Radu Paladi: Concertos & Symphonic Suite "The Little Magic Flute" Oliver Triendl, Nina Karmon, Württembergische Philharmonie Reutlingen & Eugene Tzigane

• Radu Paladi (1927 - 2013): Piano Concerto in C Major:
• 1 Paladi: Piano Concerto in C Major: I. Giocoso. Allegro con spirito 05:42
• 2 Paladi: Piano Concerto in C Major: II. Lamento. Andante sostenuto 09:13
• 3 Paladi: Piano Concerto in C Major: III. Toccata. Vivo 06:29
• Symphonic Suite "The Little Magic Flute":
• 4 Paladi: Symphonic Suite "The Little Magic Flute": I. Moderato 01:11
• 5 Paladi: Symphonic Suite "The Little Magic Flute": II. Vivace giocoso 00:25
• 6 Paladi: Symphonic Suite "The Little Magic Flute": III. Rubato 03:32
• 7 Paladi: Symphonic Suite "The Little Magic Flute": IV. Molto vivace 00:50
• 8 Paladi: Symphonic Suite "The Little Magic Flute": V. Andantino 01:03
• 9 Paladi: Symphonic Suite "The Little Magic Flute": VI. Andante 01:56
• 10 Paladi: Symphonic Suite "The Little Magic Flute": VII. Vivace 01:43
• 11 Paladi: Symphonic Suite "The Little Magic Flute": VIII. Allegretto 01:51
• 12 Paladi: Symphonic Suite "The Little Magic Flute": IX. Allegretto 02:18
• Violin Concerto in E Minor:
• 13 Paladi: Violin Concerto in E Minor: I. Largo - Allegro 06:57
• 14 Paladi: Violin Concerto in E Minor: II. Andante 07:16
• 15 Paladi: Violin Concerto in E Minor: III. Vivo 06:35
• Total Runtime 57:01

Info zu Radu Paladi: Concertos & Symphonic Suite "The Little Magic Flute"

Radu Paladi, der Meister: Als Komponist, Pianist, Dirigent und Dozent gehörte Radu Paladi zu den Ausnahmetalenten. Als Mensch und Künstler stellte er höchste Ansprüche an sich selbst und andere, engste Freunde nicht ausgenommen. Bequemlichkeit und Schlamperei waren ihm zuwider, Hingabe und Professionalismus im Dienste der Musik bedeuteten ihm alles. Die Gespräche mit ihm – sie kreisten stets um anspruchsvolle fachliche Themen - waren faszinierend, denn sein ganzes Wesen atmete buchstäblich Musik. Ich hatte das Privileg rund vierzig Jahre nahe dieser charismatischen Persönlichkeit, meinem großen Vorbild, zu leben.

Nina Karmon, violine
Oliver Triendl, Klavier
Württembergische Philharmonie Reutlingen
Eugene Tzigane, Dirigent

Nina Karmon
described by the Frankfurter Allgemeine Zeitung as a "well-grounded and deep artistic fighter with a beautiful sound", is an international soloist. Performances have brought her onto major concert stages like the Tonhalle in Zurich, the Konzerthaus in Vienna, the Gewandhaus in Leipzig, the Konzerthaus in Berlin, the Staatsoper in Munich, the Liederhalle in Stuttgart, the Harmonie in Heilbronn, the Atheneum in Bucharest, the Victoria Concert Hall in Singapore, the Yokohama Minato Mirai Hall in Japan, the Seoul Arts Center in Korea among others.

Nina Karmon performed as a soloist with well known orchestras such as the Orchestra of the Bavarian State Opera in Munich, the Radio Symphony Orchestra in Stuttgart, the Norwegian Radio Orchestra of Oslo, the Stuttgart Philharmonic, the Bucarest Philharmonic, the Filarmonica Banatul Timisoara, the Symphony Orchestra Heilbronn, the Viennese Chamber Orchestra, the Stuttgart Chamber Orchestra, the Wuerttemberg Chamber Orchestra of Heilbronn, the Georgian Chamber Orchestra Ingolstadt, the Nuremberg Symphony Orchestra at the "Classic Open Air" concert in Nuremberg, which was attended by seventy-thousand people, the Korean Chamber Ensemble, the Manhattan Chamber Sinfonia, the Ostrobothnian Chamber Orchestra among others, under the baton of Zubin Mehta, Pinchas Zukerman, Ruben Gazarian, Evan Alexis Christ, Helmuth Rilling, Bernhard Güller, Gabriel Feltz, Christian Simonis, Jörg Faerber, Peter Braschkat, Igor Shukow, Ari Rasilainen, Juha Kangas, Emil Simon, Horia Andreescu, Romeo Rimbu and Gottfried Rabl and others.

Greatly enriching and inspiring has also been her recent collaboration with famous pianist Gerhard Oppitz.

As a devoted chamber musician, Ms. Karmon has worked with artists such as Peter Bruns, Corey Cerovsek, Amaury Coeytaux, Juan Jose Chuquisengo, Olivier Doise, Terhi Dostal, Jurek Dybał, Niklas Eppinger, Ismo Eskelinen, Bengt Forsberg, David Frühwirth, Patrick Gallois, Roland Glassl, Giovanni Gnocchi, Justus Grimm, Michèle Gurdal, Alexander Hülshoff, Thorsten Johanns, Hervé Joulain, Benedict Klöckner, Elisabeth Kufferath, Roland Krüger, Victor Julien-Laferrière, Trey Lee, Michel Lethiec, Jack Liebeck, Lilli Maijala, Diyang Mei, Vladimir Mendelssohn, Laura Mikkola, Floris Mijnders, Béatrice Muthelet, Lena Neudauer, Arto Noras, Denis Omerovic, Bruno Pasquier, Régis Pasquier, Natalia Prishepenko, Rachel Roberts, Hartmut Rohde, Martti Rousi, Pauline Sachse, Guido Schiefen, Stefan Schilli, Hariolf Schlichtig, Niklas Schmidt, Henri Sigfridsson, Alexander Sitkovetsky, Maria Sofianska, Nina Tichman, Oliver Triendl, Gunars Upatnieks, Andreas Willwohl, Wen Sinn Yang and Wen Xiao Zheng and many others.

She has also been heard at the Kuhmo Festival, the Iitti Festival and the Karjalohja Festival in Finland, the Pablo Casals Festival in Prades, the Muskoka Lakes Festival in Canada, the Mainly Mozart Festival in Coral Gables, Florida, the Ludwigsburger Schlossfestspiele, the Hohenloher Kultursommer, the Oberstdorfer Musiksommer, Classix Kempten, the Mozartiade and the Mosel Festwochen in Germany.

In November 2021 a CD with works by the Hungarian composer Mátyás Seiber together with the Württemberg Chamber Orchestra Heilbronn under the baton of Levente Török and pianist Oliver Triendl has been released on the hänssler CLASSIC label.

Her recording of the violin concerto by romanian composer Radu Paladi with the Württembergische Philharmonie Reutlingen under the baton of Eugene Tzigane will be released soon.

Other recordings include piano quartets by Finnish composers Ilmari Hannikainen und Helvi Leiviskä, released by Telos Music Records. Sonatas for piano and violin by Ludwig van Beethoven, Johannes Brahms, Richard Strauss, Erwin Schulhoff, Toivo Kuula and Josef Labor; Franz Schubert’s fantasy in C and the Groteske for violin and piano by the German composer Rudi Stefan, whose career was abruptly ended at the age of twenty-eight in World War I, the horn trio by the Hungarian composer György Ligeti as well as other chamber music works by Josef Labor and Théodore Dubois. Astor Piazzolla's Histoire du Tango for violin and guitar is available on iTunes.

In 2008, Nina Karmon started the International-Chamber-Music-Festival at Schaubeck Castle in Steinheim. Every year in spring, internationally known musicians come together in the castle’s charming barn to make music.

When she was five years old, Nina Karmon, born in Stuttgart, started to learn cello with her mother, a Finnish cellist. Shortly before her seventh birthday she took up the violin and in the years following she was taught by her father, who at the time was concertmaster of the Stuttgart Radio Symphony Orchestra. After further studies with Silvia Markovici, Vladimir Landsman, Radu Bozgan, and at the Hans- Eisler University in Berlin with Prof. Werner Scholz, she went to New York City for three years as a student of Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music. After this time she returned to Europe.

Oliver Triendl
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 Altenburger, Wolfgang Boettcher, Thomas Brandis, Eduard Brunner, Ana Chumachenko, David Geringas, Clemens Hagen, Frans Helmerson, Hervé Joulain, Isabelle van Keulen, Rainer Kussmaul, François Leleux, Lorin Maazel, Marie Luise Neunecker, Paul Meyer, Sabine and Wolfgang Meyer, Pascal Moraguès, Charles Neidich, Arto Noras, Raphaël Oleg, Gustav Rivinius, Benjamin Schmid, Hagai Shaham, Christian Tetzlaff, Radovan Vlatković, Jan Vogler and Antje Weithaas. He performed with Apollon musagète, Artis, Atrium, Auryn, Carmina, Danel, Gringolts, Keller, Leipzig, Mandelring, Meta4, Minguet, Pražák, Schumann, Sine Nomine, Škampa, Talich and Vogler String Quartets as well as with excellent artists of the younger generation like Nicolas Altstaedt, Claudio Bohórquez, Mirijam Contzen, James Ehnes, Liza Ferschtman, David Grimal, Ilya Gringolts, Alina Ibragimova, Sharon Kam, Henning Kraggerud, Pekka Kuusisto, Johannes Moser, Daniel Müller-Schott, Alina Pogostkina, Christian Poltéra, Alexander Sitkovetsky, Baiba Skride, Valeriy Sokolov, Carolin and Jörg Widmann.

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.

Eugene Tzigane
Born in Japan, raised on both sides of the Pacific and now based in Europe, Eugene Tzigane grew up in an artistic family surrounded by all kinds of literature, cinema, dance, and of course, music. From an early age, he was exposed to music of vastly different origins from Classical and Jazz (his first love), to Eastern European folk music and dance.

This eclectic mix of cultures and musical interests formed Eugene into a musician that cannot but help think beyond the usual categories, boundaries, and traditions. His insatiable curiosity drives him to constantly discover new and fresh ways of performing the old War Horses. This is informed by his endless search for improvement. The Japanese call, ‘Kaizen’, which translates roughly to ‘eternal improvement.

What would Classical or Romantic era music sound like if we used all the historical performance practices we know of and combined them with the flexibility, emotionality, and subjective mindset of the Enlightenment or Romanticism? It is still largely an unanswered question, despite the mountains of musicological evidence and the wealth of early historical recordings available.

Though the Period Instrument movement has made great advances in historical practices, many performances of the Classical and especially the Romantic repertoire are still not free of Modernist aesthetics ideals like perfectionism and fidelity to the text. Shedding these ideas is a difficult task. Consequently, only a select group of historical practices have been cherry-picked to match our current tastes. The next step is to let go of the known and take the leap into the beautiful unknown.

Through research, intuition, and imagination, I build a living picture of the era from which a piece was born. Intellectual and emotional immersion are the keys to performing the music as if from another time. Understanding that the range of styles, techniques and tastes of an epoch opens the door to the evolution of a personal style. This would have been expected at any moment in time prior to the rise of Modernism in the 1920s. I attempt to put myself in the shoes of a composer and his or her most famous champions.

I ask myself, how did Beethoven or Liszt play? Or, how did Wagner revolutionize conducting? What were the ideals and philosophies that guided their activities as composers and performers? It's the musical equivalent of an actor on stage who embodies a character in a realistic and believable way. It is at its essence a Holistic Approach to Historically Inspired Performance Practices.

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