Bach & Hindemith Carl-Emmanuel Fisbach, Wenjiao Wang & Pierre Lenert
- Paul Hindemith (1895 - 1963): Oboe Sonata:
- 1Oboe Sonata: I. Munter03:50
- 2Oboe Sonata: II. Sehr langsam. Lebhaft - Sehr langsam, wie zuerst - Wieder lebhaft07:49
- Jean-Sébastien Bach (1685 - 1750): Flute Sonata in E-Flat Major, BWV 1031:
- 3Flute Sonata in E-Flat Major, BWV 1031: I. Allegro moderato03:26
- 4Flute Sonata in E-Flat Major, BWV 1031: II. Siciliano02:11
- 5Flute Sonata in E-Flat Major, BWV 1031: III. Allegro04:30
- Paul Hindemith: Alto Horn Sonata:
- 6Alto Horn Sonata: I. Ruhig bewegt01:48
- 7Alto Horn Sonata: II. Lebhaft03:18
- 8Alto Horn Sonata: III. Sehr langsam02:01
- 9Alto Horn Sonata: IV. Lebhaft02:49
- Jean-Sébastien Bach: Flute Sonata in A Major, BWV 1032:
- 10Flute Sonata in A Major, BWV 1032: I. Vivace04:45
- 11Flute Sonata in A Major, BWV 1032: II. Largo e dolce02:48
- 12Flute Sonata in A Major, BWV 1032: III. Allegro04:10
- Paul Hindemith: Trio for Viola, Heckelphone and Piano, Op. 47:
- 13Trio for Viola, Heckelphone and Piano, Op. 47: I. Solo. Sehr lbhaft, stürmisch – Arioso, Sehr langsam – Duett, Lebhaft06:17
- 14Trio for Viola, Heckelphone and Piano, Op. 47: II. Zweiter Teil. Potpourri. Schnelle Halbe – Lebhaft. Ganze Takte – Schnelle Halbe – Pretissimo07:17
Info for Bach & Hindemith
The compositions of Johann Sebastian Bach and those of Paul Hindemith are highly complementary and make natural bedfellows on a recording. Simply and sincerely yet boldly and freely, the Duo Azar has juxtaposed transcriptions of two sonatas for flute and harpsichord by Bach with sonatas for oboe and piano and for horn (or saxophone) and piano and the rare Trio by Hindemith – for whom Bach was a source of inspiration. Without for a moment rejecting the original instrumentation, Wenjiao Wang and Carl-Emmanuel Fisbach are convinced that their modern instruments can often work marvellously well in Bach’s music.
Wenjiao Wang, piano
Carl-Emmanuel Fisbach, saxophones
Pierre Lenert, viola
Born to a bicultural French-South American artistic family, Carl-Emmanuel Fisbach has consistently sought to explore and expand the saxophone’s repertoire. Above and beyond the more traditional works he performs as a soloist (Auvergne Orchestra, Ekaterinburg Philharmonic, Lamoureux Orchestra, National Symphony Orchestra of Ecuador) and within the Denisov and Azar Duos, the Neva and Module Quartets, he collaborates regularly with composers (Régis Campo, Bernard Cavanna, Frédéric Durieux, Christian Lauba, Bruno Mantovani, Luis Naón, Gérard Pesson, François Rossé, Juan Arroyo, Benjamin Attahir, Yumiko Yokoi, Mathieu Bonilla, Keita Matsumiya, …) and ensembles (Ensemble InterContemporain, Ensemble Ars Nova, Ensemble Cairn, Ensemble In & Out, Red Note Ensemble) and is a member of the « Futurs composés » network dedicated to new music.
Carl-Emmanuel Fisbach regularly gives concerts in France (in Paris, the Grand Salon des Invalides, the Orsay museum, the Louvre museum, the Orangerie museum, the Cité de la Musique, the Cent Quatre, the Centre Pompidou, the Salle Gaveau, the Théâtre des Champs Élysées) and abroad. At the beginning of his career, in 2005, he became a member of the Spivakov Russian Foundation, thanks to which he gave concerts in Moscow (Kremlin, Moscow International house of Music). In 2006 and 2007, he was invited to play as a soloist with orchestra in Yekaterinburg and gave several masterclasses at the city Conservatory. In 2006, he played with his saxophone quartet in Ljubljana (Slovenia) for the 14th World Saxophone Congress event. In 2008, he went on a tour across the United-States to perform with the Saxophone Ensemble of the Paris Conservatoire (CNSMDP).
In 2010, he premiered a concerto entitled Voiceless Letters by Japanese composer Yumiko Yokoi at the Radio Suisse Romande in Geneva. In 2011, he performed Troisième Round by Bruno Mantovani conducted by the composer himself, at the Paris Conservatoire. The 2012-2013 season led him to Wales, Japan, Germany, Peru, Russia, Austria (Vienna Saxfest), etc. In 2013, he played the concerto entitled Le Chant des Ténèbres by Thierry Escaich, with the Orchestre d’Auvergne, conducted by Roberto Forés Veses. In May 2014, he premiered the concerto Quale by Daniel Fígols Cuevas, in Glasgow, with the Red Note Ensemble, conducted by Garry Walker (Plug Festival). In March 2018, he performs the Concerto, Op. 109 by Aleksandr Glazunov with the National Symphony Orchestra of Ecuador, in Quito.
Carl-Emmanuel Fisbach integrates transcriptions into his repertoire, including tango. This open and eclectic approach has led to invitations to perform in international festivals and prestigious venues (« Flâneries musicales de Reims », « Ars Musica » in Brussels, « Archipel Festival » in Geneva, « International Contemporary Music Festival » in Lima, « Yilan-Taiwan Art Festival », the Shanghai Oriental Arts Center, the 1905 Re-Creative Space Shenyang, the Suntory Hall Tokyo, the Teatro de Santa-Fe, the Konzerthaus Berlin, the Konzerte auf Henkellsfeld, the Kongress im Park Augsburg…).
His recordings feature Hispanic repertoire (Duo Azar, PAI Records, 2011) and new works for saxophone and cello (Bestiaire, Denisov Duo, Meyer Foundation, 2014). A CD for saxophone and percussion with original arrangements by Piazzolla and new works is released in 2016 (Tango Continuo, Paraty–Harmonia Mundi). Duo Azar releases another CD in 2019, featuring special guest Pierre Lenert, Viola Soloist of the Paris National Opera Orchestra (Bach & Hindemith, Paraty–PIAS Harmonia Mundi). Very much engaged with society and willing to be an artist-citizen of the world, Carl-Emmanuel Fisbach collaborated with NGO ERART during the 2014-2016 season in order to develop music teaching in Peru.
Carl-Emmanuel Fisbach is supported by Selmer, Vandoren, Mécénat Musical Société Général, the Yamaha Music Foundation of Europe, the Meyer Foundation, the Sasakawa Foundation. A graduate of the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), he is a prize-winner in several national and international competitions, and the winner of the SYLFF Leadership Initiative Award of the Tokyo Foundation.