Catoire Ensemble

Revived Masterpieces

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917279221
Catnr: CC 72792
Release date: 03 April 2020
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Label
Challenge Classics
UPC
0608917279221
Catalogue number
CC 72792
Release date
03 April 2020
Album
Artist(s)
Composer(s)
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About the album

Georgy Catoire did not have a high opinion of his own First String Quartet, so he destroyed it, sparing only one part, the Andante. On the last page of the manuscript of this movement, Tchaikovsky wrote a few words, and Catoire did not have the heart to destroy the autograph of the great composer. Georgi Lvovich composed a new quartet, which in the inventory of his works is listed as Opus 4. This piece, just like the Andante from the destroyed quartet, was never published and the manuscript seems to have been lost. But it is known that after a while, Catoire reworked the quartet into a quintet, adding a part for a second cello. The manuscript of this quintet, along with the surviving Andante, was discovered several years ago. Thus, the recordings of this quintet and the remaining Andante (from his very first quartet) presented on this disc are the first performances of these early works of Catoire
Catoire composed the Piano Trio Op.14 in the years 1899 to 1902. Stylistically, the Trio can be placed right in the middle of the compositional path of Catoire, which consciously ties in with the creation of this work to the already existing Russian chamber music literature. But although the Trio is so beautifully anchored in its time by such parallels, it clearly embodies the characteristic traits that keep Catoire’s music away from contemporary trends and that make his personality a special phenomenon in the history of Russian music. There is, for example, the symbiosis of various musical traditions: on the one hand Russian and French by its origin and on the other hand German through his education and profound knowledge of the music of Wagner. Catoire, and thus his style, is a transnational model European. Other important features of Catoire’s music are honesty and the absence of any kind of banality or pose.

The two Poems Op. 34 are late works from Catoire and were composed in 1924-26. At the time Catoire, had experienced the Russian Revolution and the Civil War, the death of his beloved wife, the farewell to his son, who left Russia forever. The music acts like a free speech of the composer in an intimate circle, or even as a soliloquy - so restrained is the dynamics, so freely works the musical speech. In their brief form, the Poems Op. 34, discovered and published posthumously after the death of the composer, is one of the most perfect embodiments of Catoire’s compositional style.
Zeven briljante solisten, onder de naam Catoire Ensemble, laten op dit album meesterwerken van de componist Georgy Catoire herleven. Nadat Tsjaikovski, in een muziekwinkel, het eerste strijkkwartet van 'nieuwkomer' Catoire had gehoord, schreef hij in een brief aan zijn broer, dat hij absoluut verrukt was van dit talent. In deze opname Revived Masterpieces laten de musici op prachtige wijze horen hoezeer Tsjaikovski gelijk had.

Het Catoire Ensemble dat deze wereldpremière opnames uitvoert, bestaat uit Anna Zassimova, piano; Maria Milstein en Boris Tsoukkerman, viool; Julia Dinerstein, altviool; Sebastiaan van Halsema, Stephan Heber en Ketevan Roinishvili, cello.

Zelf, vond de Russische componist van Franse afkomst Georgy Catoire (1861-1926) zijn eerste strijkkwartet maar niets en vernietigde hij het. Op één deel na: dat was het Andante. Op de laatste bladzijde van het manuscript van dit deel had Tsjaikovski wat opmerkingen geschreven en Catoire kon het niet over zijn hart verkrijgen de woorden van de grote componist te vernietigen. Catoire schreef een nieuw strijkkwartet, in zijn catalogus opgenomen als Opus 4. Net als het Andante van het afgedankte kwartet, werd ook de nieuwe compositie nooit uitgegeven en het manuscript lijkt niet bewaard te zijn gebleven. Wel bewerkte hij dit kwartet; voegde een tweede cellopartij toe, en zo ontstond het kwintet. Beide manuscripten - het Kwintet en het bewaarde Andante - werden een aantal jaar geleden teruggevonden en zijn op dit album te horen als eerste uitvoeringen van deze vroege werken van Catoire.

Het Piano Trio Op.14, geschreven tussen 1899 en 1902, belichaamt de karakteristieke eigenschappen die de muziek van Catoire kenmerkt. Een symbiose van muzikale tradities: aan de ene kant Russisch en Frans vanwege zijn afkomst en aan de andere kant Duits vanwege zijn studie in Berlijn en zijn fascinatie voor de muziek van Wagner. Catoires muziek is oprecht, los van banaliteit en aanstellerij.

De late werken van Catoire zijn intieme pianomonologen. De ‘Deux Poèmes' Op. 34 schreef hij tussen 1924 en 1926. In die periode maakte Catoire de Russische revolutie en de burgeroorlog mee, de dood van zijn geliefde vrouw en het afscheid van zijn zoon, die Rusland voor altijd verliet. Het lijkt of de componist in deze muziek in kleine kring zijn gevoelens uit, als een monoloog, zo ingetogen is de dynamiek. De muzikale gedichten vormen de perfecte belichaming van de composItorische stijl van Catoire.
Georgi Lwowitsch Catoire (im Deutschen auch Katuar) hatte keine besonders hohe Meinung von seinem eigenen Ersten Streichquartett, darum vernichtete er es – nur das Andante blieb verschont. Auf der letzten Manuskriptseite dieses Satzes hatte Tschaikowsky einige wenige Worte geschrieben, und Catoire brachte es nicht übers Herz, das Autograph des großen Komponisten zu zerstören. Catoire komponierte ein neues Quartett, das in seinem Werkkatalog als Opus 4 eingetragen ist. Dieses Stück wurde, wie das Andante des verworfenen Quartetts, nie veröffentlicht und das Manuskript scheint nicht erhalten. Doch man weiß, dass Catoire das Quartett nach einiger Zeit in ein Quintett umarbeitete und eine zweite Cellostimme hinzufügte. Das Manuskript dieses Quintetts wurde zusammen mit dem Andante vor einigen Jahren entdeckt, und so ist die vorliegende Aufnahme der beiden Werke die erste dieser Frühwerke Catoires.

Das Klaviertrio Op. 14 schrieb Catoire zwischen 1899 und 1902. Stilistisch liegt das Trio genau auf Catoires Kompositionspfad, der in diesem Werk bewusst bereits existierende russische Kammermusikliteratur einwirkt. Doch wenngleich das Trio so wunderbar durch diese Parallelen in seiner Zeit verankert ist, zeigt es auch deutlich die charakteristischen Züge, die Catoires Musik abseits der zeitgenössischen Strömungen halten und seine Persönlichkeit zu einem besonderen Phänomen in der russischen Musik machen. Da gibt es beispielsweise die Symbiose verschiedener Musiktraditionen: auf einer Seite steht seine russisch-französische Abstammung, auf der anderen stehen seine deutsche Ausbildung und seine profunden Kenntnisse der Musik Richard Wagners. Catoire, und somit auch sein Stil, ist ein transnationaler Beispieleuropäer. Weitere wichtige Züge von Catoires Musik sind Aufrichtigkeit und die Abwesenheit jeglicher Banalität und Posiererei.

Die beiden Gedichte Op. 34 zählen zu Catoires Spätwerken und entstanden zwischen 1924 und 1926. Zu diesem Zeitpunkt hatte Catoire die Russische Revolution und den Bürgerkrieg, den Tod seiner geliebten Frau und den Abschied von seinem Sohn durchlebt, der Russland für immer verließ. Die Musik fungiert hier als ungehemmte Äußerung des Komponisten in einem intimen Kreis, vielleicht sogar als Monolog, so zurückgenommen ist die Dynamik, so frei fließt die musikalische Sprache. In ihrer kurzen Form sind die Gedichte, die erst posthum entdeckt und veröffentlicht wurden, die perfekte Verkörperung von Catoires Kompositionsstil.

Artist(s)

Anna Zassimova Piano
Besides regularly performing in major international festivals including the Ruhr Piano Festival (Germany), Piano à Saint Ursanne (Switzerland), Bloomsbury Festival (UK), and the Chopin Festival in Mariánské Lázně (Czech Republic), Anna Zassimova’s concert tours have also taken her throughout Russia, the USA and China. Her internationally acclaimed discography includes many world premiere recordings and focuses on fin de siècle piano and chamber music from Russia, on which she is a recognised and published authority. Her concert recordings, interviews and CDs have been broadcast in Germany on DLF, NDR, SWR, BR, and WDR, and internationally (BBC, Radio Swisse Romande etc.) She recently performed the programme of her latest album “Sonata Reminiscenza: Russian piano music at the turn of the 20th century” (Hänssler Classic, 2018)
in the Elbphilharmonie Hamburg, and elsewhere, to great critical acclaim.
In 2019 this CD was nominated for the German Opus Klassik prize and awarded in the “The Pure Sound - International Recording Award of the Russian Musical Union” competition in Moscow. This versatile artist is also an art historian and holds a PhD in musicology. Her CD recordings (“Thoroughly exquisite” - Frankfurter Allgemeine Zeitung) and her book about Georges Catoire (Kuhn, Berlin 2011), have greatly expanded the public perspective on this pioneer of Russian Art Nouveau. Anna Zassimova was born in Moscow. She studied piano with Prof. Vladimir Tropp (Music Academy Gnessin, Moscow) and with Prof. Michael Uhde and Prof. Markus Stange at the Music University in Karlsruhe, where she now teaches.

Maria Milstein Violin
Born in Moscow into a family of musicians, Maria Milstein studied in Amsterdam with Ilya Grubert, in London with David Takeno and at the Queen Elisabeth Music Chapel in Waterloo (Belgium) with Augustin Dumay.
Maria is a prizewinner of major international competitions both as a soloist and as a chamber musician, such as “Città di Brescia” and “Premio Rodolfo Lipizer” in Italy, the ARD Competition in Munich, the Lyon Chamber Music Competition and the Kersjes Prize in the Netherlands. In 2016, Maria is awarded the Fellowship of the Borletti Buitoni Trust, and in 2018, she receives the Dutch Music Prize - the highest recognition for a classical musician in the Netherlands awarded by the Ministry of Culture.
Maria performs extensively across Europe in halls such as the Concertgebouw in Amsterdam, BOZAR in Brussels, Musikverein in Vienna, the Philharmonie of Cologne and Cité de la Musique in Paris. She has appeared as a soloist with a.o. The Netherlands Radio Philharmonic Orchestra, the National Orchestra of Belgium, the Hague Philharmonic, the Brussels Philharmonic and Amsterdam Sinfonietta, and worked with conductors such as Vasily Petrenko, Giancarlo Guerrero, Michel Tabachnik, Jean-Jacques KA keen chamber musician, Maria formed the succesful Van Baerle Trio together with pianist Hannes Minnaar and cellist Gideon den Herder, one of the leading trios of its generation. After winning the ARD Competition and the Lyon Chamber Music Competition, the Trio made the ECHO Rising Stars Tour in 2014, peforming in famous concert halls all over Europe. The Trio already released two CD’s, both praised in the international press, and is presently recording the complete works for piano trio by Beethoven for Challenge Records.
Maria’s own debut CD « Sounds of War », recorded with pianist Hanna Shybayeva for Cobra Records and featuring Sonatas by Poulenc, Janáček and Prokofiev, received lavish reviews in the international press and won the Edison Klassiek Prize 2015 in the category “best chamber music album”. In October 2017 her second album “La Sonate de Vinteuil”, recorded with pianist Nathalia Milstein is released on the French label Mirare, and is voted “best CD of 2017” by the Dutch press.
Maria plays on a violin by Michel Angelo Bergonzi (Cremona, ca. 1750), on loan from the Dutch Music Instruments Foundation, and holds a teaching position at the Conservatory of Amsterdam.antorow, Christian Arming and Reinbert de Leeuw.

Boris Tsoukkerman
Boris Tsoukkerman was born in 1947 in Moscow. He started taking violin lessons when he was 6 years old. His violin teachers over the years were Weniamin Bychkov, Wolodar Bronin and Mikhail Pitkus. In 1970 Boris Tsoukkerman graduated from the Tchaikovsky Conservatory in Moscow.
From 1973 to 1990 he played in the State Symphony Orchestra of USSR under the direction of conductor J. Svetlanov and from 1990 to 1991 in
the Russian National Symphony Orchestra, including Mikhail Pletnev. Between 1991 and 2012, Tsoukkerman worked as a second violinist in the Netherlands Symphony Orchestra.
In the field of chamber music, he has mainly focused on the interpretation of works by lesser-known Russian composers such as, among others, Wassiljewa, Samonov, Catoire, Goldenweiser, Trofimenko, Rakitin. After his establishment in the Netherlands, Boris Tsoukkerman participated in the radio and CD recordings of the string quartet, string quintet, violin sonata and piano quintet by Georgy Catoire with, among others, Ivo Boytchev, Rian de Waal, Christiaan Bor and Godfried Hoogeveen. Of these works, those were the first recordings ever and Boris is the one who brought George Catoire to prominence again.

Julia Dinerstein studied violin at the Moscow Tchaikovsky Conservatory with Elizabetha Gilels and Andrei Korsakov, later she studied viola at the Maastricht Conservatory with Michael Kugel (Soloist master’s degree with Distinction).
As a soloist and chamber music player she has participated in International Festivals in Europa, America and Far East where she played chamber music with Dmitri Sitkovetski, Daniel Rowland, Priya Mitchell, Niek de Groot, Michael Kugel. Since 2002 Julia lives in The Hague, Netherlands and she plays numerous recitals and chamber music concerts, amongst others as a member of The Hague String Trio and Zemtsov Viola Quartet.
Julia Dinerstein is one of the most prominent viola teachers in the Netherlands. She works at the Rotterdam Conservatory, ARTEZ Conservatory in Arnhem and Zwolle, Maastricht Conservatory, the Hellendaal Music Institut (Rottedam) and Academy for Musical Talent (Utrecht). Julia regularly gives summer masterclasses in France, Spain, US, China and Italy. A great number of Julia’s pupils and students became winners of National and International Viola Competitions. Julia is regularly invited as member of jury in the international competitions.
Julia has worked as a guest principal violist at the Limburg Symphony Orchestra, Holland Symphonia (Holland), Flamish Philharmonic, Brussels Philharmonic and De Munt Orchestra (Belgium) amongst others.

Julia is the 2nd Prize winner at the Beethoven Int. Viola Competition (Austria).

Ketevan Roinishvili comes from a musical Family in Tbilisi (Georgia). In 1993 she got accepted to the Music Gymnasium (a school for talented children where they teach music as well as the normal school subjects) in the piano class, but after three years she changed from piano to cello and came in the class of Professor Mikheil Khoshtaria. During her study at the gymnasium she already started giving solo concerts. At age 15 she was already the solo cellist of the Conservatory orchestra of Tbilisi under the lead of Russian conductor Lev Markiz, also artistic director of this ensemble. He and the ‘Stichting vrienden van het Conservatorium van Tbilisi’ made it possible for Ketevan to come and study in the Netherlands. Also they helped her to buy her current instrument of which the builder is unknown. Her bow is a ‘Fetique’ and is borrowed from the ‘Nationaal Instrumentenfonds (NMF).
Ketevan graduated cum laude at the Music Gymnasium and got accepted at the Conservatory of Tblisi, where she studied until 2008 with Professor Tamara Gabarashvili. In 2012 she finished her Bachelor Cum Laude with Professor Dmitri Ferschtman at the Conservatory of Amsterdam. In 2012 Ketevan studied at the Universität für Musik und darstellende Kunst Wien with Professor Reinhard Latzko. In 2014 she finished her studies at the Conservatory of Amsterdam with Floris Mijnders with the highest degree, Cum Laude.
In 2007 Ketevan received the first price, public price and the price for the artistic playing in the National Competition of Georgia. She received a diploma at the International Dotzhauer Cello Competition in Dresden. In April 2009 she won the ‘Servais’-price at the Servais International Competition.
Ketevan was selected to perform Dvorák’s cello concerto with the orchestra of the Conservatory of Amsterdam with conductor Adrian Prabava. She performed Tsjaikovski’s Rococo variations with the Turkish National Youth Orchestra conducted by Cem Mansur. In 2012 Ketevan was invited to play at the Oleg Kagan Festival where she performed with Natalia Gutman.

Stephan Heber was born in 1977 in Kiel, Germany. At the age of 7 he received his first cello lessons. In 1990 and 1995 he was a finalist and laureate at the “Jugend musiziert” competition. Stephan studied at the Conservatory of Amsterdam with Dimitri Ferschtman and Monique Bartels. After obtaining his bachelor’s degree, he followed the master’s degree with Gregor Horsch. He then took classes with Ulrike Schäfer and Guido Schiefen in Cologne.
From 2006 to 2015, Stephan Heber was a cellist with the Netherlands Symphony Orchestra in Enschede. Since 2009 he has been a permanent member at Cello8ctet Amsterdam (www.cello8ctet.com). In addition, he has been coordinating chamber music with the Royal Concertgebouw Orchestra since 2015.
As a soloist he performed with the “Jugendsinfonieorchester Lübeck” and the “Bachorchester Ratzeburg”. Among others, he performed the 1st cello concerto by Dimitri Schostakovich with the “Helikon Chamber Orchestra Groningen”, the cello concerto in D by Joseph Hadyn, accompanied by “Camerata Kiel”. In 2013 he played the Roccoco variations with the “Koninklijk Symfonieorkest Cecilia” in Hengelo and Almelo.
Stephan substitutes in various orchestras in the Netherlands and Germany, including the Radio Sinfonie Orkest Keulen (WDR), the Netherlands Philharmonic Orchestra, the Asko Ensemble Amsterdam and the Ensemble Modern from Frankfurt. With the Philharmonisch Orkest Keulen (the Gürzenich Orchester) he played in the 2009-2011 season as captain and deputy captain.
Concert tours with these orchestras led Stephan to Norway, Iceland, France, Spain and China.
Stephan plays a cello by Haat-Hedlef Uilderks from Lübeck, built in 2004. It is a copy of a Petrus Guarneri from 1739.

Sebastiaan van Halsema Cello
At the age of six, Sebastiaan van Halsema (born in 1985 in Amsterdam) starts playing the cello with Denise Rosing at the Zaanstad Municipal Music School. He is accepted in the Young Talent Class of the Amsterdam Conservatory when he is twelve years old. He has been studying with Maarten Mostert in Amsterdam for six years. Sebastiaan continued his studies at the Guildhall School of Music & Drama in London with teacher Louise Hopkins. In 2008 he graduated cum laude for his Bachelor and he also received the prestigious Concert Recital Diploma. In 2010 he also successfully completed his master’s study at the same school.
Sebastiaan was a prize winner at the 2003 national final of the Princess Christina Competition and winner of various scholarships including the Martin Musical Scholarship Fund award.
He regularly performs as a soloist and with orchestra. He is also a great fan of chamber music and he is active in various formations.

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