Label: CAvi
Format: CD
Barcode: 4260085532902
Catalog number: AVI 8553290
Releasedate: 26-04-13
Format: CD
Barcode: 4260085532902
Catalog number: AVI 8553290
Releasedate: 26-04-13
Alain Steffen: What specific challenges await the performer in the piano pieces of Leoš Janacék?
What characterizes him as a composer?
Cathy Krier: To begin with, Janacék is difficult to categorize: he doesn’t correspond to our usual clichés.
Milan Kundera once described him as a “meteorite that landed in music history”. You can tell from reading his
letters and the advice he gave his students that Janacék was always trying to show something about the
essence of music. No unnecessary flourishes or superficial embellishments: instead, he focused his attention
on that which is truly elementary. With such a modern attitude, Janacék was way ahead of his time. Today,
when we perform his music, I think that same kind of attitude can help us discover a new form of authenticity.
A.S.: Where do we find that new authenticity?
C.K.: If we seriously take the composer’s wish that we focus on the essential, as performers and as listeners
we can discover a whole new world of finely nuanced structures in miniature, punctuated by several distinct
changes of mood within one piece. Those changes can be abrupt, occasionally giving rise to a certain form of
brutality. Janacék’s scores are the only ones I know that contain the indication con durezza, “with harshness”.
The more I study and perform his music, the more it becomes clear that he was not trying to write music that
sounded “beautiful”. What he was searching for, instead, was authentic, stark expression – nevertheless
contained within a clear, condensed form. In the midst of this learning process I started to realize that this
composer’s mindset actually coincides very closely with my own personal approach to music.
Thus, while delving deeper and deeper into his music, I felt that Janacék was drawing closer. (excerpt from an
interview of Alain Steffen with Cathy Krier from the liner notes)
Born in Luxembourg in 1985, Cathy began taking piano lessons at the Luxembourg Conservatoire at the age
of five. In 1999 she was admitted to Professor Pavel Gililov´s masterclass at the Hochschule für Musik und
Tanz in Cologne.…..…. Further, she has been invited to be ‘Artist in Residence’ at the Biermans-Lapôtre
Foundation in Paris where she developed this present concepts after long years of studying Janácek’s music.
www.cathykrier.com
Catalog: Recital Cathy Krier (Scarlatti, Chopin, Haydn, Müllenbach, Dutilleux) CAvi8553137
What characterizes him as a composer?
Cathy Krier: To begin with, Janacék is difficult to categorize: he doesn’t correspond to our usual clichés.
Milan Kundera once described him as a “meteorite that landed in music history”. You can tell from reading his
letters and the advice he gave his students that Janacék was always trying to show something about the
essence of music. No unnecessary flourishes or superficial embellishments: instead, he focused his attention
on that which is truly elementary. With such a modern attitude, Janacék was way ahead of his time. Today,
when we perform his music, I think that same kind of attitude can help us discover a new form of authenticity.
A.S.: Where do we find that new authenticity?
C.K.: If we seriously take the composer’s wish that we focus on the essential, as performers and as listeners
we can discover a whole new world of finely nuanced structures in miniature, punctuated by several distinct
changes of mood within one piece. Those changes can be abrupt, occasionally giving rise to a certain form of
brutality. Janacék’s scores are the only ones I know that contain the indication con durezza, “with harshness”.
The more I study and perform his music, the more it becomes clear that he was not trying to write music that
sounded “beautiful”. What he was searching for, instead, was authentic, stark expression – nevertheless
contained within a clear, condensed form. In the midst of this learning process I started to realize that this
composer’s mindset actually coincides very closely with my own personal approach to music.
Thus, while delving deeper and deeper into his music, I felt that Janacék was drawing closer. (excerpt from an
interview of Alain Steffen with Cathy Krier from the liner notes)
Born in Luxembourg in 1985, Cathy began taking piano lessons at the Luxembourg Conservatoire at the age
of five. In 1999 she was admitted to Professor Pavel Gililov´s masterclass at the Hochschule für Musik und
Tanz in Cologne.…..…. Further, she has been invited to be ‘Artist in Residence’ at the Biermans-Lapôtre
Foundation in Paris where she developed this present concepts after long years of studying Janácek’s music.
www.cathykrier.com
Catalog: Recital Cathy Krier (Scarlatti, Chopin, Haydn, Müllenbach, Dutilleux) CAvi8553137
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1Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe INaše vecery / Our evenings / Unsere Abende03:23
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2Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe ILístek odvanutý / A blown-away leaf / Ein verwehtes Blatt02:54
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3Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe IPojd’te s náme! / Come with us! / Kommt mit!01:28
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4Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe IFrýdecká Panna Maria / The Frýdek Madonna / Die Friedeker Mutter Gottes03:11
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5Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe IŠtebetaly jak laštovicky / They chattered like swallows / Sie schwatzten wie die Schwalben02:09
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6Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe INelze domluvit! / Words fail! / Es stockt das Wort01:58
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7Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe IDobrou noc! / Good night! / Gute Nacht!02:36
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8Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe ITak neskonale úzko / Unutterable anguish / So namenlos bange03:25
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9Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe IV pláci / In tears / In Tränen03:02
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10Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada I / Series I / Reihe ISýcek neodletel! / The barn owl has not flown away! / Das Käuzchen ist nicht fortgeflogen!03:04
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11Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada II / Series II / Reihe IIAndante03:50
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12Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada II / Series II / Reihe IIAllegretto03:08
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13Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada II / Series II / Reihe IIPiù mosso02:39
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14Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada II / Series II / Reihe IIAllegro04:54
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15Po zarostlém chodnícku / On an Overgrown Path / Auf verwachsenem Pfade (1900 – 1911) Rada II / Series II / Reihe IIVivo01:40
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16Ej, danaj! (1892)02:14
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17Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Pilky01:07
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18Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Konope (Coufavá)00:25
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19Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Kožušek (Krížový)01:32
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20Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Kukacka00:14
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21Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Starodávný00:48
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22Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Tetka (Škrk)00:22
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23Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Korycanský troják00:52
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24Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Srnátko00:12
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25Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Troják (lašský)01:07
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26Moravské tance / Moravian dances / Mährische Tänze (1888-1889)Celadenský00:56
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27Tema con variazioni (1880)Zdenciny variace / Variations for Zdenka / Zdenkas Variationen08:49
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1Sonáta pro klavír „I. X. 1905Predtucha / Foreboding / Die Ahnung – Con moto05:38
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2Sonáta pro klavír „I. X. 1905Smrt / Death / Der Tod - Adagio07:42
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3V mlhách/ In the Mists / Im Nebel (1912)Andante03:35
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4V mlhách/ In the Mists / Im Nebel (1912)Molto adagio04:27
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5V mlhách/ In the Mists / Im Nebel (1912)Andantino03:43
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6V mlhách/ In the Mists / Im Nebel (1912)Presto04:21
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7Miniatures (1877 - 1927)Rondo (1877)01:36
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8Miniatures (1877 - 1927)Na památku / In Remembrance / Zum Andenken (1886)01:49
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9Miniatures (1877 - 1927)Své Olga/ To my Olga / Meiner Olga (1896)00:32
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10Miniatures (1877 - 1927)Narodil se Kristus Pán / Lord Jesus Christ is Born / Geboren ist Herr Jesus Christ (1909)00:40
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11Miniatures (1877 - 1927)Moderato (1911)00:50
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12Miniatures (1877 - 1927)Ukolébavka / Cradle Song / Wiegenlied (1920)00:39
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13Miniatures (1877 - 1927)Melodie (1923)00:23
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14Miniatures (1877 - 1927)Bez názvu / Untitled / Ohne Titel (1924)00:36
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15Vzpomínka/ A Recollection/ Eine Erinnerung (1928)Malostranský palác / Malostransky Palace / Kleinseiten-Palais (1927)01:01
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16Památník pro Kamilu Stösslovou / Album for Kamila Stösslová / Album für Kamila Stösslová (1927-1928)01:04
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17Památník pro Kamilu Stösslovou / Album for Kamila Stösslová / Album für Kamila Stösslová (1927-1928)Jen slepý osud? / Merely blind fate? / Nur blindes Schicksal? 11.12.192700:48
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18Památník pro Kamilu Stösslovou / Album for Kamila Stösslová / Album für Kamila Stösslová (1927-1928)Aby už se nemohlo jíti nikdy zpet / So that one could never return / Damit man nie zurück könnte 12.2.192801:06
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19Památník pro Kamilu Stösslovou / Album for Kamila Stösslová / Album für Kamila Stösslová (1927-1928)Cekám Te! / I am waiting for you! / Ich erwarte Dich! 5.8.192800:34
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20Památník pro Kamilu Stösslovou / Album for Kamila Stösslová / Album für Kamila Stösslová (1927-1928)Zlatý kroužek / The Golden Ring / Der goldene Ring 8.8.192800:31
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21Moravské lidové písne / Moravian Folksongs / Mährische Volkslieder (1922)09:00