Tanja Tetzlaff continues to perform an extensive range of works, embracing both core repertoire and
contemporary compositions of the 20th and 21st centuries. Her recording of the cello concertos by
Wolfgang Rihm and Ernst Toch was released by NEOS.
After enjoying great success in numerous international competitions, she has subsequently performed with leading orchestras such as the Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Konzerthausorchester Berlin, Antwerp Symphony Orchestra, Orquesta Nacional de España, Die Deutsche Kammerphilharmonie Bremen, Orchestre Philharmonique de Radio France, Orchestre de Paris, and Cincinnati Symphony Orchestra. She has worked with notable conductors such as Lorin Maazel, Daniel Harding, Sir Roger Norrington, Philippe Herreweghe, Vladimir Ashkenazy, Dmitrij Kitajenko, Paavo Järvi, Michael Gielen, and Heinz Holliger, amongst others.
Tanja Tetzlaff regularly appears at world-renowned chamber music series and festivals, such as the Heidelberger Frühling as well as the festivals in Bergen, Baden-Baden and Edinburgh. She is a member of the core ensemble of the Heimbach Festival Spannungen. Her regular chamber music partners include Lars Vogt, Leif Ove Andsnes, Alexander Lonquich, Antje Weithaas, Florian Donderer, Baiba and Lauma Skride, Christian Tetzlaff, Carolin Widmann, Dina Ugorskaja and Sharon Kam.
Tanja Tetzlaff is a member of the Tetzlaff Quartett, she founded in 1994 together with her brother Christian Tetzlaff, Elisabeth Kufferath and Hanna Weinmeister. The quartet is enjoying an extreme high reputation.
Tanja Tetzlaff and her duet partner Gunilla Süssmann have recorded three CDs together. The first two were released by CAvi-music featuring Brahms (2012) and a Nordic-Russian programme (2008), and their third disc was released in spring 2018 featuring works by Finnish composer Einojuhani Rautavaara.
Tanja studied at the Musikhochschule Hamburg with Bernhard Gmelin and at the Mozarteum in Salzburg with Heinrich Schiff, and plays a cello by Giovanni Baptista Guadagnini from 1776.
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.
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.