Trouvez les femmes! Vol. 1 (Female Composers of the Romantic Era) Miriam Terragni & Catherine Sarasin

• Emilie Mayer (1812 - 1883): Sonate in D Major:
• 1 Mayer: Sonate in D Major: I. Agitato con passione 07:55
• 2 Mayer: Sonate in D Major: II. Adagio 06:11
• 3 Mayer: Sonate in D Major: III. Scherzo 03:23
• 4 Mayer: Sonate in D Major: IV. Finale 06:21
• Nocturne, Op. 48:
• 5 Mayer: Nocturne, Op. 48 06:06
• Laura Netzel (1839 — 1927): Tarantelle, Op. 33:
• 6 Netzel: Tarantelle, Op. 33 01:58
• Suite, Op. 33:
• 7 Netzel: Suite, Op. 33: I. Andante 02:43
• 8 Netzel: Suite, Op. 33: II. Allegretto non troppo vivo 02:18
• 9 Netzel: Suite, Op. 33: III. Allegro 02:08
• Humoresque, Op. 37:
• 10 Netzel: Humoresque, Op. 37 02:09
• Romance, Op. 38:
• 11 Netzel: Romance, Op. 38 02:57
• Romance, Op. 40:
• 12 Netzel: Romance, Op. 40 03:20
• Andante religioso, Op. 48:
• 13 Netzel: Andante religioso, Op. 48 03:51
• Berceuse, Op. 59:
• 14 Netzel: Berceuse, Op. 59 03:31
• La Gondoliera, Op. 60:
• 15 Netzel: La Gondoliera, Op. 60 03:09
• Berceuse, Op. 69:
• 16 Netzel: Berceuse, Op. 69 03:04
• Colibri, Op. 72:
• 17 Netzel: Colibri, Op. 72 02:51
• Total Runtime 01:03:55

Info for Trouvez les femmes! Vol. 1 (Female Composers of the Romantic Era)

A repertoire gap provided the impetus for a genuine new discovery: there is plenty of repertoire for the flute from the Baroque period and again since the 20th century. However, the productive Romantic era treated this instrument somewhat neglected. The Terragni/Sarasin duo wanted to remedy the situation and resorted to the tried and tested means of adaptation, which has been common in music for centuries. The object of the adaptation to the flute was not a well-known work, but a real trouvaille: the violin sonata by the composer Emilie Mayer, who was sometimes described in her time (although much younger) as the “female Beethoven”. Only a few interventions in the original text were necessary to make this energetic work appear in a new guise. The sonata is complemented by an original suite by Laura Netzel, who is also little known today, and several smaller pieces by the two female composers, which once again impressively prove what repertoire treasures there still are to be unearthed off the beaten track.

Miriam Terragni, flute
Catherine Sarasin, piano

Miriam Terragni
The Swiss studied at the Musikhochschule Basel with Gerhard Hildenbrand and Peter-Lukas Graf and graduated with a soloist diploma with Felix Renggli. Further impulses followed during her year of study in Paris with Pierre-Yves Artaud and Philippe Racine. She then continued her training on the transverse flute at the Schola Cantorum Basiliensis and with Ekkehard Creutzburgh in Konstanz. She has won numerous national and international prizes, including the National Music Competition Riddes and the Special Prize of Radio SRS2, the Migros Study Prize for 3 years, the SBG Competition, the International Flute Competition Buffet-Crampon Paris, the Special Prize of Suvini-Zerboni Rome, the Tribune des jenes musiciens Unesco (Switzerland), etc. She has also won the International Flute Competition Riddes and the Special Prize of Radio SRS2. In addition, she won the elimination competitions of the Basel Conservatory four times (concerts with the Basel Symphony Orchestra) and was a scholarship holder of the Villa Musica Mainz.

Miriam Terragni is principal flutist of the Argovia Philharmonic under the direction of Douglas Bostock. Her work as a solo flutist was shaped by her work with the Orchestre Philharmonique Suisse. There she worked with renowned conductors such as Mario Venzago, Charles Dutoit, Gerd Albrecht and Nello Santi. As a soloist, chamber musician and orchestral musician, Miriam Terragni has enjoyed success throughout Europe. Productions for radio and TV underline her versatility. In addition to her active work in orchestras and as a passionate chamber musician, she teaches at the music schools in Laufen, Allschwil and Reinach.

Cathrine Sarasin
The Swiss pianist Catherine Sarasin was trained at the music schools of Basel and Lucerne, where she was most strongly influenced by the English pianist Hubert Harry. Her interest in song accompaniment led her to continue her studies in the master class for song interpretation with Irwin Gage at the Zurich Musikhochschule. Further impulses followed from Arie Vardi, Jürgen Uhde, Peter Feuchtwanger and Wolfgang Rihm, among others. She intensively studied historically informed performance practice at the Schola Cantorum Basiliensis and with Andreas Kröper (Masaryk University/Brno). As a soloist and chamber music partner, she performs throughout Europe. She performed piano concertos by Mozart and Salieri as soloist at the Mozart-Salieri Festival in the Rudolfinum in Prague. Various radio and TV productions as well as CDs document her work.

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