Elias David Moncado & Hansjacob Staemmler

Violin Sonatas

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085534920
Catnr: AVI 8553492
Release date: 22 April 2022
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Label
CAvi
UPC
4260085534920
Catalogue number
AVI 8553492
Release date
22 April 2022
Album
Artist(s)
Composer(s)
EN
DE

About the album

ELIAS DAVID MONCADO ; VIOLIN SONATAS HINDEMITH POULENC BARTOK

For your debut album, what motivated you to choose a rather difficult program with works by Hindemith, Bartók, and Poulenc? Are they currently your favorite composers? Have you performed these works often in recitals? As an artist, I find it fascinating to observe how composers reacted to current affairs: whenever they had to deal with a totalitarian regime, persecution, resistance, or exile.

Each of these three composers dealt in some special way with psychological stress and anxiety in their lives. In the Poulenc sonata I find a concealed passion, harsh brutality, and overwhelming pain. The Hindemith sonata contrasts and juxtaposes sombre, dancelike, and heroic elements. The timbres in the Bartók are incredibly elaborate, and a general mood of suffering imbues the entire work.

What makes works of the early 20th century so interesting for a young violinist such as yourself? Do you find them easier or more difficult than music from the 18th or 19th centuries?

For me, the 20th century is one of the most thrilling and drastic periods in history: this is reflected in the music. Composers took greater risks and experimented with a number of new playing techniques. I would find it hard to say which periods I generally find easier or more difficult. Each style has its own particular challenges; still, I generally manage to develop a good rapport with all the pieces I work on. Works of the 18th and 19th centuries are evidently more often performed and recorded than those of the 20th.

The great number of “benchmark recordings” of works of the 18th and 19th centuries means that you tend to be compared with those interpretations and placed under greater scrutiny. Certain personal approaches adopted by famous artists have become widespread. In works of the 20th century, however, I feel a much greater artistic freedom. (excerpt from the booklet interview)
ELIAS DAVID MONCADO ; GEIGENSONATEN HINDEMITH POULENC BARTOK

Was hat Sie dazu bewogen, für Ihr Debütalbum ein eher schwieriges Programm mit Werken von Hindemith, Bartók und Poulenc zu wählen? Sind das derzeit Ihre Lieblingskomponisten? Haben Sie diese Werke schon oft in Konzerten aufgeführt? Als Künstlerin finde ich es faszinierend zu beobachten, wie Komponisten auf das Zeitgeschehen reagierten: immer dann, wenn sie sich mit einem totalitären Regime, Verfolgung, Widerstand oder Exil auseinandersetzen mussten.

Jeder dieser drei Komponisten hat sich auf besondere Weise mit psychischem Stress und Ängsten in seinem Leben auseinandergesetzt. In der Poulenc-Sonate finde ich eine verborgene Leidenschaft, harte Brutalität und überwältigenden Schmerz. Die Hindemith-Sonate kontrastiert und stellt düstere, tänzerische und heroische Elemente nebeneinander. Die Klangfarben in der Bartók-Sonate sind unglaublich raffiniert, und eine allgemeine Leidensstimmung durchdringt das gesamte Werk.

Was macht die Werke des frühen 20. Jahrhunderts für eine junge Geigerin wie Sie so interessant? Fallen sie Ihnen leichter oder schwerer als Musik aus dem 18. oder 19. Jahrhundert?

Das 20. Jahrhundert ist für mich eine der spannendsten und einschneidendsten Epochen der Geschichte: Das spiegelt sich in der Musik wider. Die Komponisten gingen größere Risiken ein und experimentierten mit einer Reihe neuer Spieltechniken. Es fällt mir schwer zu sagen, welche Epochen ich generell als leichter oder schwieriger empfinde. Jeder Stil hat seine eigenen Herausforderungen; dennoch gelingt es mir im Allgemeinen, ein gutes Verhältnis zu allen Stücken zu entwickeln, an denen ich arbeite. Die Werke des 18. und 19. Jahrhunderts werden offensichtlich häufiger aufgeführt und aufgenommen als die des 20.

Die große Anzahl von "Referenzaufnahmen" von Werken des 18. und 19. Jahrhunderts führt dazu, dass man mit diesen Interpretationen verglichen und einer genaueren Prüfung unterzogen wird. Bestimmte persönliche Herangehensweisen berühmter Künstler haben sich durchgesetzt. Bei den Werken des 20. Jahrhunderts hingegen spüre ich eine viel größere künstlerische Freiheit. (Auszug aus dem Interview im Booklet)

Artist(s)

Hansjacob Staemmler (piano)

Hansjacob Staemmler is Professor of Chamber Music and Piano Accompaniment/Coaching at Frankfurt University of Music and Performing Arts, after having previously taught at the music universities of Berlin, Freiburg, and Karlsruhe. For many years, he has been pursuing a wide-ranging career as soloist, chamber musician, and vocal accompanist. His activities focus on chamber music in a number of different formations. Already during his studies, he performed on a regular basis as a chamber musician with soloists of the Berliner Philharmoniker orchestra in the Ensemble Berlin. Since then, Hansjacob Staemmler has been collaborating with renowned instrumentalists and vocalists in a great variety of chamber music formations, ranging from duos to sextets. As a piano soloist, he has given recitals as well as...
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Hansjacob Staemmler is Professor of Chamber Music and Piano Accompaniment/Coaching at Frankfurt University of Music and Performing Arts, after having previously taught at the music universities of Berlin, Freiburg, and Karlsruhe. For many years, he has been pursuing a wide-ranging career as soloist, chamber musician, and vocal accompanist. His activities focus on chamber music in a number of different formations. Already during his studies, he performed on a regular basis as a chamber musician with soloists of the Berliner Philharmoniker orchestra in the Ensemble Berlin.
Since then, Hansjacob Staemmler has been collaborating with renowned instrumentalists and vocalists in a great variety of chamber music formations, ranging from duos to sextets. As a piano soloist, he has given recitals as well as concerts with orchestras. His artistic pursuits are likewise documented on several CD releases, along with numerous recordings for radio broadcast (Deutschlandradio Kultur, Bayrischer Rundfunk, Südwestfunk, and others). “Composing Beethoven,” Staemmler’s most recent chamber music CD featuring Beethoven’s clarinet trios with Kilian Herold (clarinet) and Peter-Philipp Staemmler (cello), was nominated for the German Record Critics’ Prize.
In duo formation with his brother, Peter-Philipp Staemmler (cello), Hansjacob was awarded the First Prize at the 2009 National Music Competition and chosen for the “Young Artist Concerts” national selection. Hansjacob Staemmler studied piano with Prof. Georg Sava at the Hanns Eisler University of Music in Berlin, completing his training with active participation in masterclasses imparted by Daniel Barenboim and Menahem Pressler. Oboist Burkhard Glaetzner has exerted a decisive influence on Staemmler’s artistic development: with Glaetzner, he has premiered a number of works by major contemporary composers.


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Elias David Moncado (violin)

21-year-old German-Spanish-Malaysian violinist Elias David Moncado is the 1st prize winner of the 2021 International Valsesia Musica competition and 2021 International Vladimir Spivakov competition, as well as the youngest ever winner of the 1st grand prize as well as 10 special prizes at the 2019 International Karol Lipinski Violin Competition in Poland. Additionally, he was the youngest prizewinner of the 2019 International Sendai Violin Competition Japan and of the 2017 Concours International de l’Orchestre Philharmonique of Morocco, and was a prizewinner at the Int. Louis Spohr and Andrea Postacchini violin competitions. With 10, he was the youngest ever winner of the Europäischer Hoffnungspreis of Pro Europa. With 12, he debuted at the Berliner Philharmonie with Deutsches Kammerorchester Berlin. As a soloist he...
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21-year-old German-Spanish-Malaysian violinist Elias David Moncado is the 1st prize winner of the 2021 International Valsesia Musica competition and 2021 International Vladimir Spivakov competition, as well as the youngest ever winner of the 1st grand prize as well as 10 special prizes at the 2019 International Karol Lipinski Violin Competition in Poland.
Additionally, he was the youngest prizewinner of the 2019 International Sendai Violin Competition Japan and of the 2017 Concours International de l’Orchestre Philharmonique of Morocco, and was a prizewinner at the Int. Louis Spohr and Andrea Postacchini violin competitions. With 10, he was the youngest ever winner of the Europäischer Hoffnungspreis of Pro Europa.
With 12, he debuted at the Berliner Philharmonie with Deutsches Kammerorchester Berlin. As a soloist he performed with Bayerischer Rundfunk Symphony Orchestra, Frankfurt Radio Symphony Orchestra, MAV Budapest Symphony Orchestra, Freiburg Philharmonic Orchestra and Sendai Philharmonic Orchestra Japan, amongst others.
He was a soloist at numerous festivals like the Schleswig-Holstein Music Festival, Festspiele Mecklenburg Vorpommern, Brandenburger Sommer, Rhein-Ruhr-Festival/ Recklinghausen, Next Generation Festival Bad Ragaz, Printemps Musical des Alizés, Essaouira, Morocco, Mozartfestival Schloss Schwetzingen and Kissinger Musiksommer.
He studied with Prof. Latica Honda-Rosenberg and Prof. Zakhar Bron, and is currently studying at the Mozarteum Salzburg with Prof. Pierre Amoyal. He plays a violin by Giambattista Rogeri, Brescia (around 1700) from the Deutsche Stiftung Musikleben Hamburg.

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Composer(s)

Béla Bartók

Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created...
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Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created his own musical idiom from folk music. Because of this, his composition style was flexible to other musical trends, without having to violate his own view points. For example, his two Violin sonates come close to Schoenberg's free expressionism, and after 1926 his music started to show neoclassicistic tendencies, comparable to Stravinsky's music. Bartók was not just interested in Hungarian folk music, but could appreciate musical folklore from all of the Balkan, Turkey and North-Africa as well.
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Paul Hindemith

Paul Hindemith studied violin at the Dr Hoch's Konservatorium of Frankfurt and played from 1915 to 1923 in the Frankfurt opera. From 1921 to 1929 he played viola in the Amar Quarter, where he was advocate for contemporary music. Throughout the years, he held multiple positions as teachers, but he remained most popular as a violist. During the Second Worldwar he fleed to the USA and was given the American nationality in 1948, Later, he returned to Europe to teach at the university of Zürich. His use rhythm, called 'Motorik' by himself (a combination of Motor and Musik) is piercing, and at times even tormenting. It echoes the arrival of industralisation and the motor, as Hindemith opposes any form of sentimentality, psychology...
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Paul Hindemith studied violin at the Dr Hoch's Konservatorium of Frankfurt and played from 1915 to 1923 in the Frankfurt opera. From 1921 to 1929 he played viola in the Amar Quarter, where he was advocate for contemporary music. Throughout the years, he held multiple positions as teachers, but he remained most popular as a violist. During the Second Worldwar he fleed to the USA and was given the American nationality in 1948, Later, he returned to Europe to teach at the university of Zürich.
His use rhythm, called "Motorik" by himself (a combination of Motor and Musik) is piercing, and at times even tormenting. It echoes the arrival of industralisation and the motor, as Hindemith opposes any form of sentimentality, psychology or personality. This way, Hinemith created shrill, neoclassicistic music (Gebrauchsmusik, music with a social or political aim). His body of works is quite extensive, with more than 100 compositions in all kinds of genres. Even though he was an advocate of contemporary music, he never felt affiliated with dodecaphony. He wrote several theoretic treatises, among which his Unterweisung im Tonsatz from 1937 in which Hindemith offers several systems in which the tension between intervals, harmony and melody is analysed and elevated into a compositional technique.


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Francis Poulenc

Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was 'L'art pour l'art': they composed music for the sake of...
more
Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was "L'art pour l'art": they composed music for the sake of music, without any 'meaning' or extramusical intents. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.

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