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Grand Piano Masters Magdalena Müllerperth |
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Esteemed friends of audiophile music, the concert grand piano is incontestably the king of instruments. I could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life.
"Through evening's shade, the pale moon gleams - While rapt in love's ecstatic dreams - Two hearts are fondly beating", quoted Johannes Brahms above the notes for the "Andante" in the Piano Sonata No.3. This excerpt of a poem by C.O. Sternau (a pseudonym of Otto Inkermann) characterizes the mood of this piece, which had a large contribution to the fame of the young composer. Written in 1853 this "poetic" sonata marks the end of a cycle of three sonatas. Likewise it was the last tune the 20-year-old composer submitted to Robert Schumann for commentary. Robert Schumann himself described Brahms in an article titled "Neue Bahnen" (New Paths) in October 1853 as "a man with a calling" who was "destined to give ideal expression to the times". Accordingly Magdalena Müllerperth has prepended of the Brahms-Sonata, which filled the second part of her recital in the lay refectory of Maulbronn monastery on June 4th 2011, a creation of significance for the compositions of the romantic era: the cycle "Fantasy Pieces" for Piano Opus 12 by Robert Schumann. Inspired by a collection of novellas by E.T.A. Hoffmann, called "Fantasiestücke in Callots Manier", it seems that Schumann had the characters "Florestan" and "Eusebius" in mind - two characters he created for representing the duality of his personality: Eusebius depicts the dreamer and Florestan represents Schumann's passionate side. The virtual dialogue between both characters during the movements ends in the piece "End of the Song", which Schumann has described in a letter to his wife Clara: "Well in the end it all resolves itself into a wedding...". Before these literary-inspired compositions full of poetic pictures and dream scenes by Schumann and Brahms, Magdalena Müllerperth introduced the concert with five dances by one of her personally favourite composers Frédéric Chopin, in continuation to her first published recital which included Chopin's "Impromptus No.I-III" and the "Fantaisie-Impromptu" Op.66 (released as a part of the CD "Comme un jeux d'eau", No.: KuK 16). Chopin's "Mazurkas" - he wrote at least 69 Mazurkas - are based on a traditional Polish folk dance in triple meter with an accent on the third or on the second beat, called "Mazurek". Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death. With "Dreamscenes" you listen to Magdalena Müllerperth's second piano recital, which is documented on disc.
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Tracklist & Creations Frédéric Chopin (1810-1849): |
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Magdalena Müllerperth, born in 1992 in Maulbronn, Germany, began piano lessons at the age of five. When she was seven, she became a student, and in 2003 junior student at the University of Music Karlsruhe, of the renowned Prof. Sontraud Speidel. From 2007 until 2010 she studied with Prof. Alexander Braginsky at Hamline University, Minneapolis, Minnesota, USA. At the moment she is a student of the pianist Jerome Rose at Mannes College - The New School of Music in New York City.
For her outstanding achievements Magdalena Müllerperth was awarded scholarships from the Mayer Foundation, the Karin Riese Foundation, "Lichtenberger Musikpreis", the Kunststiftung Baden-Wuerttemberg, the Foundation Deutsches Musikleben and the Richard Wagner Association. |
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Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series. The concerts in the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition. Andreas Otto Grimminger & Josef-Stefan Kindler |
18 year old pianist Magdalena Müllerperth excited audiences in many concerts in Germany, Denmark, Belgium, Italy, Austria, The Czech Republic, France and Switzerland and was also invited to perform in Russia, Ukraine and the USA. In 2008 she performed there as a soloist with the Minnesota Orchestra in Minneapolis. With an impressive recital program she gave her debut recital in 2009 at the Klosterkonzerte Maulbronn and the Liederhalle Stuttgart, Germany. In 2011 she performed Gershwins "Rhapsody in Blue" at the Festspielhaus Baden-Baden.