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La Furia
Various composers

Mayke Rademakers

La Furia

Price: € 20.95 14.67
Format: SACD
Label: Challenge Classics
UPC: 0608917269024
Catnr: CC 72690
Release date: 29 January 2016
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Label
Challenge Classics
UPC
0608917269024
Catalogue number
CC 72690
Release date
29 January 2016

""La Furia", "Stagioni" and "Johann Sebastian Bach The Cello Suites" which are very, very special CDs by cellist Mayke Rademakers."

Stretto, 16-2-2018
Album
Artist(s)
Composer(s)
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About the album

Mayke Rademakers: All my life, I’ve played a lot of Spanish music, and so has my partner and duo-pianist Matthijs Verschoor. Both of us have worked and studied in Spain. And I spent some time immersing myself in Buenos Aires, because I wanted to see the tango with my own eyes: how people perceived it, how they danced it in the streets and on public squares. At a certain point we got this sense of wanting to do something with it. We had a number of works on our repertoire and so we investigated how we could combine them with new pieces, music we still needed to discover, to produce a great CD. We found the music we were looking for. We put together an exciting combination of Spanish and South American music. In a nutshell: flamenco and tango.

Spanish music takes folk music as its starting point. La Furia is based on that idea. This music is about the heat, the poverty, about lifestyle and passion. La furia literally means anger or aggression. But in Latin, the word has very positive connotations. It means doing what your instincts tell you, acting with passion, giving it your all. The tango flamenco spread from Spain to South America. The tango is truly South American. Although it does show some flamenco influences, the tango definitely found its own form. Perhaps the biggest difference is that the tango is ‘urban’, because it arose in Buenos Aires. The flamenco is ‘rustic’, because it arose in the countryside.
Rademakers speelt klassieke werken met de energie en passie van populaire muziek
Dit is het tweede album van cellist Mayke Rademakers. Het bevat een goed doordachte selectie van Spaanse en Latijns-Amerikaanse muziek die gebaseerd is op flamenco en tango.

Mayke Rademakers schreef over haar album: “Ik heb al mijn hele leven veel Spaanse muziek gespeeld, net als mijn partner en duo-pianist Matthijs Verschoor. We hebben beide in Spanje gewerkt en gestudeerd. Daarnaast heb ik me een tijdje verdiept in Buenos Aires, omdat ik met mijn eigen ogen wilde zien hoe de mensen de tango ervaarden en erop dansten op pleinen en straten. Op een bepaald moment hadden we het gevoel dat we er iets mee moesten doen. We hadden een aantal werken in ons repertoire en onderzochten hoe we deze konden combineren met nieuwe werken, om een groots album te produceren. We hebben de muziek gevonden die we zochten. We hebben een opwindend programma van Spaanse en Zuid-Amerikaanse muziek gemaakt. In een notendop: flamenco en tango.”

Spaanse muziek neemt volksmuziek als uitgangspunt. La Furia is gebaseerd op dit idee. Deze muziek gaat over de hitte, de armoede, over levensstijl en passie. La furia betekent letterlijk woede of agressie. Maar in het Latijn heeft het een positieve betekenis. Het betekent: doen wat je instinct je vertelt, handelen met passie, alles geven wat je hebt.

De ‘tango flamenco’ verspreidde zich van Spanje naar Zuid-Amerika. De tango is echt Zuid-Amerikaans, ook al kent het invloeden van de flamenco. Het grootste verschil is dat de tango ontstond in de stad (Buenos Aires), en de flamenco op het platteland.
Die niederländische Cellistin Mayke Rademakers war schon immer stark beeinflusst von der Musik Spaniens und Lateinamerikas, so dass sie ein Teil ihres Studiums in Spanien und Bueonos Aires verbrachte, um dieser Musik noch näher zu kommen und sie an deren Entstehungsorten wirklich und wahrhaftig zu erleben. Ähnlich ging es Rademakers Duo-Partner Matthijs Verschoor, so dass sie aus dieser Erfahrung mehr schöpfen und ihr Wissen transportieren wollten. Entstanden ist mit 'La Furia' ein Querschnitt durch die spanische und Lateinamerikanische Musikgeschichte - eine Geschichte des Flamencos und des Tangos.

Wie die spanische Musik nahmen Rademakers und Verschoor auch die Volksmusik als Ausgangspunkt ihrer Reise, eine Musik über Hitze, Armut, das Leben und die Leidenschaft. 'La Furia' bedeutet wörtlich übersetzt 'Ärger' oder 'Aggression', wird aber in der spanischen Welt viel positiver konnotiert. Hier steht es eher dafür, seinem Instinkt zu folgen, mit Leidenschaft zu handeln und sein Bestes zu geben. Rademakers und Verschoor haben zu Recht dieses Leitmotiv für ihre Einspielung gewählt und bringen mit viel Leidenschaft den Flamenco und den Tango zu uns.

Artist(s)

Mayke Rademakers (cello)

Mayke Rademakers is a renowned classical solo cellist, improvisor and recording artist. Mayke gave numerous concerts all over Europe and the US. Her playing and recordings are unanimously praised by the international press. She had the privilege to study with the famous teachers Navarra and Starker. Mayke is the first in the history of music who composed a substantial solo work for E-cello.
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Mayke Rademakers is a renowned classical solo cellist, improvisor and recording artist. Mayke gave numerous concerts all over Europe and the US. Her playing and recordings are unanimously praised by the international press. She had the privilege to study with the famous teachers Navarra and Starker. Mayke is the first in the history of music who composed a substantial solo work for E-cello.

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Matthijs Verschoor (piano)

Matthijs Verschoor studied at the Sweelinck Conservatory in Amsterdam and won several awards, which allowed him to continue studying in London and Rome. Among his teachers were Bart Berman, John Bingham and Willem Brons. He has given recitals throughout Europe and he also performed as a soloist with various orchestras. In radio broadcasts, he was told by many different works, from Bach to Messiaen and also a lesser known composers like Korngold. Early in his career he has recorded for labels such as RCA, Etcetera and Erasmus, with works by Bach, Scarlatti, Handel, Beethoven, Chopin, Korngold, Rachmaninoff and Scriabin. In Listen, he was named one of the elect, inGramophone a superb pianist. Recently, on Mayke & Matthijs silver medal awarded...
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Matthijs Verschoor studied at the Sweelinck Conservatory in Amsterdam and won several awards, which allowed him to continue studying in London and Rome. Among his teachers were Bart Berman, John Bingham and Willem Brons. He has given recitals throughout Europe and he also performed as a soloist with various orchestras. In radio broadcasts, he was told by many different works, from Bach to Messiaen and also a lesser known composers like Korngold. Early in his career he has recorded for labels such as RCA, Etcetera and Erasmus, with works by Bach, Scarlatti, Handel, Beethoven, Chopin, Korngold, Rachmaninoff and Scriabin. In Listen, he was named one of the elect, inGramophone a superb pianist. Recently, on Mayke & Matthijs silver medal awarded by the Société Académique Arts, Sciences & Lettres for their commitment to French music. Matthijs gave masterclasses at the Trinity College of Music in London, the Royal Scottish Academy of Music and Drama, Glasgow, Berenguela Santiago de Compostela, the Gutenberg University in Mainz and the Universität der Künste in Berlin. Matthijs Steinway Artist since 2011.

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Composer(s)

Enrique Granados

Enrique Granados Campiña was born in Lleida, Spain, the son of Calixto Granados, a Spanish army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnetand and Joan Baptista Pujol. In 1887, he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the...
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Enrique Granados Campiña was born in Lleida, Spain, the son of Calixto Granados, a Spanish army captain, and Enriqueta Campiña. As a young man he studied piano in Barcelona, where his teachers included Francisco Jurnetand and Joan Baptista Pujol. In 1887, he went to Paris to study. He was unable to become a student at the Paris Conservatoire, but he was able to take private lessons with a conservatoire professor, Charles-Wilfrid de Bériot, whose mother, the soprano Maria Malibran, was of Spanish ancestry. Bériot insisted on extreme refinement in tone production, which strongly influenced Granados’s own teaching of pedal technique. He also fostered Granados's abilities in improvisation. Just as important were his studies with Felip Pedrell. He returned to Barcelona in 1889. His first successes were at the end of the 1890s, with the zarzuela Maria del Carmen, which attracted the attention of KingAlfonso XIII.
In 1911 Granados premiered his suite for piano Goyescas, which became his most famous work. It is a set of six pieces based on paintings of Francisco Goya. Such was the success of this work that he was encouraged to expand it. He wrote an opera based on the subject in 1914, but the outbreak of World War I forced the European premiere to be canceled. It was performed for the first time in New York City on 28 January 1916, and was very well received. Shortly afterwards, he was invited to perform a piano recital for President Woodrow Wilson. Prior to leaving New York, Granados also made live-recorded player piano music rolls for the New-York-based Aeolian Company's "Duo-Art" system, all of which survive today and can be heard – his very last recordings.
The delay incurred by accepting the recital invitation caused him to miss his boat back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry SS Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German World War I policy of unrestricted submarine warfare. In a failed attempt to save his wife Amparo, whom he saw flailing about in the water some distance away, Granados jumped out of his lifeboat and drowned. However, the ship broke in two parts and only one sank (along with 80 passengers). Ironically, the part of the ship that contained his cabin did not sink and was towed to port, with most of the passengers, except for Granados and his wife, on board. Granados and his wife left six children: Eduard (a musician), Solita, Enrique (a swimming champion), Víctor, Natàlia, and Francisco.

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Manuel de Falla

From the end of 1890, de Falla studied piano at the Real Conservatorio Superior de Música de Madrid in Madrid under José Tragó and Felipe Pedrell. Under their influence, he got interested into the native Spanish music, especially the flamenco music of Andalusia and more specifically the cante jondo, of which he publiced a manuscript called El cante jondo. Influences of this can be found throughout his body of works. His first major work was an opera (zarzuela) in one act from 1905 La vida breve, which did not premier until 1913.  From 1907 to 1914 De Falla stayed in Paris, where he got inspired by composers such Maurice Ravel, Claude Debussy and Paul Dukas. During this time, he wrote little music. Much of his much most...
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From the end of 1890, de Falla studied piano at the Real Conservatorio Superior de Música de Madrid in Madrid under José Tragó and Felipe Pedrell. Under their influence, he got interested into the native Spanish music, especially the flamenco music of Andalusia and more specifically the cante jondo, of which he publiced a manuscript called El cante jondo. Influences of this can be found throughout his body of works. His first major work was an opera (zarzuela) in one act from 1905 La vida breve, which did not premier until 1913. From 1907 to 1914 De Falla stayed in Paris, where he got inspired by composers such Maurice Ravel, Claude Debussy and Paul Dukas. During this time, he wrote little music. Much of his much most famous works were composed upon arrival in Madrid at the start of the First World War, such as his Noches en los jardines de España, El amor brujo and El corregidor y la molinera, which after an adaption is now know as El sombrero de tres picos. From 1921 to 1939, he lived in Granada where composed his El retablo de maese Pedro. The harpsichord part was specifically written for Wanda Landowska. Slowly, the Spanish folk music influences decreased and he adopted a more neo-classicistic style.

In 1939 De Falla moved to Argentina, where he died in 1946.


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Alberto Ginastera

Alberto Evaristo Ginastera (Spanish pronunciation  April 11, 1916 – June 25, 1983) was an Argentine composer of classical music. He is considered one of the most important 20th-century classical composers of the Americas. Ginastera was born in Buenos Aires to a Catalan father and an Italian mother. During the last few years of his life, he preferred to pronounce his surname in its Catalan pronunciation, with a soft 'G' as in 'George' rather than a Spanish 'J' sound. In fact this would be the local Argentine pronunciation of his name if it were spelled Yinastera or Llinastera. Ginastera studied at the conservatory in Buenos Aires, graduating in 1938. As a young professor, he taught at the Liceo Militar General San Martín. After a visit to the United States in 1945–47, where he studied with Aaron Copland at Tanglewood, he returned to Buenos Aires and co-founded the League of Composers. He held...
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Alberto Evaristo Ginastera (Spanish pronunciation April 11, 1916 – June 25, 1983) was an Argentine composer of classical music. He is considered one of the most important 20th-century classical composers of the Americas. Ginastera was born in Buenos Aires to a Catalan father and an Italian mother. During the last few years of his life, he preferred to pronounce his surname in its Catalan pronunciation, with a soft 'G' as in 'George' rather than a Spanish 'J' sound. In fact this would be the local Argentine pronunciation of his name if it were spelled Yinastera or Llinastera.
Ginastera studied at the conservatory in Buenos Aires, graduating in 1938. As a young professor, he taught at the Liceo Militar General San Martín. After a visit to the United States in 1945–47, where he studied with Aaron Copland at Tanglewood, he returned to Buenos Aires and co-founded the League of Composers. He held a number of teaching posts. Among his notable students were Ástor Piazzolla (who studied with him in 1941), Alcides Lanza, Waldo de los Ríos, Jacqueline Nova and Rafael Aponte-Ledée. See: List of music students by teacher: G to J#Alberto Ginastera.
Ginastera moved back to the United States in 1968 and then in 1970 to Europe. He died in Geneva, Switzerland, at the age of 67 and was buried in the Cimetière des Rois there.

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Gaspar Cassadò

Gaspar Cassadó i Moreu (30 September 1897 – 24 December 1966) was a Spanish cellist and composer of the early 20th century. He was born in Barcelona to a church musician father and began taking cello lessons at age seven. When he was nine, he played in a recital where Pablo Casals was in the audience; Casals immediately offered to teach him. The city of Barcelona awarded him a scholarship so that he could study with Casals in Paris. He was also the author of several notable musical hoaxes. The personal papers of Cassadó family are preserved in the Biblioteca de Catalunya.
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Gaspar Cassadó i Moreu (30 September 1897 – 24 December 1966) was a Spanish cellist and composer of the early 20th century. He was born in Barcelona to a church musician father and began taking cello lessons at age seven. When he was nine, he played in a recital where Pablo Casals was in the audience; Casals immediately offered to teach him. The city of Barcelona awarded him a scholarship so that he could study with Casals in Paris.
He was also the author of several notable musical hoaxes.
The personal papers of Cassadó family are preserved in the Biblioteca de Catalunya.

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Joaquín Nin

This talented Cuban composer-pianist-musicologist was vital to the preservation of early Spanish music. Nin composed only a modest number of original works, mostly songs. However, he edited several important volumes of old Spanish music, particularly from the Spanish Baroque. A very dedicated artist, he was decorated with high honors during his lifetime. Born in Cuba, he was taken to Spain as a child. After studies in Barcelona, he went to Paris in 1902 to continue piano studies with the Polish-German composer-pianist Moritz Moszkowski. He also studied counterpoint and composition at D'Indy's Schola Cantorum. In 1905 Nin was appointed piano teacher at that school, and when in 1908 he left Paris for Berlin, the school made him an honorary professor. He worked in...
more
This talented Cuban composer-pianist-musicologist was vital to the preservation of early Spanish music. Nin composed only a modest number of original works, mostly songs. However, he edited several important volumes of old Spanish music, particularly from the Spanish Baroque. A very dedicated artist, he was decorated with high honors during his lifetime.
Born in Cuba, he was taken to Spain as a child. After studies in Barcelona, he went to Paris in 1902 to continue piano studies with the Polish-German composer-pianist Moritz Moszkowski. He also studied counterpoint and composition at D'Indy's Schola Cantorum. In 1905 Nin was appointed piano teacher at that school, and when in 1908 he left Paris for Berlin, the school made him an honorary professor. He worked in Berlin from 1908 to 1910. Returning to Havana in 1910 to start a concert society and music periodical, he then left for tours of Europe and South America as a pianist. In 1939, a long period in Europe was cut short by World War II. Eventually, he returned to Cuba, where he died in 1949.
Nin was a great performer of works by Bach as well as old and modern Spanish works. His own compositions were influenced by Spanish Baroque and French Impressionism. Nin is survived by his son, the composer-pianist-conductor Joaquín María Nin-Culmell.

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Ástor Piazzolla

Astor Piazzolla (1921-1992) is one of most important tango composers of all time. Surprisingly, he spent a large part of his youth in New York. In 1937, Piazzolla returned to his mother country Argentina. There, he started to focus on a career as a classical pianist while in the evening he would play accordion in tango cabaret. From 1955, he worked on his own compositions and wove these two influences together to a new, refreshing sound: the 'tango neuvo'.  At the wedding of crown prince Willem-Alexander and Máxima Zorreguieta, Carl Kraayenhof made a spectacular impression with his performance of Adios Noniño. Piazzolla died in 1992. 
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Astor Piazzolla (1921-1992) is one of most important tango composers of all time. Surprisingly, he spent a large part of his youth in New York. In 1937, Piazzolla returned to his mother country Argentina. There, he started to focus on a career as a classical pianist while in the evening he would play accordion in tango cabaret. From 1955, he worked on his own compositions and wove these two influences together to a new, refreshing sound: the 'tango neuvo'.

At the wedding of crown prince Willem-Alexander and Máxima Zorreguieta, Carl Kraayenhof made a spectacular impression with his performance of Adios Noniño. Piazzolla died in 1992.


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Antón García Abril

Antón García Abril (born 19 May 1933 in Teruel) is a Spanish composer and musician. Between 1974 and 2003, he was the head of the department of Compositions and Musical Forms (Composicion y Formas Musicales) of the Real Conservatorio Superior de Música in Madrid, and in 1982 he was elected a member of the Real Academia de Bellas Artes de San Fernando in Madrid. In 1994, he was awarded Spain's Premio Nacional de Música for composition, and in 2008, he was also named a member of the Real Academia de Bellas Artes de San Carlos in Valencia.
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Antón García Abril (born 19 May 1933 in Teruel) is a Spanish composer and musician. Between 1974 and 2003, he was the head of the department of Compositions and Musical Forms (Composicion y Formas Musicales) of the Real Conservatorio Superior de Música in Madrid, and in 1982 he was elected a member of the Real Academia de Bellas Artes de San Fernando in Madrid. In 1994, he was awarded Spain's Premio Nacional de Música for composition, and in 2008, he was also named a member of the Real Academia de Bellas Artes de San Carlos in Valencia.

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Press

"La Furia", "Stagioni" and "Johann Sebastian Bach The Cello Suites" which are very, very special CDs by cellist Mayke Rademakers.
Stretto, 16-2-2018

"La Furia", "Stagioni" and "Johann Sebastian Bach The Cello Suites" which are very, very special CDs by cellist Mayke Rademakers
Stretto, 16-2-2018

4 stars**** in Amadeus for technique and performance
Amadeus, 01-11-2016

"[...] it is nice to hear that the musical fire burns hard. [...]"
Nederlands Dagblad, 15-5-2016

"[...] This recording is a winner in many ways. The Dutch cellist and pianist manage to capture a genuine Latino/Spanish feel throughout, whether in the languorous or the frenetic mood appropriate for each piece. Rademakers’ cello playing is colorful, varied in timbre, rhythmically secure, and extremely imaginative. Verschoor matches her throughout, and the recorded sound (as heard on the SACD layer but in two channel sound) is very well balanced.[...]"
Fanfare, 10-5-2016

"In this alternately passionate and lyrical interaction affects the excellent sense of timing. Also because of the outstanding recording, an excellent cd."
Opus klassiek, 12-4-2016

"[…] her album mixed and surprising. Flamenco and tango forms the red thread, but the variety of moods and atmospheres is great. With Pianist Matthijs Verschoor who knows how to nail Rademakers' De Falla’s Suite Popular Española."
NRC Handelsblad, 04-4-2016

*****- "The cello becomes more and more the instrument of our time. Warm, sonorous and brimming with sweet melancholy. But also of intense passion. That last element of La Furia, the new cd of the musical couple Mayke Rademakers (cello) and Matthijs Verschoor (piano), is really a must-have. 'La Furia'  one can freely translate as ' 'swirling passion'."
De Gelderlander, 02-4-2016

" [...] Passionate and has it's own style. [...] "
klassieke zaken, 01-4-2016

"Dutch cellist and her pianist fascinated by Spanish music."
Culture For Friends, 27-3-2016

Advertisement
Luister Magazine, 01-3-2016

Coverstory Mayke Rademakers in Luister magazine "The Spaniard makes music from the heart. It is a translation of that lifestyle"
Luister, 01-2-2016

Play album Play album
01.
Danza Española no. 5 – Andaluza
03:53
(Enrique Granados) Mayke Rademakers, Matthijs Verschoor
02.
Suite Popular Española: El paño moruno
02:08
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
03.
Suite Popular Española: Asturiana
02:27
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
04.
Suite Popular Española: Jota
03:02
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
05.
Suite Popular Española: Nana
02:38
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
06.
Suite Popular Española: Canción
01:27
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
07.
Suite Popular Española: Polo
01:33
(Manuel de Falla) Mayke Rademakers, Matthijs Verschoor
08.
No por amor, no por tristeza
03:26
(Antón García Abril) Mayke Rademakers, Matthijs Verschoor
09.
Suite for Cello Solo: Preludio-Fantasia
06:15
(Gaspar Cassadó) Mayke Rademakers
10.
Suite for Cello Solo: Sardana (Danza)
03:27
(Gaspar Cassadó) Mayke Rademakers
11.
Suite for Cello Solo: Intermezzo e Danza Finale
06:20
(Gaspar Cassadó) Mayke Rademakers
12.
La Rosa y el Sauce
02:46
(Carlos Guastavino) Mayke Rademakers, Matthijs Verschoor
13.
Seguida Española: Vieja Castilla
01:58
(Joaquín Nin) Mayke Rademakers, Matthijs Verschoor
14.
Seguida Española: Murciana
01:35
(Joaquín Nin) Mayke Rademakers, Matthijs Verschoor
15.
Seguida Española: Asturiana
03:13
(Joaquín Nin) Mayke Rademakers, Matthijs Verschoor
16.
Seguida Española: Andaluza
01:56
(Joaquín Nin) Mayke Rademakers, Matthijs Verschoor
17.
Le Grand Tango
12:05
(Ástor Piazzolla) Mayke Rademakers, Matthijs Verschoor
18.
Triste
03:51
(Alberto Ginastera) Mayke Rademakers, Matthijs Verschoor
show all tracks

Often bought together with..

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Various composers
Pro Contra!
Simon Van Holen
Ludwig van Beethoven
Piano Concertos nos. 1 & 2
Hannes Minnaar / Jan Willem de Vriend / The Netherlands Symphony Orchestra

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