Viola à L'Ecole de Paris by Diyang Mei & Oliver Triendl

Diyang Mei & Oliver Triendl

Viola à L'Ecole de Paris

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085530281
Catnr: AVI 8553028
Release date: 08 July 2022
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Label
CAvi

UPC
4260085530281

Catalogue number
AVI 8553028

Release date
08 July 2022

Album

Artist(s)

Composer(s)

About the album

VIOLA à l’ÉCOLE de PARIS

In the wake of World War I and the October Revolution, countless artists emigrated from Eastern Europe to Paris – particularly a number of Russians. They were able to build a reputation by virtue of keen public interest in their art, and sometimes thanks to savvy networking and helpful contacts. This was the case of Alexander Tcherepnin, whose father, a respected composer and conductor, had reaped great success in the first season of the legendary Ballets Russes in 1909. Alexander Tcherepnin was soon welcomed and adopted by groups of artists such as the École de Paris, a loose gathering of emigrants from several countries that included Bohuslav Martinů and Romanian composer Marcel Mihalovici.

Alexander Tcherepnin’s two brief pieces featured here, Romance (1922) and Elegy (1929), can only offer a glimpse of this widely traveled composer’s cosmopolitan output: he was a man constantly in search of new ideas. Tcherepnin could switch from one musical genre to another in an instant; he eventually even incorporated influences from the Far East. Although the Romance is still entirely under the spell of Late Romanticism, the Elegy is already quasi-Modernist in tone – a work revealing a heightened sensitivity for timbre, as we can hear, for instance, in its iridescent violin flageolets.

Approximately the same age as Tcherepnin and successful, like his colleague, as a pianist, Tibor Harsányi arrived in Paris via the Netherlands in 1923.….. (Excerpt from the liner notes by Johannes Jansen).

VIOLA à l’ÉCOLE de PARIS

Infolge des Ersten Weltkriegs und der Oktoberrevolution kamen zahllose Künstler aus Osteuropa nach Paris, darunter besonders viele Osteuropäer, die auf eine interessierte Öffentlichkeit und teilweise bereits gut eingespielte Kontakte bauen konnten. Dies trifft auf Alexander Tscherepnin zu, dessen Vater als Komponist und Dirigent schon 1909 in der ersten Saison der legendären Ballets Russes Erfolge gefeiert hatte.

Schnell suchte und fand Tscherepnin Anschluss an Künstlergruppen wie die später so genannte École de Paris, in der sich Emigranten aus verschiedenen Ländern lose zusammengefunden hatten, unter ihnen auch Bohuslav Martinů und Marcel Mihalovici. Tscherepnins Romanze von 1922 und die sieben Jahre danach entstandene Elegie zeigen nur einen kleinen Ausschnitt seines wahrhaft kosmopolitischen Œuvres, das virtuos zwischen den Genres wechselt, dabei stets Neues wagt und sogar fernöstliche Einflüsse integriert.

Steht das erste der beiden Stücke noch ganz im Bann der Spätromantik, ist das zweite fast schon modernistisch und erweist sich nicht allein durch seine irisierenden Flageoletttöne als ein extrem klangsinnliches Werk.

Ungefähr gleichen Alters und wie Tscherepnin auch als Pianist erfolgreich, kam Tibor Harsányi über die Niederlande 1923 nach Paris….. (Ausschnitt aus dem Booklettext von Johannes Jansen).

Artist(s)

Oliver Triendl (piano)

One can hardly imagine a more devoted champion of neglected and rarely played composers than pianist Oliver Triendl. His tireless commitment – primarily to romantic and contemporary music – is reflected in more than 100 CD recordings. The scope of his repertoire is surely unique, comprising some 90 piano concertos and hundreds of chamber music pieces. In many cases, he was the first to present these works on stage or to commit them to disc.
As a soloist Triendl has performed together with many renowned orchestras. The list includes the Bamberg and Munich Symphonies, Munich Radio Orchestra, Berlin Radio Symphony Orchestra, NDR Radio Philharmonic, Gürzenich Orchestra, Munich Philharmonic, Staatskapelle Weimar, German Radio Philharmonic, German State Philharmonic of Rhineland-Palatinate, Munich, Southwest German, Stuttgart, Württemberg and Bavarian Radio Chamber Orchestras, Orchestre de Chambre de Lausanne, Orchestre Symphonique de Bretagne, Mozarteum Orchestra of Salzburg, Tonkunstler Orchestra Vienna, Netherlands Symphony Orchestra, Czech State Philharmonic, Polish National Radio Symphony Orchestra, Sinfonia Varsovia, Polish Chamber Philharmonic, Georgian Chamber Orchestra, St. Petersburg Camerata, Zagreb Soloists and Shanghai Symphony Orchestra.
The avid chamber musician has concertized with fellow musicians such as Christian Alterburger, David Geringas, Clemens Hagen, Isabelle van Keulen, Sabine und Wolfgang Meyer, Benjamin Schmid, Christian Tetzlaff, Antje Weithaas and many more. He performed with Apollon musagète, Artis, Auryn, Leipzig, Mandelring, Schumann und Minguet String Quartets as well es with excellent artists of the younger generation.
Triendl, a native of Mallersdorf, Bavaria, where he was born in 1970, and a prizewinner at many national and international competitions, studied under Rainer Fuchs, Karl-Heinz Diehl, Eckart Besch, Gerhard Oppitz and Oleg Maisenberg.
He has concertized with success at festivals and in many of Europe’s major music centers as well as in North and South America, South Africa, Russia and Asia.

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Diyang Mei (viola)

Ever since violist Diyang Mei’s brilliant success at the 2018 ARD International Music Competition, winning first prize in the viola category, the Audience Prize and several special prizes, he has been steadily furthering his international career.
He was awarded first prizes at the 52nd International Instrumental Competition for Viola in Markneukirchen (2017), at the International Max Rostal Music Competition for Viola in Berlin (2015), at the Kulturkreis Gasteig Musikpreis for Strings in Munich (2015), at the IVC Young Artist Competition in Rochester (2012), at the 19th International Johannes Brahms Viola Competition in Austria (2012) and at the 10th International Viola and Cello Competition in Villa de Llanes, Spain (2008).
As a soloist, Diyang Mei has performed with the Bavarian Radio Symphony Orchestra, the SWR Symphony Orchestra Stuttgart, the Munich Chamber Orchestra, the Konzerthausorchester Berlin, the Scottish Chamber Orchestra and at the Mecklenburg-Vorpommern Festival, the SWR Festival Schwetzingen, the Schwarzwald Music Festival and the Mozartfest in Würzburg.
As a chamber musician he has performed with Günter Pichler, Gerhard Schulz, Ana Chumachenco, Sabine Meyer, Christoph Prégardien, Krzysztof Chorzelski, Wen Sinn Yang, Martin Ostertag, Dag Jensen, Andrea Lieberknecht and Nobuko Imai, among others.
Diyang Mei has held the position of principal viola of the Munich Philharmonic Orchestra since the fall of 2019. Furtermore he was guest solo viola player with the Bavarian Radio Symphony Orchester and the Bamberger Symphony. In October 2022 he will start the position of principal viola with the Berliner Philharmoniker.
Diyang Mei has studied with Hariolf Schlichtig at the University of Music and Performing Arts in Munich since 2014 and as of October 2019, he continued his studies with Nobuko Imai at the Kronberg Academy. He is supported by both the Yu Art Foundation in China and the Borletti-Buitoni Trust and is also a Yehudi Menuhin LMN e.V. scholarship holder. His Alessandro Mezzadri Viola from ca. 1700 is provided by a private collection.

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Composer(s)

Bohuslav Martinů

Bohuslav Martinů was a Czech composer of modern classical music. Martinů wrote 6 symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works. Martinů became a violinist in the Czech Philharmonic Orchestra, and taught music in his home town. In 1923 Martinů left Czechoslovakia for Paris, and deliberately withdrew from the Romantic style in which he had been trained. In the 1930s he experimented with expressionism and constructivism, and became an admirer of current European technical developments, exemplified by his orchestral works Half-time and La Bagarre. He also adopted jazz idioms, for instance in his La revue de cuisine ("Kitchen Revue").
In the early 1930s he found his main fount for compositional style, the neoclassicism as developed by Stravinsky. With this, he expanded to become a prolific composer, composing chamber, orchestral, choral and instrumental works at a fast rate. His use of the piano obbligato became his signature. His Concerto Grosso and the Double Concerto for Two String Orchestras, Piano and Timpani are among his best known works from this period. Among his operas, Julietta and The Greek Passion are considered the finest. He is compared with Prokofiev and Bartók in his innovative incorporation of Central European ethnomusicology into his music. He continued to use Bohemian and Moravian folk melodies throughout his oeuvre, usually nursery rhymes—for instance in Otvírání studánek ("The Opening of the Wells").
His symphonic career began when he emigrated to the United States in 1941, fleeing the German invasion of France, to compose his six symphonies, which were performed by all the major US orchestras. Eventually Bohuslav Martinů returned to live in Europe for two years starting in 1953, then was back in New York until returning to Europe for good in May 1956. He died in Switzerland in August 1959.

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