Laura Moinian / Jamie Bergin INSIDE OUT

The cellist Laura Moinian, born 1994 in Hamburg, began her cello lessons at the Schwerin Conservatory as a nine-year-old. In many cases, Laura Moinian has not only collected soloistic concertos, but she also enjoys performing in various orchestras and chamber formations. In May 2016 she recorded an album with favorite musicians together with Jamie Bergin at the Label Magic Mile Music.
“A distinctive sense of sound magic and striking technical sovereignty” – said the General Anzeiger on Jamie Bergin. The English pianist, born in 1989, student of Karl-Heinz Kämmerling and Lars Vogt, does not perform for the first time at the Bonner Schumannfest. He is one of the outstanding pianists of the young generation and has won numerous international competitions.

Kim Kashkashian TIGRAN MANSURIAN Monodia

Tigran Mansurian connects through his work to cultural and emotional groundsprings that are important to him, particularly hints of indigenous Armenian music. He also takes note of his current musical environment, and this sense of inner and outer elements combining informs both the music on these discs and the way it is played – especially by fellow-Armenian Kim Kashkashian. … The Viola Concerto is both moving and mercurial, sometimes grounded in faith or earth, at other times clouded and troubled, even close to defiance… The economically scored Violin Concerto is again rich in unaccompanied material and Leonidas Kavakos seems to relish every note, especially in the many higher-reaching passages. … “Lachrymae” for soprano saxophone and viola finds Kashkashian and Garbarek intertwined in an embrace of pitches and textures, each adapting to, or mirroring, the other’s soundworld. “Confessing Faith” for viola and voices sets prayers by the 12th-century Armenian poet and musician St Nerses Shnorhali, its bold incantations scaling peaks of expressive intensity, especially whenever the countertenor David James enters. The viola’s warm and occasionally abrasive contribution acts as a sort of humanising presence.
Monodia set me thinking along various fronts. Firstly, about the strength and innate soulfulness of Kashkashian’s musicianship, so profoundly suited to the viola. Then the creative excitement of combining unlikely instrumental timbres, and the question of music bridging different faiths, or at the very least different branches of the same faith. … Balancing and sound quality are immaculate.
(Rob Cowan, Gramophone)