Martines: The Complete Keyboard Works Idith Meshulam Korman, Oxford Philharmonic Orchestra & Cayenna Ponchione-Bailey

• Marianna Martines (1744 - 1812): Keyboard Concerto in G Major:
• 1 Martines: Keyboard Concerto in G Major: I. Allegro 07:56
• 2 Martines: Keyboard Concerto in G Major: II. Adagio 10:13
• 3 Martines: Keyboard Concerto in G Major: III. Allegro 04:21
• Keyboard Concerto in A Major:
• 4 Martines: Keyboard Concerto in A Major: I. Allegro con spirito 04:53
• 5 Martines: Keyboard Concerto in A Major: II. Andante con comodo 06:34
• 6 Martines: Keyboard Concerto in A Major: III. Allegro assai 03:16
• Keyboard Concerto in C Major:
• 7 Martines: Keyboard Concerto in C Major: I. [Allegro] 04:41
• 8 Martines: Keyboard Concerto in C Major: II. Andante 04:49
• 9 Martines: Keyboard Concerto in C Major: III. Allegro 04:07
• Keyboard Concerto in E Major:
• 10 Martines: Keyboard Concerto in E Major: I. Allegro 06:35
• 11 Martines: Keyboard Concerto in E Major: II. Andante 06:30
• 12 Martines: Keyboard Concerto in E Major: III. Allegro 05:13
• Keyboard Sonata in A Major:
• 13 Martines: Keyboard Sonata in A Major: I. Allegro 04:31
• 14 Martines: Keyboard Sonata in A Major: II. Adagio 05:32
• 15 Martines: Keyboard Sonata in A Major: III. Tempo di minuetto 02:22
• Keyboard Sonata in E Major:
• 16 Martines: Keyboard Sonata in E Major: I. Allegro 03:16
• 17 Martines: Keyboard Sonata in E Major: II. Andante 04:43
• 18 Martines: Keyboard Sonata in E Major: III. Allegro 02:22
• Keyboard Sonata in G Major:
• 19 Martines: Keyboard Sonata in G Major: I. Allegro 04:38
• 20 Martines: Keyboard Sonata in G Major: II. Andante 03:52
• 21 Martines: Keyboard Sonata in G Major: III. Allegro assai 02:54
• Sinfonia in C Major:
• 22 Martines: Sinfonia in C Major: Allegro con spirito - Andante ma non troppo - Allegro spiritoso 09:58
• Total Runtime 01:53:16

Info zu Martines: The Complete Keyboard Works

Martines, die über zweihundert Jahre lang in Vergessenheit geraten war, war eine bedeutende Sängerin, Pianistin und Komponistin im Wien des späten 18. Jahrhunderts. Sie war eine bevorzugte Partnerin von Wolfgang Amadeus Mozart für vierhändige Duette, und ihre „Akademien“ brachten angesehene Gäste mit Intellektuellen und Aristokraten zu Abenden mit Musik von Weltklasse und tiefgründigen Gesprächen zusammen. Dieses Album behebt diese historische Lücke und präsentiert erstmals die gesamten Klaviersonaten und Konzerte in ihrer Gesamtheit.

Martines: The Complete Keyboard Works präsentiert die erste vollständige moderne Aufnahme der erhaltenen Klaviermusik von Marianna Martines (1744–1812), einer Komponistin, Klaviervirtuosin und kulturellen Kraft im Wiener Musikleben des 18. Jahrhunderts. Zu Lebzeiten für ihre Brillanz sowohl als Interpretin als auch als Komponistin bewundert, nahm Martines eine zentrale Stellung in den elitären Musikkreisen der Stadt ein, doch ihre Instrumentalmusik ist im Aufnahmekanon bislang weitgehend unberücksichtigt geblieben. Unter der Leitung der Dirigentin Cayenna Ponchione-Bailey, mit der Pianistin Idith Meshulam Korman und dem Oxford Philharmonic Orchestra vereint diese Veröffentlichung Martines’ vier erhaltene Klavierkonzerte, drei Sonaten und ihre Sinfonia in C-Dur, aufgenommen nach neu erstellten kritischen Ausgaben. Die Werke offenbaren eine Komponistin, die ambitioniert für öffentliche Aufführungen schrieb und lyrische Vokalmusik mit beeindruckenden technischen Anforderungen, orchestraler Fantasie und spielerischer formaler Subversion verband. Als bedeutendes Interpretations- und Restaurierungsprojekt konzipiert, führt diese Veröffentlichung Martines’ Klaviermusik als lebendiges und fesselndes Werk in den klassischen Kanon zurück.

Idith Meshulam Korman, Klavier
Oxford Philharmonic Orchestra
Cayenna Ponchione-Bailey, Dirigentin

Idith Meshulam Korman
Born in Israel, Ms. Meshulam first studied piano with her mother, Shelly Asher-Meshulam. At age nine, she performed with the Tel Aviv Chamber Orchestra, and for several years with the Kibbutzim Orchestra, all the while giving solo recitals and broadcast concerts throughout Israel. After receiving her bachelor’s degree from Rubin Academy in Tel Aviv, she focused on playing the works of contemporary composers, among them Olivier Messiaen, for whom she has played in person.

Ms. Meshulam received her doctorate from New York University, where she taught for ten years. While a student at NYU, she researched the unpublished piano music of Stefan Wolpe for her doctoral dissertation. Her involvement with the Greek composer Nikos Skalkottas began in 1999, when she organized the first all-Skalkottas concert in NY, honoring him on the 50th anniversary of his death. This work led Ms. Meshulam to her collaboration with the composer and conductor Gunther Schuller, with whom she recorded Skalkottas’ 32 Piano Pieces for GM Recording in 2004. American Record Guide describes her performance: "Ms. Meshulam plays with energetic moxie and aplomb, her technique truly phenomenal, yet her subtle coloring of the introspective passages is no less awe-inspiring."

Ms. Meshulam is the founder and director of Ensemble π, which plays a vital role in the programming and performance of living composers. Every year, since its inception in 2001, the ensemble presents an installment in its Peace Project – a multimedia concert of commissioned and new works in collaboration with visual artists, writers, actors, and journalists. A multi-year collaboration with composer Elias Tanenbaum resulted in a CD of his chamber music, Keep Going, reviewed by Gramophone as “A touching tribute to Elias Tanenbaum that is played with conviction and verve.” It was followed by a CD of Laura Kaminsky’s works, praised for its “warmth and variety.” Ms. Meshulam and Ensemble π have also been longtime supporters of the work of South African artist William Kentridge and composer Philip Miller – a collaboration that culminated in several multimedia chamber concerts, commission, and a solo recital at the Milan Museum.

Cayenna Ponchione-Bailey Alaska-born conductor, scholar and educator Cayenna Ponchione-Bailey is emblematic of the 21st century’s newest vanguard of orchestral leadership—her bold orchestral initiatives are pioneering in tackling the pressing issues of our time and have been featured in BBC Music Magazine, The Financial Times, The Guardian, The Times and on BBC Radio 3. Based in the UK, she is Director of Performance at St Catherine’s College, University of Oxford, Conducting Fellow of the Oxford Philharmonic Orchestra, Conducting Associate and Director of Research for the Oxford Conducting Institute and Academic Lead for OAcademy, a global music conservatory which democratises access to elite orchestral education.

She holds a doctorate in Music from the University of Oxford and has held prestigious research positions at the University of Oxford (2017-2021) and University of Sheffield (2021-2024). Her research is focused on the socio-psychological and socio-political aspects of orchestral music-making—from the intricacies of co-performer communication in modern and historically informed contexts, to the politics of participation and orchestras' geo-political significance. Her scholarship has been published by Oxford University Press, Music & Science, and Nineteenth-Century Music Review amongst others. As part of her advocacy for historic and contemporary female composers she has recently recorded the complete surviving keyboard concerti of 18th-century Viennese composer Marianna Martines with pianist Idith Korman and the Oxford Philharmonic to be released on the Signum label in April 2026.

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