“The soloist Rebekka Hartmann hits the right note. Sometimes melancholy, sometimes disturbing, then again encouraging or encouraging – music as a cosmos of the soul, shaded and at the same time illuminating. ”
– THE ORCHESTRA –
Violinist Rebekka Hartmann plays Anders Eliasson „In Medias“
Violinist Rebekka Hartmann plays Anders Eliasson „In Medias“ on the Violin
The Pièces de Clavecin for solo cembalo are among the most popular works by great French baroque master and Bach contemporary Jean-Philippe Rameau. Eugène Ysaÿe, leading violinist of his time, outstanding representative of the Belgian school and prominent conductor and composer, arranged four of these pieces for violin and piano.
Margarita Oganesjan has taken Ysaÿe’s piano arrangement and created a progressive, personal arrangement for the Hartmann/Oganesjan duo.
Allemande, Rappel des Oiseaux and the final piece, Tambourin, were taken from the first suite of the Deuxième Livre, which appeared in print in 1724.
Ysaÿe took the third movement, the Menuet, from the Nouvelles Suites, the third book of the Pièces de Clavecin.
In Ysaÿe’s day it was very fashionable to arrange popular works from various eras, in particular the baroque and classical periods, for violin recitals and other chamber music ensembles. Fritz Kreisler, Johan Halvorsen and Heinrich Wilhelm Ernst are other examples of the popular arrangements of the time.
Rebekka Hartmann & Margarita Oganesjan perform “Pièces de Clavecin” by Rameau-Ysaÿe
Rebekka Hartmann & Margarita Oganesjan perform “Pièces de Clavecin” by Rameau-Ysaÿe
When Christoph Schlüren, a wonderful musician, suggested Anders Eliasson’s work „In Medias“, for solo violin, my first thought was: I wonder what this piece of music sounds like bearing the title „In Medias“. When looking closer and immersing myself into the very special sounds of this masterpiece, I came under its spell. Anders Eliasson’s tonal expression is incomparable! Eliasson Managed to find a completely new access to tonality and delved into it again and again. Traditionally, tonality has always been concentrated on a more or less clearly defined centre also said to be the fundamental tone or tonic note of a particular key. With Eliasson’s music there are always several centres active at the same time. Imagine a space shuttle flies between several force fields (suns, planets, other attractors). How much energy is activated and released there! The same applies to Eliasson’s „In Medias“. The music is constantly tense and vibrating, everything is moving and never stops! In an obituary for Eliasson, Christoph Schlüren proved the point when he wrote::
“The power, the momentum which is the basis of musical development, never stops. From the beginning, opposing forces work against one another and even the final notes hover in the air without landing. This music is airbourne and never touches the ground!“
For a long time I have been looking for compositions that I can combine with J.S.Bach’s Partitas and Sonatas without having to doubt their compatibility. “In Medias” by Anders Eliasson stands for me on a pedestal with the transcendent energy of Bach’s solo works.
Violinist Rebekka Hartmann performs Solo Sonata No. 3 “Ballade” by Eugène Ysaÿe
Violinist Rebekka Hartmann performs Solo Sonata No. 3 “Ballade” by Eugène Ysaÿe
Eugène Ysaÿe (1858-1931), leading violin virtuoso of the Belgian school and the most important Walloon composer of the 20th century, wrote his six Sonatas for Solo Violin in 1923. Each one is dedicated to a fellow violinist and makes reference to their personal style. Ysaÿe wrote Sonata No. 3 in D minor for George Enescu, the exceptional Romanian violinist, composer, conductor and pianist. Written as a single movement, the work known as “Ballade” is particularly compact and compelling.
Out now
Out of the shadow
Rebekka Hartmann & Salzburg Chamber Soloists
Lavard Skou Larsen, September 2018
Paul Juon
“[……..] in all aspects, an artistical interpretation….”
(Pizzicato)
Views from Ararat
“[…..] This record is a musical treat for all appreciative fans of chamber music …….”
(Radio Bremen)
Biography
Rebekka Hartmann began playing the violin at the age of five with the Suzuki teacher Helge Thelen. She studies in Munich with Prof. Andreas Reiner and in Los Angeles with Prof. Alice Schoenfeld. She receives further valuable impulses from international master classes.
Rebekka Hartmann has won numerous national and international competitions, including the Henri Marteau Violin Competition, Lichtenberg (2005), the Pacem in Terris Competition, Bayreuth (2004), and the Jascha Heifetz Scholarship, USA (2002).
Her international concert activities bring her together with conductors such as Christoph Eschenbach, Esa Pekka Salonen, Enoch zu Guttenberg and Kent Nagano. Performances as a soloist take her throughout Europe, Asia and the USA, as well as major festivals such as the Schleswig Holstein Music Festival or the Weilburger Schlosskonzerte.
Her repertoire covers the entire spectrum of violin literature from the early baroque to contemporary music. Numerous CD recordings have been released, including on the Munich label Farao Classics with solo works by Bach, Hindemith and B.A. Zimmermann. For her CD “Birth of the Violin” she received the ECHO KLASSIK Prize for the “Best Solo Recording of the Year” in 2012. In 2015 a CD “Views from Ararat” with works by Armenian and Turkish composers was released with her piano duo partner Margarita Oganesjan.
In September 2017 she produced a CD with the Salzburg Chamber Soloists conducted by Lavard Skou Larsen at Solo Musica.
Rebekka Hartmann plays a violin made by Antonio Stradivari in 1675, which is now named after her. „Hartmann“ Stradivari
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