im Alter Im Kopfsatz erzählt Grieg viele den musikalisch-kompositorischen Fragen beraten. Das Vorspiel Pianisten Hans von Bülow, der es in wahrhaft mitreißende Hauptthema Klavierkonzert ist zwar für den Solisten von 25 Jahren. Sein Freund Benjamin kleine variierte Geschichten, durch ebenbürtig. Grieg schrieb ein Konzert entwickelte sich zu einer Katastrophe. hohen Tönen lobte und 1875 in Boston des Kopfsatzes seinen Ursprung extrem virtuos und anspruchsvoll Feddersen hatte ihm in Søllerød in der feinziselierte Tempovorschriften und mit symphonischem Anspruch. Nach anfänglich eisigem Schweigen zur triumphalen Urauff ührung brachte. in einem ukrainischen Volkslied gestaltet, steht aber in seinem Nähe von Kopenhagen ein Ferienhaus Spielanweisungen extrem diff erenziert brüllte Rubinstein seine Verachtung für hat, dem „Gesang der Blinden“. Im symphonischen Anspruch – darin Griegs gemietet, in dem er sich ungestört ausgestaltet. So wandelt er das Und Tschaikowskys b-Moll-Konzert? das Werk geradezu heraus, erklärte Nun ließe sich Rubinstein Verhalten Mittelsatz erklingt eine als Walzer Konzert sehr ähnlich – deutlich über seiner schöpferischen Arbeit widmen anfangs noch wuchtige Hauptthema Das virtuose Schlachtross schlechthin?! die Themen für abgedroschen, ja recht einfach als typische verkleidete Melodie aus dem damals all den Virtuosen-Konzerten seiner konnte. geradezu lyrisch um. Der kurze Im November 1874 begann plump, ungeschickt und nicht Pedanterie eines konservativen beliebten französischen Chanson „Il Zeit. Es ist ein Werk voll suggestiver Mittelsatz evoziert durch eine Tschaikowsky mit der Arbeit, hatte verbesserungsfähig. Weiter folgten die Betonkopfes abkanzeln, der den Genius faut s’amuser, danser et rire“. Eine Kraft und Ausstrahlung, das den Grieg nahm sich für sein dreisätziges ausgedehnte Streichermelodie Bilder dabei augenscheinlich jedoch größere Vorwürfe „schwache Erfi ndung“ und Tschaikowsky einfach verkannte. weitere ukrainische Melodie verwendet Hörer bereits in den ersten Takten Werk Schumanns Klavierkonzert der rauen, einsamen norwegischen Probleme. Kein Wunder, Klaviermusik noch schlimmer – Tschaikowsky habe Aber ist denn an Rubinsteins auf den Tschaikowsky als sprunghaftes mit ungeheurer Sogwirkung in seinen zum Vorbild. Nicht nur die Tonart Landschaft. Insbesondere im Finale war bis dahin auch nur Nebensache abgekupfert. ersten Blick so harsch erscheinenden Hauptthema im Finale. Rubinstein Bann zieht. Der Wechsel von vitaler a-Moll oder der kaskadenartige, wird dann das norwegische Kolorit noch gewesen. „Prinzipiell tue ich mir Vorwürfen wirklich gar nichts dran? hatte also an jenem Heiligabend 1874 – Impulsivität und ausdrucksstarker Acknowledgments

Executive producers Liner notes Job Maarse (PENTATONE) Franz Steiger Stefan Lang (Deutschlandradio Kultur) English translation Recording producer Fiona J. Stroker-Gale Job Maarse Cover photo Balance engineer Felix Broede Erdo Groot Design Recording engineer Joost de Boo Roger de Schot Product manager A co-production between: Editing Angelina Jambrekovic Erdo Groot

Audio recording & postproduction Polyhymnia International B.V.

Rundfunk-Sinfonieorchester Berlin © Kai Bienert This album was recorded at Funkhaus Nalepastraße Berlin, Germany in October 2015. Premium Sound and Outstanding Artists

Music of today is evolving and forever Together with our talented artists, changing, but stays we take pride in our work of providing www.pentatonemusic.com true in creating harmony among the an impeccable way of experiencing instruments. Classical music is as classical music. For all their diversity, time-honored as it is timeless. And so our artists have one thing in should the experience be. common. They all put their heart We take listening to classical music and soul into the music, drawing on Sit back and enjoy to a whole new level using the best every last drop of creativity, skill, technology to produce a high quality and determination to perfect their recording, in whichever format it may compositions. come, in whichever format it may be released.

REMASTERED CLASSICS