Hannes Minnaar - Nox - SUPER-AUDIO CD [Super Audio CD (SACD)]
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Nox, the Latin word for 'night'. In the world of art, the night of Schumann's Nachtstücke, Robert Zuidam's Nox and Ravel's Gaspard de la Nuit creaks open it's doors like a haunted castle for romantic poets and composers. Night-time visions became the foundations of a pre-Freudian subconscious in the late 18th and early 19th centuries. Some of the great writers discovered their dreams and anxieties, seeing themselves and the magic of imagination in the mirror of fantasy. It was no coincidence that their work provided intellectual sustenance for Robert Schumann, who also had a literary gift. His earliest works, which were entirely for piano up until his Nachtstücke, Op. 23, originated in psychological impressions gained from literature. Schumann wrote to his beloved, Clara Wieck, that the work stemmed from a premonition. During the composition, he kept seeing visions of funeral processions, InchCoffins and miserable, despairing peopleInch. His instincts had not deceived him on completing the work, with tears in his eyes, he heard that his brother Eduard was on his deathbed. Listening to the Nachtstücke again and knowing this, one can hear the shadows falling over light and life, depicted by the pianist's defeated irony. For Dutch composer Robert Zuidam, night is the night of toil. Nox is a night owl's ode to the hours of his creativity. Ravel had done everything he could in his piano cycles Jeux d'eau and Miroirs towards de-romanticising the 19th century character sketch, but he took an important step forward in Gaspard as regards both virtuosity and idiom. His aim was to produce something that was even more difficult to play than Balakirev's notorious Islamey. Gaspard is a deranged combination of abstract pianistic hyper-virtuosity with derailed eruptions of waltzes, peppered with raging, flamenco-style note repetitions and unplayable cascades of clusters of seconds,
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- GenreClassicalDescriptionNox, the Latin word for 'night'. In the world of art, the night of Schumann's Nachtstücke, Robert Zuidam's Nox and Ravel's Gaspard de la Nuit creaks open it's doors like a haunted castle for romantic poets and composers. Night-time visions became the foundations of a pre-Freudian subconscious in the late 18th and early 19th centuries. Some of the great writers discovered their dreams and anxieties, seeing themselves and the magic of imagination in the mirror of fantasy. It was no coincidence that their work provided intellectual sustenance for Robert Schumann, who also had a literary gift. His earliest works, which were entirely for piano up until his Nachtstücke, Op. 23, originated in psychological impressions gained from literature. Schumann wrote to his beloved, Clara Wieck, that the work stemmed from a premonition. During the composition, he kept seeing visions of funeral processions, InchCoffins and miserable, despairing peopleInch. His instincts had not deceived him on completing the work, with tears in his eyes, he heard that his brother Eduard was on his deathbed. Listening to the Nachtstücke again and knowing this, one can hear the shadows falling over light and life, depicted by the pianist's defeated irony. For Dutch composer Robert Zuidam, night is the night of toil. Nox is a night owl's ode to the hours of his creativity. Ravel had done everything he could in his piano cycles Jeux d'eau and Miroirs towards de-romanticising the 19th century character sketch, but he took an important step forward in Gaspard as regards both virtuosity and idiom. His aim was to produce something that was even more difficult to play than Balakirev's notorious Islamey. Gaspard is a deranged combination of abstract pianistic hyper-virtuosity with derailed eruptions of waltzes, peppered with raging, flamenco-style note repetitions and unplayable cascades of clusters of seconds,ArtistHannes MinnaarTitleNoxFormatSuper Audio CD (SACD)LabelChallenge Classics
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Nox, the Latin word for 'night'. In the world of art, the night of Schumann's Nachtstücke, Robert Zuidam's Nox and Ravel's Gaspard de la Nuit creaks open it's doors like a haunted castle for romantic poets and composers. Night-time visions became the foundations of a pre-Freudian subconscious in the late 18th and early 19th centuries. Some of the great writers discovered their dreams and anxieties, seeing themselves and the magic of imagination in the mirror of fantasy. It was no coincidence that their work provided intellectual sustenance for Robert Schumann, who also had a literary gift. His earliest works, which were entirely for piano up until his Nachtstücke, Op. 23, originated in psychological impressions gained from literature. Schumann wrote to his beloved, Clara Wieck, that the work stemmed from a premonition. During the composition, he kept seeing visions of funeral processions, InchCoffins and miserable, despairing peopleInch. His instincts had not deceived him on completing the work, with tears in his eyes, he heard that his brother Eduard was on his deathbed. Listening to the Nachtstücke again and knowing this, one can hear the shadows falling over light and life, depicted by the pianist's defeated irony. For Dutch composer Robert Zuidam, night is the night of toil. Nox is a night owl's ode to the hours of his creativity. Ravel had done everything he could in his piano cycles Jeux d'eau and Miroirs towards de-romanticising the 19th century character sketch, but he took an important step forward in Gaspard as regards both virtuosity and idiom. His aim was to produce something that was even more difficult to play than Balakirev's notorious Islamey. Gaspard is a deranged combination of abstract pianistic hyper-virtuosity with derailed eruptions of waltzes, peppered with raging, flamenco-style note repetitions and unplayable cascades of clusters of seconds,
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We at Challenge are proud to present a new account of Goldberg Variations by critically acclaimed young pianist Hannes Minnaar. His rendition of Goldbergs sums up all the features of a 'contemporary' interpretation at the highest degree Transparent, detailed, and crystal-clear phrasing each and all notes are discernible. A supreme - but not artificial nor mannered - control and care of tone and sound touch, color and timbre are all fruit of a clearly deep insight and work. A smooth flow of the discourse a solid overall concept of the work structure and a plain, simple (never emphasized) 'singing' of the melodic line.(Even when he takes a very slow tempo - as in the famous Variation no. 25, about 30% slower than usual - he always sustains the melody, that means it is not the tempo that makes the melody living, but the capacity to make it flow, to 'connect' sounds and silences). These Goldbergs are not told as a narrative it is not a dramatic tale, but the architectural structure is well visible. It is not a story, it is a three-dimensional visual art work. Northern Star gave Minnaar the sound that perfectly matches his concept of the work. The rest is made by the unique Chris Maene piano. A 'Goldberg' for the 21st Century.
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Thirteen Nocturnes and as many Barcarolles form the core of the collected output of Gabriel Urbain Faure for the piano. Night-time meditations, then, along with inspiration drawn from rippling water (the origins of the barcarolle lie in the songs sung by Venetian gondoliers and the word itself comes from the Italian 'barca', a boat.) Along with some impromptus, preludes and other works, one might rapidly gain the impression of a delightful collection of salon music, whose titles may actually display the influence of Chopin. But this music is so very much more than pretty salon music. In the intimacy of these genres, Faure succeeded time and again in nothing short of exposing his very soul. And the French composer's style is entirely his own-original and personal- from the first note to the last. Hannes Minnaar received international acclaim after winning several international competitions and being awarded a Borletti-Buitoni Trust Fellowship.
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