Secret Charms

CD: Secret charms.
Works of Giuseppe Tartini and the Count of Saint Germain
Coviello Classics 2022

Mojca Gal (Violine) - Anne Simone Aeberhard (Flöte) - Thomas Leininger (Cembalo) - Bruno Hurtado Gosalvez (Violoncello). 

CD: Pregon del cantante vagabundo

Thierry Dagon, 30.06.2021: Schweizerische Musikzeitung

Musiques de la Renaissance et d’aujourd’hui, interprétées avec des instruments historiques.

Croisée des chemins. Voyage. Il n’y a plus de temps. Plus d’apparences. Tu te crois au Moyen-Âge, tu es aujourd’hui. Tes oreilles se laissent aller aux mignardises de la Renaissance française, elles se retrouvent en Espagne. Ou peut-être pas. Au travers des traverses. Tours et détours au gré d’un beau parcours qui revêt des atours de rêve éveillé. Quelques très beaux poèmes de Royds Fuentes-Imbert ouvrent les portes à des musiques de Bardia Charaf (*1982), d’Étienne Moulinié (1599–1676), de Pierre Guédron (1570–1620) et quelques pages traditionnelles. À écouter d’une traite en laissant voguer son imaginaire. L’Ensemble Ad Fontes fait florès dans des interprétations très habitées. Il nous prend par la main avec douceur sur cette route colorée et l’on se laisse faire avec bonheur.

Unsere CD, herausgegeben in 2019 bei ARS Production, präsentiert eine poetische und leicht exotische Auswahl an Werken von Bardia Charaf, Französischen Musik des 17. Jahrhunderts und traditionellen Balladen:

Das Bild des wandernden Sängers oder des singenden Wanderers, eine bekannte Metapher für das Leben an sich, wird auf dieser CD auf eine neue Art umgesetzt. Die musikalische Reise nimmt den Zuhörer mit von Spanien in den Orient, daran erinnernd, wie sehr orientalische Klänge die spanische Musik über Jahrhunderte beeinflusst hat. Der Schweizer Komponist Bardia Charaf interessiert sich besonders für frühe Musik und traditionelle Musik aus dem Nahen Osten. (mehr)

Die CD ist bei unseren Konzerten erhältlich, oder hier bestellbar: schreiben Sie uns an! (mehr)

 

Our recent release with ARS Production presents a poetic and slightly exotic repertory with works of Bardia Charaf, French 17th century and traditional music:

The idea of the wandering singer or the singing wanderer, a common metaphor for life itself, is employed in a new way on this recording. The musical journey takes the listener from Spain to the Orient, reminding how oriental sounds have shaped Spanish music for centuries. Bardia Charaf has a particular interest for earlier repertories, including traditional music of the Middle East. (more)

The CD can be obtained in our concerts, or through the following website (more...)

Supersonic Pizzicato, 27.07.2022, Uwe Krusch

The fact that violinists in particular are sometimes perceived only as technically overwhelming players, while the musical statement is missed, is not only the case today. As early as the 18th century, Tartini is said to have characterized another violinist in this way. Tartini himself, on the other hand, is said to have sung the violin and not played it. In this case, one may assume both the technically accomplished and the interpretatively mature player. Similar things were said about Count St. Germain. It was only possible for these violinists to show a personal style if they embellished the written score with their, usually improvised and situation-related, ornamentation possibilities, and there were many of them. And all these embellishments served to instrumentally realize the human voice and thus also the singers’ idiosyncrasies. Mojca Gal and the Ensemble Ad Fontes have selected works by these two composers for their CD. One readily concedes that the violinist takes the idea of embellished presentation to heart and makes it audible. At first, one might get the impression that she acts in a restrained manner and avoids any form of virtuoso habitus, so that one might fear a too monotonous performance. But this little showy line then turns out to be the great strength. For the interpretations remain exciting and intense throughout, but never become external and striking. Rather, Gal conquers an actorically affected depth, as the music at the time of the two composers wanted. The Ensemble Ad Fontes adds to this with a nuanced and colorful accompaniment. In the Sonata for two violins Anne Simone Aeberhard takes over the second melody part with the recorder, which cannot be read in the booklet, but can be heard.