Born in Bolzano (Bozen, Italy) in 1934, Herbert Rosendorfer is a lawyer who introduced himself as an author in 1966 with his short story “Die Glasglocke.” This was followed by many novels, stage works, scripts and short stories, which revealed him to be an imaginative and multi-faceted author. A socio-critical satirist, he writes with a well-balanced mixture of wit, thought-provoking ideas and absurd-grotesque elements. All this is also found in his novel “Briefe in die chinesische Vergangenheit” (Letters to China’s Past) of 1983, which ranks among his most well-known books. Here the Chinese Kao-Tai travels from the 10th century to the Munich of the 20th century. In addition to his legal activities, Rosendorfer is honorary professor for contemporary Bavarian literature at the University of Munich and obtained the Bavarian Literature Prize in 1999.
Bach, Concerto for three violins in D major, BWV 1064
The French violinist David Grimal plays the ex-Roederer Stradivarius of 1710. He performs here together with his former teacher Régis Pasquier, in whose class at the Paris Conservatoire he was accepted at the age of 16. Pasquier plays the Helvetika Stradivarius of 1686. The Italian violinist Federico Agostini is known as the long-standing concertmaster and soloist of the ensemble “I Musici di Roma.” He plays the ex-Busch-Guadagnini of 1783.
Bach, Suite for Solo Cello in D major, BWV 1012
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in C minor, BWV 1011
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, English Suite No. 3 in G minor, BWV 808
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Bach, Suite for Solo Cello in E flat major, BWV 1010
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in C major, BWV 1009
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in D minor, BWV 1008
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in G major, BWV 1007
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, English Suite No. 2 in A minor, BWV 807
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.