A CD-borítón elefánt sziluettjét látjuk, amint a zongora felé lopakodik. Talán ő is szeretné hallani a kedves elefánt-mesét? Néhány mozdulat, és máris felcsendül Jean Brunhoff meséje Jancsó Júlia fordításában, Hegyi Barbara hangján. Sokdimenzióssá Francis Poulenc zenéjének köszönhetően tágul, Simon Izabella zongorajátéka által.
Read MoreThe flute may not have the same type of expressive range when compared to a violin, but it more than makes up for this shortfall with a wider dynamic range, flexibility and fluid movement.
Read MoreDeep in the Hundred Acre Wood the commonly held view is that Mozart did not like the flute. Subscribers to this belief tend to refer to none other than Wolfgang Amadeus: the composer himself made a statement in one of the letters to his very dear father (using the address Mon très cher père! – My very dear Father! whereby he usually started his letters to Leopold) that he cannot stand that instrument, suffers when he hears it, and finds it painful to compose music for it. God save us from disputing the words of a great composer (though with some of them there would be good reason to do so) but in the light of his œuvre that aversion to the flute still seems somewhat strange.
Read MoreThe flute may not have the same type of expressive range when compared to a violin, but it more than makes up for this shortfall with a wider dynamic range, flexibility and fluid movement.
Read MoreThe Capella Savaria has now recorded two of these miracles (Haffner-serenade, K. 250/248b; Serenata notturna, K. 239) featuring the brilliant violin solos of their art director Zsolt Kalló, and conducted by their old friend, and master of unswerving taste, and solid technical skills Nicholas McGegan.
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