Debussy: Préludes - Encke: Aprèsludes Julia Bartha
- Claude Debussy (1862 - 1918): Préludes, Premier livre, L. 117:
- 1Préludes, Premier livre, L. 117: No. 1, Danseues de Delphes. Lent et grave03:16
- 2Préludes, Premier livre, L. 117: No. 2, Voiles. Modéré03:33
- 3Préludes, Premier livre, L. 117: No. 3, Le vent dans la plaine. Animé02:00
- 4Préludes, Premier livre, L. 117: No. 4, Les sons et les parfums tournent dans l‘air du soir. Modéré03:22
- 5Préludes, Premier livre, L. 117: No. 5, Les collines d‘Anacapri. Très modéré03:07
- 6Préludes, Premier livre, L. 117: No. 6, Des pas sur la neige. Triste et lent04:11
- 7Préludes, Premier livre, L. 117: No. 7, Ce qu‘a vu le vent d‘ouest. Animé et tumultueux03:24
- 8Préludes, Premier livre, L. 117: No. 8, La fille aux cheveux de lin. Très calme et doucement expressif02:23
- 9Préludes, Premier livre, L. 117: No. 9, La sérénade interrompue. Modérément animé02:24
- 10Préludes, Premier livre, L. 117: No. 10, La cathédrale engloutie. Profondément calme05:08
- 11Préludes, Premier livre, L. 117: No. 11, La danse de Puck. Capricieux et léger02:32
- 12Préludes, Premier livre, L. 117: No. 12, Minstrels. Modéré02:09
- Thorsten Encke (b. 1966): Aprèsludes für Klavier solo:
- 13Aprèsludes für Klavier solo: No. 1, D‘autre part. Ritmico e con fantasia04:14
- 14Aprèsludes für Klavier solo: No. 2, Ombres, tristesse. Esitando e liberamente, quasi improvisando03:32
- 15Aprèsludes für Klavier solo: No. 3, Un beau brin de fille. Rubato e capricciosamente04:06
- 16Aprèsludes für Klavier solo: No. 4, Monsieur Croche, double croche. Leggiero e scherzando03:17
- 17Aprèsludes für Klavier solo: No. 5, Cloches. Lontano04:57
- 18Aprèsludes für Klavier solo: No. 6, Bateau ivre. In modo d‘una toccata, vivace05:01
Info for Debussy: Préludes - Encke: Aprèsludes
Unkonventionelle Brückenschläge zwischen verschiedenen künstlerischen Ausdrucksformen markieren das besondere Profil der Konzertpianistin Julia Bartha. So auch bei ihrer neuen CD auf COVIELLO CLASSICS, auf der sie Claude Debussys erstes Buch seiner Préludes mit davon inspirierten Werken des Hannoveraner Komponisten Thorsten Encke (1966) kombiniert.
Julia Bartha, Klavier
„Bartha's particular interest in combining literature and music brought her into collaboration with theatre practitioners such as Cornelia Froboess and Rainer Piwek at the acclaimed Thalia Theater in Hamburg.“ Christine Madden, Irish Times.
First prize-winner of the ‘Jugend musiziert’ competition, !nalist at the Clara-Haskil Competition in Vevey/Switzerland, and prize-winner at the Gian Battista Viotti International Music Competition in Vercelli (Italy): Julia Bartha achieved the leap on to major podiums of the German-speaking and wider international world at an early age. She has appeared at numerous festivals including the Schleswig Holstein Musikfestival, the Niedersächsische Musiktage, the Göttingen International Handel Festival, the Fringe Festival Dublin/Ireland, Carrick Water Music Festival Carrick/Ireland, the Salon des Arts Festival, So!a/Bulgaria, and the Gaia-Kammermusikfestival, Thun/Switzerland. As soloist she has performed under conductors including Nicholas McGegan, Gabriel Feltz and Saulius Sondeckis, for example, with orchestras such as the Stuttgarter Philharmoniker, the Heidelberger Sinfoniker, Cappella Istropolitana and Camerata St. Petersburg.
Julia Bartha’s unique pro!le as a concert pianist is highlighted by the refreshingly unconventional ways in which she bridges the gap between di"erent forms of artistic expression. Standing at the centre of her activities alongside her classical concert work, which embraces the full repertoire for the piano from Baroque to contemporary, are innovative projects realised in cooperation with artists from the worlds of literature, theatre and the visual arts, and with musicians from a host of diverse genres. Among these are concert readings with actors such as Cornelia Froboess, Rainer Piwek, Ingrid Andree, Hanns Zischler, Heikko Deutschmann and Julia Hansen, and art and video installations in productions combining music, text and image in interaction.
Julia Bartha is co-founder and pianist of the Ensemble Inter Pares, a group engaging with contemporary composition and staged events. In March 2010 the Ensemble made its debut at the Paul Klee Zentrum in Berne/Switzerland with the world premiere of the monodrama Paul Klee Splitter by the composer Thorsten Encke from Hannover. In September 2010, Julia Bartha travelled on the invitation of Bennington College to Vermont/USA, where she gave the !rst performance of the 4th Sonata for Piano by American composer Allen Shawn. Julia Bartha is the Sonata’s dedicatee.
Julia Bartha completed her artistic training with Karl-Heinz Kämmerling, emerging from the Hanover University of Music, Drama and Media with the Concert Diploma. She found further artistic inspiration at the Konservatorium in Zurich working with Homero Francesch, and at master classes with John O'Conor, Igor Ozim and Dmitri Bashkirov. From 1994 to 1999, Julia Bartha held a scholarship from the German National Academic Foundation and in 1994 she was awarded a prize by the Marie-Luise Imbusch Foundation, Lübeck. In 2000 her name was placed on the list of especially highly recommended young artists issued by the German Music Council. Since 2009, Julia Bartha has been teaching her instrument at the Leipzig Music College. She lives with her husband and two daughters in the central German city of Göttingen.