Claude Achille Debussy

Young flautist Katherine Bryan is rapidly establishing her place as one of Britain’s bright musical stars of the future.

For her second recording on Linn, the in-demand concerto soloist performs a selection of 20th century concertos plus Debussy’s Syrinx and Frank Martin’s Ballade.

The Flute Concerto by American composer Christopher Rouse is among his most successful and widely performed works since its debut in 1994. Rouse’s concerto calls for astonishing pyrotechnics for both the flute and the orchestra; Katherine is able to showcase the sheer quality of her technique and her playing.

French composer Jacques Ibert’s Concerto for Flute and Orchestra is one of the best-loved and most frequently performed concertos in the flute repertoire. Full of humour, virtuosity and intense technical challenges for the soloist, it is characteristic of Ibert’s eclectic, versatile compositional style.

Despite being only a little over three minutes long, Debussy’s Syrinx has achieved iconic status and is regarded as an essential piece in any serious flautist’s repertoire.

Martin’s Ballade features wide harmonic leaps and tests the full range of the instrument, not least with a memorable section for the low register which sees Katherine relish the challenge.

Katherine Bryan is a rising star having appearing as concerto soloist with leading orchestras worldwide, as well as being principal flautist with the RSNO.

Katherine has appeared at major international festivals as both concerto soloist and recitalist. She has given live broadcasts on Classic FM, BBC Radio 3 and BBC television.

Katherine was a prize-winner at the Royal Overseas League Music Competition in London, the Young Concert Artists International Competition in New York and was a finalist in the BBC Young Musician of the Year for three consecutive competitions. She was also awarded the Julius Isserlis Scholarship by the Royal Philharmonic Society.

EMI Classics is pleased to release the 10th annual 3CD set of highlights from the Progetto Martha Argerich in Lugano, “the delightful festival where youth meets experience and both benefit” (Gramophone). The Times described Argerich’s Lugano Festival as “community music-making on a deluxe scale, with performers and listeners mutually uplifted by music’s wonders”. The set is being released in anticipation of the Festival’s 2013 season.

Reviewing the 2011 Live from Lugano release, Nicholas Kenyon wrote in The Observer, “There are not many reliable annual treats among classical CDs these days, but the series of live recordings from Martha Argerich's Lugano festival are now a highlight of each year.” Andrew Clark in the Financial Times wrote, “Every June [Argerich] and a clutch of friends and protégés make music in a style that reflects her free spirit and total dedication. Even when Argerich is not playing, she seems to inspire the performance.”

In addition to Argerich, the performers in 2012 included many familiar names from previous Live from Lugano releases, among them the violinist and cellist brothers Renaud and Gautier Capuçon and pianist Nicholas Angelich, all of whom record for Virgin Classics. The current set also welcomes back Mischa Maisky, Lilya Zilberstein, Polina Leschenko, Dora Schwarzberg, Nora Romanoff-Schwarzberg, Lyda Chen, Ilya Gringolts, Georgio Tomassi, Carlo Maria Griguoli and Alessandro Stella. Newcomers include the pianists Maria João Pires and Nelson Goerner.

The repertoire of Martha Argerich and Friends – Live from Lugano 2012 puts the piano at the centre of the programming, focusing particularly on piano duets and rarely performed and recorded compositions. There is a group from the Austro-German Classical and Romantic tradition, followed by works from Slavic composers, sounds from Italy and France and, as a send-off, a two piano arrangement of an Argentinean tango. The performance of Mahler’s Piano Quartet is something of a family affair, performed by Ms Argerich’s longest-standing artistic collaborator Mischa Maisky, his pianist daughter Lily and violinist son Sascha and Ms Argerich’s daughter Lyda Chen. The orchestral work in this year’s set is Mozart’s Concerto K503 with Argerich and the Orchestra della Svizzera Italiana conducted by Jacek Kaspszyk.

Martha Argerich’s passion, technical virtuosity, temperament, commitment and supreme artistry have illuminated the music world and left audiences spellbound since she won the 1964 International Chopin Competition. Reluctant to perform solo for many years, she has continued to perform chamber music and concertos with orchestra where, in her own words, “I feel the musicians moving about. I watch them and I also move. I’m more natural.”

EMI Classics marked the occasion of Martha Argerich’s 70th birthday in 2011 with the release of four multi-disc sets bearing some of her finest performances from 1965 to 2009.

Few artists have nurtured and promoted emerging young musicians with the level of personal commitment shown by Martha Argerich. In the process, she has created inspired chamber music partnerships mixing established and up-and-coming artists. After setting up Meeting Point at Beppu, Japan in 1996 and the Martha Argerich Festival in Buenos Aires in 1999, the pianist decided to create a similar gathering of musical minds in Europe. The southern Swiss town of Lugano was identified as an ideal setting for a project based on the spirit of building a community of close-knit relationships among young and established artists and the Progetto Martha Argerich was launched in 2002. More than a decade later, the Festival continues to retain its original experimental ‘feel’ because of the original programming and the emergence of new performing talents. Geoffrey Norris in The Daily Telegraph wrote, “It is always instructive to see who has been invited to perform at the Progetto Martha Argerich in Lugano, because the cast list is a reliable guide to some of the most exciting talent in the musical world today.”

The twelfth season of the Martha Argerich Project will take place from 9 June to 3 July 2013 and will include performances by many of the artists on this set.

EMI would like to dedicate these recordings to the memory of Jurg ‘Abdul’ Grand, who founded the Martha Argerich Project at the 2002 Festival and co-directed the 2002 and 2003 events.

“Everything Martha Argerich touches turns to gold, not only her own piano playing but those around her whom she evidently inspires to new heights.” (The Observer)

“These discs are a reminder of a unique, ever-formidable and enchanting artist.” (Gramophone)

Stella Doufexis has the ability to shape her lucid singing in accordance with the cadence of the language and, with the sensitive support of her accompanist Daniel Heife, to form poems in music that are rich in mysteries and small miracles.

After a highly successful debut with the London Symphony Orchestra in December 1927, John Barbirolli became the youngest ever conductor to direct a Royal Philharmonic Society concert – he was 29. He chose Debussy’s La Mer, which had not been played in London for ten years. The orchestra needed more time on the unfamiliar score, so Barbirolli paid for an extra rehearsal out of his own pocket; the cost was almost as much as his fee for the whole concert.

Barbirolli continued to serve French music with care and devotion for the rest of his life. At his last concert with the Hallé Orchestra in Manchester, in May 1970, he conducted Ravel’s Mother Goose suite. The Symphonie fantastique by Berlioz became a central work in Barbirolli’s repertoire. He conducted it at two important events in the Hallé’s history – the first concert given in the new Free Trade Hall, Manchester in 1951 and then two years later he conducted the work at the Hallé’s first ever Prom concert.

Barbirolli’s classic recording of Symphonie fantastique is now restored to the catalogue along side three pieces from Le Damnation de Faust. A bonus track includes a rehearsal sequence (Menuet des follets) from this recording session.

This recording of a broadcast performance by North West German Radio of Debussy’s The Martyrdom of St. Sebastian comes from 1952. It features one of the greatest conductors of the time, Ernest Ansermet, conducting the Cologne Radio Symphony Orchestra, the Cologne Radio Choir, and leading soloists from the period.

The legendary Swiss conductor Ernest Ansermet had been a friend of Claude Debussy, and was highly respected for his readings of composer’s works. He was the first to conduct Debussy’s poetic drama “Le Martyre de Saint Sébastien” in Germany, at the Wallraffplatz broadcasting studios in Cologne on May 5, 1952. At its Paris premiere in 1911, the piece had provoked a regular scandal with its mixture of unabashed eroticism and religious ecstasy. North West German Radio commissioned a German translation for the broadcast which was used in this recording. All the soloists were female, with internationally acclaimed soprano Anny Schlemm joined by Margot Guilleaume, Anni Bernards and Martha Deisen.