Grandes Dames by Marilies Guschlbauer & Julia Rinderle

Various composers

Marilies Guschlbauer & Julia Rinderle

Grandes Dames

Price: € 19.95
Format: CD
Label: CAvi
UPC: 0028948677733
Catnr: AVI 4867773
Release date: 13 June 2025
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Label
CAvi

UPC
0028948677733

Catalogue number
AVI 4867773

Release date
13 June 2025

Album

Artist(s)

Composer(s)

About the album

GRANDES DAMES & COMPOSERS
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On your CD, you perform works by six “Grandes Dames”: Clara Schumann, Fanny Hensel, Lera Auerbach, Amy Beach, Flora Geisselbrecht, and Rita Strohl. Which criteria did you use in making your selection?

Rita Strohl’s Sonata has been part of our concerts for several years now, and we wanted to introduce that work with a series of shorter works to begin the CD. Thus, although the first five pieces are thoroughly different, the order we have chosen for them is deliberate; we feel that there is a kind of common thread running through them. The tracklist is conceived like a concert programme; the last piece, Rita Strohl’s melancholy “Solitude”, fulfills the function of an encore.
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Women had to struggle for recognition as composers well into the 20th century, and many of their works remain undiscovered because music, like painting and literature, was considered a predominantly male domain for a long time. Why do you think it's important to focus on female composers?

Statistics reveal a bleak picture of the limited impact of female composers in all areas of classical music. Yet there are so many treasures to be unearthed! We aim to rediscover this wonderful music, which was thought to have been forgotten, and to perform as much of it as possible. The fact that these works also enrich the constantly growing yet comparatively small body of repertoire written for cello and piano is, of course, a bonus.... (from the booklet notes)

GRANDES DAMES & COMPOSERS

Sie interpretieren auf Ihrer CD Stücke von sechs “Grandes Dames”: Clara Schumann, Fanny Hensel, Lera Auerbach, Amy Beach, Flora Geißelbrecht und Rita Strohl. Was hat Sie zu dieser Stückauswahl bewogen?

Die Sonate von Rita Strohl begleitet uns nun schon seit einigen Jahren bei unseren Konzerten und wir wollten dieses große Werk mit einigen kürzeren Stücken kombinieren. Wir haben bei den ersten fünf, zwar sehr unterschiedlichen Stücken, doch eine Art roten Faden gespürt und die Reihenfolge sehr bewusst ausgewählt. Die Trackliste ist wie ein Konzertprogramm angelegt, wobei die schwermütige “Solitude” von Rita Strohl dann zum Schluss als Zugabe gesehen werden kann.

Frauen mussten bis ins 20. Jahrhundert um Anerkennung als Komponistinnen ringen und viele ihrer Werke sind und bleiben nach wie vor unentdeckt, da Musik, wie auch die Malerei oder die Literatur über lange Zeit überwiegend als Männersache angesehen wurde. Welche Rolle spielt die Beschäftigung mit Komponistinnen für Sie?

Statistiken spiegeln ein dunkles Bild vom Wirken weiblicher Komponistinnen wider und zwar in allen Bereichen der klassischen Musik. Dabei gibt es so viele Schätze zu bergen! Es ist uns ein Anliegen, diese vergessen geglaubte, wunderbare Musik wiederzuentdecken und so viel wie möglich aufzuführen. Dass diese Werke auch noch die stetig
wachsende, aber vergleichsweise überschaubare Literatur für Cello und Klavier bereichern, ist natürlich ein zusätzlicher Bonus. ..... (aus dem Booklettext)

Artist(s)

Marilies Guschlbauer (cello)

The young cellist Marilies Guschlbauer from Austria stands out characterized by her warm, natural tone with high creative standards, which she demonstrates both as an enthusiastic chamber musician and as Soloist with orchestra can be heard in a rousing way. She was a guest at festivals such as the Lockenhaus Chamber Music Festival, the Quincena Musical San Sebastian, the Cello Biennale Amsterdam, the Verbier Festival Academy, the City of London Festival, the Franconian Music Days, the Salzburg Chamber Music Festival and the KlangReisen cycle, as well as at the “Next Generation” festival in Switzerland, the Traisental Culture Festival and the Hopfgarten Chamber Music Festival. As part of this, she performed together with well-known artists such as Nicolas Altstaedt, Vilde Frang, Ilya...

She was a guest at festivals such as the Lockenhaus Chamber Music Festival, the Quincena Musical San Sebastian, the Cello Biennale Amsterdam, the Verbier Festival Academy, the City of London Festival, the Franconian Music Days, the Salzburg Chamber Music Festival and the KlangReisen cycle, as well as at the “Next Generation” festival in Switzerland, the Traisental Culture Festival and the Hopfgarten Chamber Music Festival. As part of this, she performed together with well-known artists such as Nicolas Altstaedt, Vilde Frang, Ilya Gringolts, Clemens Hagen, Lena Neudauer, Lawrence Power, Eckart Runge, Candida Thompson, Emmanuel Tjeknavorian, Alexandra Tirsu, Annika Treutler, Florian Birsak, Dominik Wagner, William Youn and Christoph Zimper. Marilies Guschlbauer has also performed in various chamber music formations in the USA, Mexico, Poland, Germany, Switzerland, Liechtenstein, Greece, Moldova and Italy. Further solo and chamber music concerts took her to the Golden Hall and Brahms Hall of the Musikverein Wien, to the Mozart Hall and Schubert Hall of the Vienna Konzerthaus and to the Great Hall and Chamber Music Hall of the Berlin Konzerthaus.

She regularly performs as a duo with the pianist Julia Rinderle in Germany and Austria. The duo’s debut concert at the Musikverein Vienna, as well as a CD production with the CAvi-Music label, are planned for autumn 2023. Marilies Guschlbauer is also a founding member of the Trio Parémi, with whom she made her debut at the Vienna Konzerthaus as a Musica Juventutis prizewinner and completed successful tours through Poland and Austria. In 2023 they were guests at the Musikverein Vienna for the second time. The trio is set to collaborate with Jeunesse for the coming season. As a member of the Artel Quartet (since autumn 2022), she reached the final of the international Haydn Chamber Music Competition 2023 and performed at the Mozart Days in Bad Reichenhall, in the Mürz Classic concert series and in the Austrian Embassy in London. The performance of Schönberg’s concert for string quartet and orchestra is planned for 2024. As a member of the Ensemble Ramé, founded in 2023, she was able to win three awards from the ISA – International Summer Academy 2023, including the Bohuslav Martinů Prize, the Piano Chamber Music Prize and the Vienna Classical Prize.

Marilies Guschlbauer made her debut as a soloist with the North German Philharmonic Rostock under the direction of Wojciech Rajski with Robert Schumann’s cello concerto as part of the summer campus of the Mecklenburg-Western Pomerania Festival. At a young age, she toured as a soloist with the Young Masters to various cities in Japan and to the concert hall of the “Forbidden City” in Beijing and to EXPO Shanghai in China. This was followed by appearances with Beethoven’s Triple Concerto in Hanover (2021) and in Vienna (2023). In 2024 she will perform Dvorak’s Cello Concerto with the Brandenburg Symphony Orchestra in the Nikolaisaal Potsdam and Brandenburg Theater.

In addition to numerous first prizes and special prizes at the Austrian youth competition “Prima la Musica” at the federal level, Marilies Guschlbauer is a prize winner at the Manhattan International Music Competition and the Liezen International Cello Competition. With her brother Nikolaus Guschlbauer on the piano, she won the chamber music competition ON STAGE 2018 as a duo and the international competition “Giovani Musicisti – Città di Treviso” in 2019. In 2020 Marilies was recognized as an “mdw artist” and in 2022 she received the Interpretation Prize of the Mozart Community in Vienna. She is currently a scholarship holder of the Villa Musica Rhineland-Palatinate Foundation.

Marilies Guschlbauer completed her bachelor’s degree with Clemens Hagen at the Mozarteum Salzburg and her master’s degree with Nicolas Altstaedt at the Hanns Eisler University of Music Berlin in 2023 with honors and will begin the master’s degree in chamber music with Johannes Meissl at the University of Music and Performing Arts Vienna starting in the fall to record. The young Austrian was a student at the Liechtenstein Music Academy, took part in the Kronberg Academy and received additional musical impulses in other master classes from Wolfgang Böttcher, Hatto Beyerle, Gautier Capuçon, Eberhard Feltz, Gary Hoffman, Robert Levin, Jens-Peter Maintz, Nils Mönkemeyer, Lawrence Power, Heinrich Schiff, Wolfgang Emanuel Schmidt, Rainer Schmidt (Hagen Quartet), Julian Steckel, Torleif Thedéen, Gábor Takács-Nagy and others.

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Julia Rinderle (piano)

The promising young German pianist Julia Rinderle fascinates her audience with a strong stage presence and highly sensitive and profound playing. Julia’s many concerts have taken her to numerous cities throughout Germany and Europe to Switzerland, Austria, Sweden, Denmark, France, Italy, the Netherlands, South Africa, Israel, China and the USA. She has been invited to perform at the “Köthener Bachfesttage” and at the “International Music Festival Goslar” as well as at the famous Tivoli Concert Hall Copenhagen, the “Gläserner Saal” at Musikverein, Vienna and the “Herkulessaal” in Munich.
Moreover, she played concerts in the USA at the famous Piano Festival “Pianofest in the Hamptons” and went on a China Tour with six solo recitals in 2019.
Julia Rinderle completed her Master’s program in chamber music at the University Mozarteum Salzburg in the class of Professor Imre Rohmann with the highest marks, as well as her Master’s degree in piano solo performance at the Hanover University of Music, Drama and Media with Professor Roland Krüger.
In addition, through master classes for piano and chamber music, she has received significant artistic guidance from famous luminaries like Bernd Glemser, Matthias Kirschnereit, Bernd Goetzke, Emanuel Ax, Karl-Heinz Kämmerling, Paul Schenly, Paul Badura-Skoda and Arie Vardi.
At just 13 years of age, she gave her first performance as a soloist with symphony orchestra, and since then has regularly performed concertos with orchestras including “The Polish Chamber Philharmonic Orchestra Sopot”.
Julia Rinderle held scholarships from the sought-after „Deutschland- Stipendium“, the scholarship “Musik braucht Freunde” Hannover and the “Rupert-Gabler-Stiftung”.
She has received numerous prizes at national and international music competitions, including first prize at the “Steinway” Competition in Munich and second prize at the International Chamber Music Competition “Charles Hennen Competition” in Heerlen (Netherlands) with her piano trio. In addition, she was given the third prize at the International Piano Competition “Concorso Argento” in Italy and won four different special prizes at the international “Münchner Klavierpodium”. Moreover, Julia Rinderle won the 16th international “Louis- Spohr- Wettbewerb” as well as the audience award and was awarded first prize at the international piano competition „Lia Tortora“ in Italy. Furthermore, she won the „II. International Youth Piano Competition“ in Troisdorf, Germany and received the Silver Medal together with violinist Sophia Herbig at the “5th Manhattan International Music Competition”.
She received the 2023 Cultural Prize of the City of Memmingen and is winner of the 2024 Music Promotion Prize of the District of Swabia.
In February 2016, Julia Rinderle released her Debut CD with the world premiere recording of the “Ghostly scenes” by Anselm Hüttenbrenner, which received enthusiastic reviews. Her second solo album „Schubertiade on piano“ has been released in May 2019 with the German Label ARS Produktion.
From 2019 till 2022 Julia Rinderle has been working as a piano docent at the Hanover University of Music, Drama and Media and is now teaching also as docent for piano a at the University of Music and Drama in Leipzig.
She has also given several master classes for piano, a.o. at the “International Summer Festival” in Troisdorf.
Mrs. Rinderle is a very many-sided artist. She enjoys presenting her concerts and giving the audience useful and enjoyable information about the pieces she will perform. She is also experienced in performing contemporary music and its special effects or methods (such as John Cage’s “Prepared Piano”) as well as early music on harpsichord and pianoforte. Julia is a skilled and passionate chamber musician and has performed with many different instruments, including the clarinet, flute, oboe, trumpet, trombone, tuba, percussion instruments, violin, viola, and cello, as well as with singers

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Composer(s)

Amy Beach

Amy Mary Beach was an American pianist and composer who was born in Henniker (New Hampshire) and died at the end of World War II in New York. She made her debut in 1883 in Boston, were she also preferred to perform later on. She composed orchestral works, choral works, chamber music, piano works and songs. It is interesting to note that she was actually self-taught.
Her Piano Concerto (1888/9) is a high romantic piece full of lyrical melodies in the tradition of Liszt but with starting points with Grieg and Dvorak. The symphony dates from 1894/6 and originated under influence of her introduction to Dvorak’s Symphony “From the New World”. Beach decided that she could also write a similar work based on four Irish folk melodies.
The Piano Quintet from 1908 deserves to be called a masterpiece: it is surprisingly rich of contrasts. The Theme with variations for flute and quartet is steeped in nostalgia.
The lyrical Violin Sonata is a relatively early work from 1897 which suddenly quickens in a perpetuum mobile scherzo. On the contrary, the one-movement String Quartet was started in 1921, but completed in 1929 and published only after the death of the composer. The work is based on three themes from Alaskan folk music. The Pastorale has a recognizable personal character, but the woodwind parts were written much later. Dreaming is a kind of Lied ohne Worte for cello and piano.
In the piano works, Schumann, Beethoven, Mendelssohn and Liszt sometimes look over the shoulders of Beach, but that does not matter: the music contains very beautiful, mainly poetic moments.
(Source: Musicalifeiten.nl)

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Fanny Hensel

Lera Auerbach

Russian-American composer and concert pianist Lera Auerbach is one of today’s most sought after and exciting creative voices. Auerbach’s intelligent and emotional style has connected her to audiences around the world and her work is championed by today’s leading perform- ers, conductors, choreographers, choirs and opera houses, including the Theatre an der Wein, New York’s Lincoln Center, the National Symphony in Washington, D.C., Stanislavsky Theater in Moscow, the Hamburg Ballet, National Ballet of Canada, Netherlands Dance Theater, San Francisco Ballet, National Ballet of China; choreographers, John Neumeier, Aszure Barton, Goyo Montero, Terence Kohler, Sol León, Paul Lightfoot, Tim Plegge and Medhi Walerski; violinists Gidon Kremer, Leonidas Kavakos, Daniel Hope, Hilary Hahn, Vadim Gluzman, Vadim Repin, Julian Rachlin, Nadja Salerno-Sonnenberg and Dmitry Sitkovetsky; violist Kim Kashkashian; cellists Alisa Weilerstein, Gautier Capuçon, Alban Gerhardt, David Finckel, Joshua Roman, Clive Greensmith, David Geringas, Ani Aznavoorian, Wendy Warner, and Narek Hakhnazaryan; the Artemis, Borromeo, Tokyo, and Ying string quartets and Chamber Music Society of Lincoln Center. Her orchestral works have been brought to life by Charles Dutoit, Christoph Eschenbach, Andris Nelsons, Vladimir Jurowski, Vladimir Fedoseyev, Neeme Järvi, Vladimir Spivakov, Osmo Vänskä, Andrey Boreyko, and many others.

In 2015, Auerbach was composer-in-residence at the Trans-Siberian Art Festival and the Rheingau Musik Festival in Germany. Past residencies include the Staatskapelle Dresden, Switzerland’s Verbier Festival, Norway’s Trondheim Festival, the São Paulo Symphony in Brazil, and Marlboro Music Festival in the USA. Awards include the Hindemith Prize, a Golden Mask, Paul and Daisy Soros Fellowship, German National Radio prize and the ECHO Klassik award. In 2011, her opera GOGOL marked the first time a major opera written by a female composer was produced in Vienna.

Auerbach is equally prolific in literature and the visual arts (especially painting and sculpture) and incorporates these forms into her professional creative process, simultaneously expressing ideas visually, in words, and through music. She has published three books of poetry in Russian and her first English-language book, “Excess of Being” – in which she explores the difficult form of the aphorism – was published by Arch Street Press in 2015. Her visual art has been included in several exhibitions, is often exhibited at performances of her musical work, and has been reproduced in magazines, CDs and books. As a poet, Ms. Auerbach has been long established and was named Poet of the Year in 1996 by the International Pushkin Society in New York. Her poetry and prose has been included in various anthologies and high school textbooks. She is the author of several librettos and is a regular contributor to the Best Ameri- can Poetry blog through her column, The Trouble Clef.

From 2007-2012 Auerbach was a Young Global Leader of the World Economic Forum in Da- vos. Today, she serves the WEF as a Cultural Leader, giving presentations around the world on Borderless Creativity. The LeraArt Foundation, a 501c3 organization, was established in her name in 2015 and seeks to create an artist-centric paradigm for composers through its “Mod- ern Renaissance” project.

Auerbach was raised in the Russian city of Chelyabinsk on the border of Siberia. She gradu- ated with bachelor’s and master’s degree in composition from the Juilliard School and a post- graduate degree in piano from Hanover University. Her work is published exclusively by the Internationale Musikverlage Hans Sikorski. Her music is available on Deutsche Grammophon, Nonesuch, BIS, Cedille and other labels.

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