Anneleen Lenaerts CHOPIN & LISZT

 

CHOPIN & LISZT

Anneleen Lenaerts NINO ROTA Works for Harp

 

WORKS FOR HARP

 

Avi Avital ART OF THE MANDOLIN

 

ART OF THE MANDOLIN

 

Anneleen Lenaerts NINO ROTA Works for Harp

On March 29, Anneleen Lenaerts released her sixth album, highlighting the works of Nino Rota and featuring Emmanuel Pahud on flute and Adrien Perruchon conducting the Brussels Philharmonic. In addition to Rota’s harp concerto, the Sarabanda e Toccata, and his flute and harp sonata, Lenaerts performs music from his films such as The Godfather and Taming of the Shrew. “Nino Rota is such a special composer, mainly known to the audience for his film music for movies like The Godfather, Dolce Vita, and Romeo and Juliet,” Lenaerts says. “But before he got famous doing this, he had written so many beautiful classical pieces that are not as well–known as they should be. People usually don’t know that he wrote many concerti, operas, ballets, even an oratorio and chamber music.” When asked what she enjoys most about his music, she references his classical works, saying, “It’s as if he always takes you on a trip full of images and true emotions. Even without a movie you can picture a story to it.”

Anneleen Lenaerts / Dionysis Grammenos SCHUMANN & SCHUBERT Transcriptions for Clarinet & Harp

Belgian harpist Anneleen Lenaerts is one of the leading soloists of her instrument. In 2010 she was appointed Principal Harpist of the Vienna Philharmonic. She won no fewer than twenty-three prizes, amongst them the “Grand Prix International Lily Laskine”. Hailed by Télérama, France, as “the new Prince of the clarinet”, Dionysis Grammenos was the first ever wind player to win the Grand Prix d’Eurovision from the European Broadcasting Union. 

Anneleen Lenaerts released a first album on Warner Classics in 2014, with concertos by Jongen, Glière and Rodrigo. For this second album, Anneleen and Dionysis selected some of the most beautiful Romantic chamber music pages, amongst them Schumanns Fantasiestücke Op. 73 and Romanzen Op. 94, and Schuberts Arpeggione Sonata D 821.

Western art music has, in one way or another, always been recreative. It is about the spark between the musician(s) and the composer, be this through brilliant extemporisation on an early music Urtext, or a beautifully expressive performance of a Romantic work. Rarer instrumental combinations have always gravitated notably towards transcriptions. Sensitively-chosen transcriptions shed new light on their originals, because of the sounds, colours and identities they bring to the text. In the case of the harp and the clarinet, these colours are warmly unified, profoundly evocative of the works’ epoch, and of the emotional intensity of the music itself. (Warner Classics)