{"id":8026,"date":"2021-03-30T00:00:00","date_gmt":"2021-03-29T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/zum-jubilaeum\/"},"modified":"2024-10-02T10:27:37","modified_gmt":"2024-10-02T08:27:37","slug":"zum-jubilaeum","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2021\/03\/zum-jubilaeum","title":{"rendered":"For the anniversary"},"content":{"rendered":"
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Anna Fortova and Kathrin Schmidlin during the shoot. Photo: Claves<\/figcaption><\/figure>\n
\n

No, the CD Women's voices<\/em>which was recently published by Claves, does not contain any female vocals. \"Voices\" is meant differently here. The two interpreters are interested in giving female composers a voice. The release date is perfect: the recording with music for cello and piano was launched on February 7, the 50th anniversary of the introduction of women's suffrage in Switzerland.<\/p>\n

Prague-born cellist Anna Fortova (*1982) and Swiss pianist Kathrin Schmidlin (*1990) focus on the first half of the 20th century. Most of the six female composers are well-known personalities. Perhaps less well known is the Czech V\u00edt\u011bzslava Kapr\u00e1lov\u00e1 (1915-1940). She studied with Dvo\u0159\u00e1k's pupil V\u00edt\u011bzslav Nov\u00e1k in Prague and with Bohuslav Martin\u016f in Paris. Despite her short life - she died at 25 - she left behind around fifty works. Her Military Sinfonietta <\/em>(1937), which was awarded the Smetana Prize, was a great success. With Kapr\u00e1lov\u00e1's Ritornello<\/em> op. 25 (1940), the two interpreters make a convincing start.<\/p>\n

Nadia Boulanger (1887-1979) Trois pi\u00e8ces pour violoncelle et piano <\/em>(1915) succeed very well in an intimate mood. The fast-paced third piece is a joy. In the Trois morceaux pour piano<\/em> (1914) by Lili Boulanger (1893-1918), Kathrin Schmidlin demonstrates considerable skill. The transparency and precision in the \"Cort\u00e8ge\" are particularly impressive. The early, four-movement sonata for cello and piano (1919) by the Dutch composer Henri\u00ebtte Bosmans (1895-1952) is strongly romantic in tone and is characterized by expansive lines and simple, clear themes. In view of this unabashed romanticism, the interpretation here lacks a little intensity. With four piano pieces from The year <\/em>by Fanny Hensel (1805-1847), listeners are transported back around 100 years. September\" is the most pleasing with its flowing and lucid treatment of arpeggio and melody line.<\/p>\n

The final point is the composition ni d\u00f3nde, ni c\u00f3mo <\/em>by Stephanie Haensler (*1986), which Schmidlin and Fortova commissioned from her. The piece is based on a text by a Chilean artists' collective on the subject of violence against women. Haensler makes use of a wide range of compositional means to illustrate the most diverse moods between aggression and silence.\"\"<\/p>\n

Women's voices. Works for cello and piano by V\u00edt\u011bzslava Kapr\u00e1lov\u00e1, Nadia Boulanger, Lili Boulanger, Henri\u00ebtte Bosmans, Fanny Hensel and Stephanie Haensler. Anna Fortova, cello; Kathrin Schmidlin, piano. Claves 3029<\/em><\/p>\n<\/div>\n

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In their selection of works by women for cello and piano, Anna Fortova and Kathrin Schmidlin looked primarily to the first half of the 20th century. <\/strong><\/p>","protected":false},"author":1,"featured_media":8027,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[29,1420],"tags":[],"class_list":["post-8026","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":[],"yoast_head":"\nZum Jubil\u00e4um - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2021\/03\/zum-jubilaeum\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Zum Jubil\u00e4um - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Bei ihrer Auswahl von Werken von Frauen f\u00fcr Cello und Klavier haben sich Anna Fortova und Kathrin Schmidlin vor allem in der ersten H\u00e4lfte des 20. 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