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Chamber Music
Various composers

Soloists of the SPANNUNGEN Festival

Chamber Music

Format: CD
Label: CAvi
UPC: 4260085533596
Catnr: AVI 8553359
Release date: 01 July 2016
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1 CD
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Label
CAvi
UPC
4260085533596
Catalogue number
AVI 8553359
Release date
01 July 2016
Album
Artist(s)
Composer(s)
EN

About the album

Spannungen Chamber Music Festival is one of the few musical events where one can stumble upon four rare gems such as these, hitherto almost entirely absent from concert repertoire. The flute sparkles in virtuoso passages, the piano tackles and overcomes daunting technical challenges, while the clarinet and the oboe play fracefully, 'in the best manner'. One can clearly tell that these first-rate chamber musicians highly enjoy serving these jewels to their audience on a silver platter. This release features an exciting discovery: the Sketches, Op. 12 by Alexander Krein, who was the main representative of the Jewish Russian School in the early 20th century. Alexander Klughardt's Reed Songs would be unimaginable without their obvious model, Schumann's Fantasiestucke. Thus, this album offers an unbroken chain of gorgeous as well as entertaining chamber music.

Artist(s)

Tanja Tetzlaff (cello)

For decades, Tanja Tetzlaff has been one of the most influential musicians of her generation, both as soloist and chamber musician. Her playing is characterized by a uniquely fine yet powerful and nuanced sound, which always goes hand in hand with cultivated musicality. Tanja Tetzlaff’s trademark is her extraordinarily broad repertoire and her desire for new, groundbreaking concert formats. In April 2021, Tanja Tetzlaff became the first scholarship holder to be awarded the highly endowed Glenn Gould Bach Fellowship of the city of Weimar. She now has the opportunity to realize a two-year film project relating Bach’s famous cello suites to nature and climate change issues: Suites4Nature / Suites for a Wounded World. Tanja Tetzlaff is a founding member of the Tetzlaff Quartet (Christian Tetzlaff, Elisabeth Kufferath, and Hanna...
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For decades, Tanja Tetzlaff has been one of the most influential musicians of her generation, both as soloist and chamber musician. Her playing is characterized by a uniquely fine yet powerful and nuanced sound, which always goes hand in hand with cultivated musicality. Tanja Tetzlaff’s trademark is her extraordinarily broad repertoire and her desire for new, groundbreaking concert formats.
In April 2021, Tanja Tetzlaff became the first scholarship holder to be awarded the highly endowed Glenn Gould Bach Fellowship of the city of Weimar. She now has the opportunity to realize a two-year film project relating Bach’s famous cello suites to nature and climate change issues: Suites4Nature / Suites for a Wounded World.
Tanja Tetzlaff is a founding member of the Tetzlaff Quartet (Christian Tetzlaff, Elisabeth Kufferath, and Hanna Weinmeister). She plays a cello by Giovanni Baptista Guadagnini from 1776.


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Dina Ugorskaja (piano)

Born in Leningrad (now once more Saint Petersburg) into an artistic family of Jewish origin, Dina Ugorskaja started learning the piano when she was young, as well as voice and composition. In 1990, when she was fifteen years old, she became the target of anti-Semitic threats; her family had to leave the Soviet Union abruptly, and they fled together to Germany. The “philosopher at the piano” has made herself a name with a performance style marked by profound sensitivity and sobriety. Her engagements have led her to make solo appearances at the Gewandhaus in Leipzig, the Liederhalle in Stuttgart, the Philharmonie in Cologne, the Herkulessaal in Munich, the Sala Verdi in Milan, and Radio France Auditorium in Paris. She has been invited to perform at festivals including the...
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Born in Leningrad (now once more Saint Petersburg) into an artistic family of Jewish origin, Dina Ugorskaja started learning the piano when she was young, as well as voice and composition. In 1990, when she was fifteen years old, she became the target of anti-Semitic threats; her family had to leave the Soviet Union abruptly, and they fled together to Germany.
The “philosopher at the piano” has made herself a name with a performance style marked by profound sensitivity and sobriety.
Her engagements have led her to make solo appearances at the Gewandhaus in Leipzig, the Liederhalle in Stuttgart, the Philharmonie in Cologne, the Herkulessaal in Munich, the Sala Verdi in Milan, and Radio France Auditorium in Paris. She has been invited to perform at festivals including the Schubertiade in Feldkirch and the Kassel Music Festival.

Dina Ugorskaja is also passionately committed to chamber music: for instance, ever since her participation at Lars Vogt’s chamber music festival Spannungen in Heimbach, she has formed a duo together with the renowned cellist Tanja Tetzlaff.
2019 marked the 10th anniversary of her fruitful collaboration with the CAvi-Music label. In coproduction with Bavarian Radio (Munich), she has released recordings of Handel suites, late Schumann works, the six last Beethoven sonatas, and both volumes of Bach’s Well-Tempered Clavier – all of which have been praised by critics.

Regarding her recording of Beethoven’s Hammerklavier sonata, Eleonore Büning wrote in the Frankfurter Allgemeine: The immense Adagio sostenuto, bearing the indication that it is to be played ‘passionately and with much feeling’, is rendered as a sublime, radiant hymn, and one would no longer want to hear it any other way.
Regarding her recording of the Well-Tempered Clavier, Crescendo magazine wrote in October 2016: The listener does not feel directly addressed, but rather as the silent witness of these intimate dialogues between Bach, God, and the universe – thanks to the fact that Dina Ugorskaja always maintains a noble distance that protects the inner fragility of Bach’s musical discourse. […] This is an impressive manifesto for the freedom of the human intellect.” Ugorskaja’s recordings for CAvi-music have been repeatedly nominated for the International Classical Music Awards and for the German Music Critics’ Prize. Her last album with works by Schubert received the ICMA award posthum.
​​​​​​​ Dina Ugorskaja passed away after a long period of illness in September 2019.


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Sharon Kam (clarinet)

Hartmut Rohde (viola)

Hartmut Rohde thrills audiences with his exceptional variety of sonorities, his stylistic versatility, and his historically informed approach to music ranging from the Baroque to contemporary compositions. Rohde’s performances are captivating due to his sheer power of imagination (Frankfurter Allgemeine Zeitung). He is one of the leading and most sought-after European violists. Since 1993 he has held a professorship at the Berlin University of the Arts, and is founding member of the renowned Mozart Piano Quintet which undertakes extensive worldwide tours. His chamber music partners include David Geringas, Janine Jansen, Jörg Widmann, Radovan Vlatkovic, Paul Meyer, Lars Vogt, Kolja Blacher, and Sharon Kam. He has appeared at Carnegie Hall, Wigmore Hall, the Seoul Arts Center and the Amsterdam Concertgebouw, as well...
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Hartmut Rohde thrills audiences with his exceptional variety of sonorities, his stylistic versatility, and his historically informed approach to music ranging from the Baroque to contemporary compositions. Rohde’s performances are captivating due to his sheer power of imagination (Frankfurter Allgemeine Zeitung). He is one of the leading and most sought-after European violists. Since 1993 he has held a professorship at the Berlin University of the Arts, and is founding member of the renowned Mozart Piano Quintet which undertakes extensive worldwide tours. His chamber music partners include David Geringas, Janine Jansen, Jörg Widmann, Radovan Vlatkovic, Paul Meyer, Lars Vogt, Kolja Blacher, and Sharon Kam. He has appeared at Carnegie Hall, Wigmore Hall, the Seoul Arts Center and the Amsterdam Concertgebouw, as well as at a number of outstanding festivals in Berlin, Schleswig-Holstein, Japan, Ravinia (USA), Australia, Heimbach (“Spannungen”), and Jerusalem. Rohde has performed solo viola concertos with renowned orchestras in Munich, Weimar, Bonn, Hannover, and Lithuania, as well as with chamber orchestras from Munich, Lithuania and Basel, collaborating with conductors such as Kent Nagano, Georg Alexander Albrecht, Paavo Järvi, Massimo Zanetti, and Michael Sanderling. Composers of the likes of Brett Dean, Sören N. Eichberg, Ursula Mamlok, Krystof Maratka, Arydas Malcys, David P. Hefti, and Olli Mustonen have written works for him. From 2013 to 2017 he served as Principal Conductor and Artistic Director of the NFM Leopoldinum Chamber Orchestra in Wroclaw. Starting with the 2017/18 season, he is expanding his conducting activities to other orchestras.
Thus in 2019/20 he will go on tour to Vienna (Musikverein), Hamburg (Laeiszhalle), Budapest, Lviv, Slovenia, and Germany with the Budapest Franz Lizst Chamber Orchestra and with Lviv Symphony Orchestra. His appearances as conductor have already led him to perform at the Philharmonie in Berlin, the Tonhalle in Düsseldorf, the Pablo Casals Festival in Prades (France), and the Wratislawia Cantans Festival in Wroclaw. He has made numerous international radio recordings, as well as CDs for EMI Classics, Decca, CAvI-music, BMG/Sony, MDG, CPO, and Naxos. In 2004, he won the Supersonic Award. Hartmut Rohde plays a viola by Giuseppe Fiorini and a viola by Ivo Iuliano.

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Florian Donderer (violin)

As a chamber musician, soloist, conductor and concertmaster – equally at home on the violin and viola – he is a highly esteemed partner of many renowned musicians and a welcome guest at prestigious chamber music series and festivals. Since 2019, he has been the director of the Rottweil Music Festival Sommersprossen; together with his wife, Tanja Tetzlaff, he curates the chamber music series residenz@sendesaal at Sendesaal Bremen. With the Signum Quartet as its leader, he has travelled to international venues throughout Europe and even to New York‘s Carnegie Hall. As concertmaster and artistic director, he is a guest performer with various European chamber orchestras and a lecturer in violin, chamber music and orchestral playing at numerous universities. He plays a violin made by German violin maker Peter Greiner...
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As a chamber musician, soloist, conductor and concertmaster – equally at home on the violin and viola – he is a highly esteemed partner of many renowned musicians and a welcome guest at prestigious chamber music series and festivals. Since 2019, he has been the director of the Rottweil Music Festival Sommersprossen; together with his wife, Tanja Tetzlaff, he curates the chamber music series residenz@sendesaal at Sendesaal Bremen. With the Signum Quartet as its leader, he has travelled to international venues throughout Europe and even to New York‘s Carnegie Hall.
As concertmaster and artistic director, he is a guest performer with various European chamber orchestras and a lecturer in violin, chamber music and orchestral playing at numerous universities. He plays a violin made by German violin maker Peter Greiner in 2003, as well as bows by Nico Plog from Antwerp.

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Jamie Bergin (piano)

Jonathan Hadas (clarinet)

Anna Reszniak (violin)

Pauline Sachse (viola)

The search for truthful expression, along with the endeavour to forge a poetic narrative of sound – these are the cornerstones of violist Pauline Sachse’s ongoing artistic pursuit. In 2013 she was appointed viola professor at the Carl Maria von Weber School of Music in Dresden. At that point she left her previous solo position at Berlin Radio Symphony Orchestra and resigned as guest professor from the Berlin Hanns Eisler School of Music in order to devote herself fully to her new teaching duties while maintaining her activities as solo and chamber musician. Pauline Sachse is in high demand on the chamber music scene: she performs in recitals with artists such as Isabelle Faust, Tabea Zimmermann, Lars Vogt, Lauma Skride, Christian Tetzlaff,...
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The search for truthful expression, along with the endeavour to forge a poetic narrative of sound – these are the cornerstones of violist Pauline Sachse’s ongoing artistic pursuit.
In 2013 she was appointed viola professor at the Carl Maria von Weber School of Music in Dresden. At that point she left her previous solo position at Berlin Radio Symphony Orchestra and resigned as guest professor from the Berlin Hanns Eisler School of Music in order to devote herself fully to her new teaching duties while maintaining her activities as solo and chamber musician.

Pauline Sachse is in high demand on the chamber music scene: she performs in recitals with artists such as Isabelle Faust, Tabea Zimmermann, Lars Vogt, Lauma Skride, Christian Tetzlaff, Anna Prohaska, Martin Helmchen, Marie-Elisabeth Hecker, Harriet Krijgh, Martin Fröst, Antje Weithaas, Benjamin Schmid, and Janine Jansen. She is regularly invited to appear at important festivals including Salzburg, Heidelberg, Spannungen (Heimbach), Moritzburg, Schwetzingen and Mecklenburg-Vorpommern.

Born in Hamburg, Pauline Sachse was trained as a violist at the Hanns Eisler School of Music, at the Berlin University of the Arts, and at Yale University, under the tutelage of Jesse Levine, Wilfried Strehle and – for many years – Tabea Zimmermann, whose assistant she became at the Hanns Eisler School of Music in 2007. She gained further significant insight from studies with the Alban Berg Quartet.

In ensembles such as the Mahler Chamber Orchestra, Lucerne Festival Orchestra, the Bavarian Radio Symphony and the Berlin Philharmonic, she worked with renowned conductors, including Claudio Abbado, Daniel Barenboim, Mariss Jansons, Simon Rattle, and Seiji Ozawa.
Pauline Sachse combines a variety of artforms in her artistic and educational approach, including classical dance ever since her youth. Today she forms her thoughts not only in sound, but also sculpts them in words and in stone. She makes sculptures, performs interdisciplinary artistic experiments, and publishes articles in her ongoing quest for truthful expression. On the podium, Pauline Sachse’s instrumental partner is the Madame Butterfly viola made by Paolo Maggini in Brescia in 1610.


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Composer(s)

Carl Maria von Weber

Carl Maria von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school. Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German 'nationalist' opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an...
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Carl Maria von Weber was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularised by Mozart and others.

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Camille Saint-Saëns

Camille Saint-Saëns was a French composer, conductor, pianist and organist. He was a musical prodigy, writing his first pieces of music at the age of four and making his concert debut at the age of ten. During this concert he astonished the audience by playing one of the 32 piano sonatas of Beethoven at its request. After his studying at the Conservatory of Paris he followed a career as a church organist at Saint-Merri and later La Madeleine in Paris. He was also a successful freelance composer and pianist in France and abroad. Saint-Saëns initially helped to introduce German composers such as Robert Schumann and Richard Wagner in France. However, from 1870 onwards anti-German sentiments began to arise in France as...
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Camille Saint-Saëns was a French composer, conductor, pianist and organist. He was a musical prodigy, writing his first pieces of music at the age of four and making his concert debut at the age of ten. During this concert he astonished the audience by playing one of the 32 piano sonatas of Beethoven at its request. After his studying at the Conservatory of Paris he followed a career as a church organist at Saint-Merri and later La Madeleine in Paris. He was also a successful freelance composer and pianist in France and abroad.
Saint-Saëns initially helped to introduce German composers such as Robert Schumann and Richard Wagner in France. However, from 1870 onwards anti-German sentiments began to arise in France as a result of the Franco-Prussian War, which enhanced support for the idea of a pro-French musical society. In 1871 Saint-Saëns consequently founded the Société Nationale de Musique together with Romain Bussine, that was devoted to the promotion of French music and organised concerts on which young composers could perform their works.
Saint-Saëns was a keen traveler, and made 179 trips to 27 different countries during his life. He favoured Algeria and Egypt, were he gained inspiration for compositions such as the Suite Algérienne and the Fifth Piano Concerto, also known as The Egyptian.
Saint-Saëns' best-known works include the First Cello Concerto, Third Symphony, the opera Samson et Dalila, Danse Macabre and Le carnaval des animaux, a humorous suite in which various animals are musically portrayed. However, he never wanted the last work to be performed, since it was contrary to his image as a serious composer.
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Press

Play album Play album
01.
Trio for Flute, Cello and Piano in G Minor, Op. 63: I. Allegro moderato
08:01
(Carl Maria von Weber) Pauline Sachse, Anna Reszniak, Jonathan Hadas, Jamie Bergin, Christian Wetzel, Dina Ugorskaja, Andrea Lieberknecht, Maximilian Hornung, Florian Donderer, Hartmut Rohde, Sharon Kam, Tanja Tetzlaff, various
02.
Trio for Flute, Cello and Piano in G Minor, Op. 63: II. Scherzo. Allegro vivace
02:43
(Carl Maria von Weber) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
03.
Trio for Flute, Cello and Piano in G Minor, Op. 63: III. Shephard’s sorrow. Andante espressivo
04:02
(Carl Maria von Weber) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
04.
Trio for Flute, Cello and Piano in G Minor, Op. 63: IV. Finale. Allegro
08:30
(Carl Maria von Weber) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
05.
Caprice sur des airs danis et russes for Flute, Oboe, Clarinet and Piano, Op. 7 : I. Poco allegro
01:42
(Camille Saint-Saëns) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
06.
Caprice sur des airs danis et russes for Flute, Oboe, Clarinet and Piano, Op. 7 : II. Andantino
03:33
(Camille Saint-Saëns) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
07.
Caprice sur des airs danis et russes for Flute, Oboe, Clarinet and Piano, Op. 7 : III. Moderato
01:13
(Camille Saint-Saëns) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
08.
Caprice sur des airs danis et russes for Flute, Oboe, Clarinet and Piano, Op. 7 : IV. Allegro vivace
04:23
(Camille Saint-Saëns) various, Tanja Tetzlaff, Sharon Kam, Hartmut Rohde, Florian Donderer, Maximilian Hornung, Andrea Lieberknecht, Dina Ugorskaja, Christian Wetzel, Jamie Bergin, Jonathan Hadas, Anna Reszniak, Pauline Sachse
09.
Five Fantasies for Oboe, Viola and Piano after Poems by Nikolaus Lenau Op. 28: I. Langsam. Träumerisch
03:19
(August Klughardt) various, Hartmut Rohde, Christian Wetzel, Jamie Bergin
10.
Five Fantasies for Oboe, Viola and Piano after Poems by Nikolaus Lenau Op. 28: II. Leidenschaftlich erregt
02:49
(August Klughardt) various, Hartmut Rohde, Christian Wetzel, Jamie Bergin
11.
Five Fantasies for Oboe, Viola and Piano after Poems by Nikolaus Lenau Op. 28: III. Zart, in ruhiger Bewegung
04:52
(August Klughardt) various, Hartmut Rohde, Christian Wetzel, Jamie Bergin
12.
Five Fantasies for Oboe, Viola and Piano after Poems by Nikolaus Lenau Op. 28: IV. Feurig
02:42
(August Klughardt) various, Hartmut Rohde, Jamie Bergin, Christian Wetzel
13.
Five Fantasies for Oboe, Viola and Piano after Poems by Nikolaus Lenau Op. 28: V. Sehr ruhig
04:33
(August Klughardt) various, Hartmut Rohde, Christian Wetzel, Jamie Bergin
14.
Esquisses Hebraïques for Clarinet, two Violins, Viola and Cello No. 1, Op. 12: I. Lento. Andante con anima
05:27
(Alexander Abramowitsch Krein) various, Tanja Tetzlaff, Florian Donderer, Jonathan Hadas, Anna Reszniak, Pauline Sachse
15.
Esquisses Hebraïques for Clarinet, two Violins, Viola and Cello No. 1, Op. 12: II. Allegro moderato
04:31
(Alexander Abramowitsch Krein) various, Tanja Tetzlaff, Florian Donderer, Jonathan Hadas, Anna Reszniak, Pauline Sachse
show all tracks

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