✓ in stock
09 November 2018
"Foyle's playing is remarkable in its accuracy, tonal focus and impressive range of musical options."BBC Music Magazine, 28-1-2019
Componisten beschreven de oorlog op hun eigen muzikale wijze"Muziek drukt dat uit wat niet gezegd kan worden, maar waarover niet gezwegen kan worden", schreef Victor Hugo al in 1864. Een halve eeuw later waren zijn woorden nog nooit zo toepasselijk. Elke componist had gedurende de Eerste Wereldoorlog wel een eigen manier om met zijn muziek de verschrikkingen van de oorlog te beschrijven en te protesteren tegen een strijd die de beschaving in stukken scheurde.
Speciaal gecomponeerd voor dit albumKenneth Hesketh’s Inscrizione, derivata, met de ondertitel ‘A lie to the Dying’ is speciaal voor dit album gemaakt, met de opdracht om vanuit de huidige tijd terug te blikken op de eeuw van de grote oorlogen. Het is als het ware een overpeinzing over de stervende mens, zijn angstige gedachten, zijn afnemende hartslag, dit alles herkenbaar verweven in een vertelling van onrustbarende melancholie.
Voor Nederland is Michael Foyle geen onbekende. Hij won de Nederlandse vioolcompetitie 2016 met een uitstekende uitvoering van Szymanowksi’s Concerto No.1, samen met het Rotterdams Philharmonisch Orkest. In het seizoen 2017/2018 keerde Foyle terug bij het Rotterdams orkest en trad hij onder andere op met het kerstconcert De Notenkraker.
Foyle trad op in Nederland
Praised for ‘playing of compelling conviction’ (The Daily Telegraph) and ‘astonishing mutual feeling, understanding and responsiveness’ (Seen and Heard International), Foyle-Štšura Duo won the Beethoven Piano Society of Europe Duo Competition and the Salieri-Zinetti International Chamber Music Competition in 2015.
Since then, they have performed recitals in Wigmore Hall, Purcell Room, Buckingham Palace, Bridgewater Hall, Usher Hall, Amsterdam Concertgebouw, as well as for the New York Chamber Music Festival, Cervantino Festival in Mexico and Evgeny Mravinsky Festival in Tallinn and St. Petersburg. Their performances have been broadcast on BBC Radio 3, NPO Radio 4 and Estonian Klassikaraadio.
Formerly Park Lane Group, Kirckman Concert, Making Music and Live Music Now artists, receiving masterclasses from Stephen Kovacevich and Maxim Vengerov, they are now City Music Foundation Ambassadors. In 2018 they record their debut CDs – complete works of Penderecki and Lutosławski for Delphian Records and a World War One recital release for Challenge Records.
Michael Foyle (violin) won The Netherlands Violin Competition 2016, giving an acclaimed performance of Szymanowksi’s Concerto No.1 with the Rotterdam Philharmonic Orchestra. In 2017-18 he returns to the Rotterdam Philharmonic and Polish Baltic Philharmonic with Korngold’s Concerto,
and makes his Cadogan Hall debut playing Prokofiev’s Concerto No.1 with English Chamber Orchestra. Other London appearances this season include performances of the Beethoven, Dvorak, Elgar and Tchaikovsky concerti.
Born in Ayrshire in 1991, Michael gave his concerto debut in Edinburgh Festival Theatre aged eight. He went on to win the BBC Young Musician of the Year Tabor Award 2008 and the Royal Overseas League String Competition 2013, before studying at the Vienna Konservatorium with Pavel Vernikov and in London with Maureen Smith and Daniel Rowland. Upon graduation from the Royal Academy of Music, he was awarded the Regency Prize for Excellence and the Roth Prize for the highest violin mark of the year. He has premiered solo and chamber works by over 25 living composers. Michael plays a Gennaro Gagliano violin (1750) on loan and is represented by Interartists Amsterdam. In addition to his solo and chamber performances this season, he is invited as Guest-Leader of BBC Symphony Orchestra and as Violin Professor at Royal Academy of Music.
Maksim Štšura (piano) won First Prizes at the Beethoven Intercollegiate Piano Competition (2013), the Estonian Piano Competition (2008), the Steinway-Klavierspiel-Wettbewerb in Germany (2004) and the International Frederic Chopin Piano Competition in Estonia (2000). He has appeared as soloist with orchestras such as the Amadeus Chamber Orchestra, Estonian National Symphony Orchestra, Saint Petersburg State Academic Symphony Orchestra, Wiener Kammersymphonie and the Chester Philharmonic Orchestra. As a chamber musician he is in great demand, collaborating with Jakobstad Sinfonietta (Finland), Mediterranean Chamber Brass (Spain) and Florin Ensemble (UK) among many others.
Maksim studied at the Estonian Academy of Music and Theatre with Ivari Ilja and on exchange at the Hochschule für Musik und Theater Hamburg, before moving to London to complete his Masters and Artist Diploma degrees with Gordon Fergus-Thompson at the Royal College of Music. He has additionally received masterclasses from Dmitri Bashkirov, Stephan Hough, John Lill and Eliso Virsaladze. Alongside his performing career, Maksim is currently completing a Doctoral course at the RCM, where his research is focused on the piano transcriptions of the contemporary orchestral scores. He is also a Trustee of the Mills Williams Foundation.
Foyle's playing is remarkable in its accuracy, tonal focus and impressive range of musical options.
BBC Music Magazine, 28-1-2019
With this cd the duo delivers a dream debut - ... Admirable how Foyle and Štšura tell the story completely in symbiosis and in the service of music. Rating: 10.
We both play our concerts completely without paper. This results in a lot of freedom and interaction.
Three violin sonatas from the First World War as well as one contemporary piece with anxious thoughts are heard on this attractive release in deeply expressive performances.
The acoustics of the church where this is recorded is excellent, there are many chamber music concerts and CD recordings in this church. Consequently: an optimal sound recording and played phenomenally. Highly recommended.
CD of the Week: a subtle, dignified and heroic celebration of youth and the joy of life.
Radio 4, 09-11-2018
I do not know for how long Michael Foyle has been partnered with pianist Maksim Štšura (in any case since 2015), but in a short time span their teamwork has become impeccable. Both shifting so admirably from one musical idiom (French: Debussy) to another (Czech: Janáček) and yet two more totally different ones (Italian: Respighi; British: Hesketh). How much better would you like to have it?