Der Wind Ensemble Kheops

• Carl Frühling (1868 - 1937): Trio pour clarinette, violoncelle et piano en la mineur, Op. 40:
• 1 Frühling: Trio pour clarinette, violoncelle et piano en la mineur, Op. 40: I. Mäßig schnell 07:15
• 2 Frühling: Trio pour clarinette, violoncelle et piano en la mineur, Op. 40: II. Anmutig bewegt 06:02
• 3 Frühling: Trio pour clarinette, violoncelle et piano en la mineur, Op. 40: III. Andante 09:00
• 4 Frühling: Trio pour clarinette, violoncelle et piano en la mineur, Op. 40: IV. Allegro vivace 05:53
• Franz Schreker (1878 - 1934): Der Wind, d'après un poème de Grete Wiesenthal:
• 5 Schreker: Der Wind, d'après un poème de Grete Wiesenthal pour violon, clarinette, cor, violoncelle et piano 10:42
• Johannes Brahms (1833 - 1897): Trio pour violon, cor et piano en mi bémol majeur, Op. 40:
• 6 Brahms: Trio pour violon, cor et piano en mi bémol majeur, Op. 40: I. Andante 07:58
• 7 Brahms: Trio pour violon, cor et piano en mi bémol majeur, Op. 40: II. Scherzo. Allegro 07:08
• 8 Brahms: Trio pour violon, cor et piano en mi bémol majeur, Op. 40: III. Adagio mesto 06:45
• 9 Brahms: Trio pour violon, cor et piano en mi bémol majeur, Op. 40: IV. Finale. Allegro con brio 06:29
• Total Runtime 01:07:12

Info for Der Wind

Dieses Programm knüpft an das bei Cypres erschienene und mit einer Gramophone Choice ausgezeichnete Album Brahms, Berg, Zemlinsky an. Es führt die Reflexion über das Wien des späten 19. Jahrhunderts und den Übergang zur Moderne fort und erkundet die Verbindungen zwischen Johannes Brahms, Carl Frühling und Franz Schreker.

Im Zentrum stehen drei Werke mit bewusst hybriden Besetzungen: Brahms’ Horntrio, das Trio op. 40 für Klarinette, Cello und Klavier von Carl Frühling sowie Franz Schrekers Quintett „Der Wind“ in der Besetzung Violine, Klarinette, Horn, Cello und Klavier. Sie illustrieren den Weg vom reifen Romantizismus zur Wiener Moderne und verbinden auf einzigartige Weise Streicher, Klavier und Blasinstrumente zu einer subtilen Klangfarbenwelt.

Das 2006 gegründete Ensemble Kheops zählt zu den führenden Kammermusikensembles Belgiens. Diese Aufnahme ist die erste Folge eines Triptychons anlässlich seines zwanzigjährigen Bestehens.

Ensemble Kheops

Ensemble Kheops
An ensemble built on solid foundations committed to enduring and evolving over time to bring music to its greatest heights…

The Kheops ensemble was founded in 2006 by internationally recognised musicians eager to unite their artistic affinities on high-calibre projects. It quickly rose to rank among the major ensembles of the music scene.

Kheops explores the countless paths and possibilities of chamber music, combining classical and contemporary works, occasionally including jazz and traditional music.

The ensemble has performed in various prestigious concert halls such as Bozar, Flagey, the Théâtre de la Ville in Paris, Süreyya Opera House in Istanbul, the Beethovenfest in Bonn, the Philharmonie Luxembourg, la Filature concert venue in Mulhouse, France, the Salle Philharmonique de Liège, as well as in China, Italy, the United Kingdom, and at the Festival des Forêts, the Festival de Wallonie, and the Flanders Festival, to name but a few.

Its recordings, devoted to Beethoven’s clarinet trios and the sextets by Dohnanyi and Penderecki (Fuga Libera), were received with critical acclaim by the trade press. The album ‘Fugitives', devoted to works by the ensemble’s pianist-composer, Muhiddin Dürrüoğlu, was released in late 2019 (Cyprès).

The Kheops ensemble collaborates with numerous artists such as sopranos Sophie Karthäuser (in the 4 Letzte Lieder de Strauss show) and Anne Cambier (Mr Croche), jazz musician Steve Houben (The Blue Path), and narrators Bruno Coppens (Mes Amis mots) and Maureen Dor (L’Apprenti Sorcier).

The ensemble is also behind the Musical Seasons at Seneffe (Saisons Musicales de Seneffe), a musical gathering that takes place four times per year at the magnificent estate of Seneffe Castle. The ensemble is supported by the Fédération Wallonie-Bruxelles.

The creation of the Kheops Ensemble is the culmination of more than 20 years of deep friendship and of a love of making music together.

It was founded in 2006 by three internationally recognized Belgian musicians: Marie Hallynck, cellist; Ronald Van Spaendonck, clarinettist; and Muhiddin Dürrüoglu, pianist and composer. Together with harpist Sophie Hallynck, they form the ‘central quartet’ of this ensemble, which can be augmented with a variable number and assortment of other musicians depending upon the piece being performed.

As far back as its first concert at Bozar in Brussels in 2007, the violinist Graf Mourja and horn player Hervé Joulain have joined with the ensemble in performing Penderecki’s sextet. Since then, the ensemble has quickly expanded thanks to the collaboration of viola player Lise Berthaud, bassoonist Laurent Lefèvre, violinist Ning Kam, trumpeter Romain Leleu and flautist Gaby Van Riet, to name just a few. All the members of the ensemble share a passion for chamber music and most of them have known each other for a long time. Listening to them, it seems clear that these musicians were made to perform together!

There are numerous common threads, musical and otherwise, connecting these musicians. For example, Marie and Ronald have both been voted ‘Rising Star’ by the ECHO network and have stolen the same spotlights in the most beautiful concert halls in Europe. Marie and Muhiddin, partners both on and off the stage, met during their studies at the Queen Elisabeth Music Chapel before going on to teach at the Conservatoire Royal de Musique in Brussels, where Ronald also teaches. Graf and Laurent are connected through their participation with the Juventus Association and its annual festival. Laurent introduced Ronald to Hervé while recording the complete works of Poulenc for the Naxos label. As for the Hallynck sisters, they have played together since early childhood, and continue to this day to play through the repertoire of chamber music works that include the harp. The two met the other members of the ensemble thanks to a number of happy coincidences during their musical tours when they discovered many shared musical proclivities.

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