Inspired by the Freemasons Katja Zakotnik & Naila Alvarenga

• Francesco Geminiani (1687–1762): Sonata No. 6 in A minor, Op. 5
• 1 I. Adagio - II. Allegro assai - III. Grave 04:16
• Francesco Geminiani: Cello Sonata in A minor, Op. 5, No. 6
• 2 IV. Allegro 03:56
• Ludwig van Beethoven (1770–1827): from Mozart's Die Zauberflöte, Op. 66
• 3 12 Variations in F major on Ein Mädchen oder Weibchen 09:15
• Ludwig van Beethoven (1770–1827): from Mozart's Die Zauberflöte, WoO 46
• 4 Variations in E flat major on Bei Männern, welche Liebe fühlen 08:59
• Jean Sibelius (1865–1957): Four Pieces for Violin and Piano, Op. 78
• 5 No. 1. Impromptu 01:58
• 6 No. 2. Romance 03:07
• 7 No. 3. Religioso 04:01
• 8 No. 4. Rigaudon 02:31
• Johann Nepomuk Hummel (1778–1837): Variations in D minor, Op. 54
• 9 Variations in D minor, Op. 54 14:39
• Total Runtime 52:42

Info for Inspired by the Freemasons

The ideals of the Freemasons of brotherhood and freedom fell on fruitful ground for a considerable number of great musicians, including Jean Sibelius, Wolfgang Amadeus Mozart and Francesco Geminiani. The two young musicians Katja Zakotnik (cello) and Naila Alvarenga-Lahmann (piano) are now releasing a CD with chamber music works inspired by Freemasonry. The programme includes cheerful impressions from the Magic Flute, as interpreted by Beethoven, and Nordic sounds suffused with light by the Finnish national composer Sibelius, as well as music of Johann Nepomuk Hummel. An unusual compilation, movingly performed at the highest level!

Katja Zakotnik, cello
Naila Alvarenga-Lahmann, piano

Katja Zakotnik
does not play her cello, she becomes one with it. An artist who plays with “astonishing beauty” as a concert review put it. But she can also bring audience to their feet in enthusiasm with her temperament.

Naila Alvarenga-Lahmann says of her duo partner, who was born in Slovenia in 1979: ”Although she is constantly on a quest for perfection, Katja has a certain spirit of lightheartedness. It is obvious that she was introduced to her instrument very early and with great pleasure, and that she always connects with the audience as soon as she steps onto the stage. It is understandable that she not only often won first prize in competitions, but also the audience prize, such as at the IBLA Grand Prize World Music Competitions in Ibla, Sicily in 2009. She strives to understand the music completely, which results in very intensive work. This is something which I enjoy a great deal. I assume that the places where she studied were responsible for the contrasting qualities of determination and lightheartedness she possesses. She studied at the University of Music, Drama and Media Hanover and simultaneously completed a three-year master class at the Accademia Walter Stauffer in Cremona, Italy. After graduating she spent six months as a student of Bernard Greenhouse in the United States. She says that she learned her indispensable range of tonal colors there, which I appreciate as much as I do her precision. In rehearsals I sometimes have the feeling that we are an orchestra or an opera. Every voice exists for a reason and tells a story. This is then communicated to the audience not only musically but also verbally and visually. How Katja talks about the works we perform at our theme recitals fascinates me over and over again. Sometimes she uses Powerpoint and a beamer, then a flipchart, actors pop up, or artists from other genres. Her ideas for making the music even more understandable for the audience are inexhaustible. She is now known for her unusual concert formats – this year she created an event for an audience in deckchairs. I am certain that many more surprises of this kind await me. And yet: it never becomes complicated. Despite all her creativity she is simply too practical for that.” Katja Zakotnik studied with Prof. Tilmann Wick, Prof. Rocco Filippini and subsequently with Bernard Greenhouse. She travels the world as a soloist, chamber music partner and also in orchestras led by conductors such as Claudio Abbado. Her playing is described as “musical song.”

Naila Alvarenga-Lahmann
numbers among those musicians who grip their audience from the very first note they play. The journey takes you through sweet and cantabile passages, but the Brazilian musician, who was born in 1976, also impresses with furious runs, goose-bumps always included.

Katja Zakotnik says about her chamber music partner: “What I appreciate about Naila is her composedand straightforward manner. Despite our two different temperaments our rehearsals are actually very quiet. You can tell that she has played at very many competitions including winning the Magdalena Tagliaferro International Piano Competition in São Paulo in 1998. After that she came to Germany and completed a double major in soloand chamber music performance at the Karlsruhe’s University of Music, completing both degrees with distinction. I think saying she is ‘stress resistant’ captures her nature quite well. She worked as a performance coach in a trumpet solo master class for three years. That definitely had an impact in her becoming an unbelievably good chamber music partner: she has a good sense of my breathing. I can recall many performances when we neither made eye contact nor even moved very much. She simply breathed with me and we worked together. We have a shared passion for Brahms but have not yet had the opportunity to give it expression on the recital stage. Naila has often dedicated herself musically to her homeland, for example in 2005, when she performed works by the Brazilian composer Ronaldo Miranda and recorded them as well. She has also performed a program of works by Ronaldo Miranda and Claude Debussy on Germany’s SWR radio/television station. Three years later she made a concert tour of Brazil with her piano quartet and played works by German composers there – sometimes under hair-raising conditions on ‘pianos that no pianist here would play on,’ as she herself said. But she has never complained about such things. Naila would never complain about an instrument. She coaxes the most beautiful colors out of any piano or concert grand.She makes music – who is interested in minor matters then.” Naila Alvarenga-Lahmann initially studied under Prof. Celina Szrvinsk (chamber music partner of the cellist Antonio Meneses, Bern), then later under among others Prof. Michael Uhde. She performs both in Germany and internationally and has won prizes at many international competitions. Concert reviews refer to her playing as being “as sensitive as it is virtuoso.”

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