The siblings Marie-Luise and Christoph Dingler are specialists in the category violin duo. Raised in a musical environment – grandfather a musical director, mother a Cantor and harpsichordist – they achieved their high level of musicianship and unique sound after years of performing together. Their passion and main objective is not only to perfect the existing repertoire, but also to carry the tradition of “violin duo “into the current times.

Both started to play violin at the age of 7 and participated already 4 years later in „Jugend musiziert“, a nation-wide competition, where they won the first award six times in the following years. They are winners of Adolf Metzner Foundation, the Heinrich Vetter Foundation, the Kiwanis Club, the Bruno-Herrmann Prize, the European music competition and the International Violin Competition Hofheim, just to mention a few. As soloists they performed with the German Radio Philharmonic Orchestra, the Philharmonic Orchestra of Baden-Baden, the Brandenburg State Orchestra, the Württemberg Chamber Orchestra, the Orquestra Simfònica del Vallès (Barcelona), the New Ideas Chamber Orchestra (Lithuania), the Mannheimer Philharmonic, the Kurpfälzische Chamber Orchestra and appeared several times on TV and radio stations nationally and Internationally (SWR, SWR2, RBB, Center TV, Desh TV and many others). They performed internationally in India, Bangladesh, Turkey, Tunisia, Spain, Italy, France, Lithuania, Austria and Switzerland, at national and international festivals (including cultural summer Nord Hessen, Weilburger Schlosskonzerte, Villa Musica, Musik Erlebnis Munich, Podium Festival Esslingen, Kintai Music Festival Lithuania) and as guest artists on the cruise ship MS Europa 2.They shared the stage with known artists ‚Spark – the classic band‘ and Yuri Revich (both ECHO – Award winner). Both studied violin with Prof. Bratchkova at the Musikhochschule in Mannheim (diploma of artistic education and solo education) and since then pass their knowledge on to subsequent generations. In 2009 the Twiolins initiated the 1st Progressive Classical Music Award, to enrich and broaden the repertoire for two violins. In 2012 the Twiolins were awarded the “Helene-Hecht-Preis” for their efforts. 2011 they released the CD VIRTUOSO featuring the winning works, followed by the CDs SUNFIRE and SECRET PLACES after every three years.

For more information, please visit: www.thetwiolins.de

Alexandre Perotto - 35, is a self developed visual artist, photographer, art director and composer - based in Brasília, Brazil. His work is inspired by his life, memories, the natural and surreal world.

Perotto's artworks and photos were featured on advertising, magazines, calendars, house decor, album covers and exhibited in art galleries.

Website: www.alexandreperotto.in

Instagram: www.instagram.com/perotto

Be sure to join us in August as Classical Music Discoveries celebrates Leonard Bernstein's 100th Birthday.

During August you will be treated to Bernstein's ballets, operatic works, film scores, musicals, incidental music and orchestral works.

If you are a fan of Bernstein, you will not want to miss the musical birthday cake we are serving in August.

Only on Classical Music Discoveries, the world's most popular choice for classical music.

Welcome to Classical Music Discoveries' Season 14!

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MIND & MACHINE
VOLUME ONE

Doug Bielmeier
Jon Bellona
Julius Bucsis
Herbert Deutsch
Bill Whitley
Schliestett & Bliss

MIND & MACHINE is the first of two electro-acoustic compilations to be released on RAVELLO RECORDS. Featuring the work of seven composers on six tracks, MIND & MACHINE explores the incredible range of works that can be categorized as electro-acoustic, a music in which styles are dictated by the technology that is at the heart of its performance.

As far-ranging as are the works themselves are the composers of these pieces. Herb Deutsch (Moog to Mac) originally collaborated with musical pioneer Robert A. Moog on the development of the Moog Synthesizer in the 1960s. Jon Bellona (Currents) is an intermedia artist and composer who specializes in digital technologies, and Doug Bielmeier (Costa Mesa Rocking Chair) is a studio and live engineer. Also based in the technology realm are Jim Schliestett and Bob Bliss (Sunrise Sonata). Julius Bucsis (In the Interest of Time) is an award-winning composer, guitarist, and music technologist, and Bill Whitley (Absent Light) is a composer and pianist.

On MIND & MACHINE’s six selections, this diverse assortment of composers utilizes such elements as incorporating instruments – cello, viola, violin, piano, lap steel guitar – and vocals; creating new musical works divorced from their source content; or, somewhat conversely, sounding out the intersections of our current electronic state while referencing its history; and exploring the relationship between subtle rhythmic shifts and the sense of groove. Each composer uniquely demonstrates how electronics play an equal, if not greater, part in the overall concept of their piece, proving that the possibilities for the creation and manipulation of sound are endless.

In 1953, the renowned playwright Lillian Hellman proposed to Leonard Bernstein that they adapt Voltaire's Candide for the musical theater. Voltaire's 1758 novella satirized the fashionable philosophies of his day and, especially, the Catholic Church whose Inquisition routinely tortured and killed "heretics" in a ghastly event known as an "Auto da Fé" ("act of faith"). Hellman observed a sinister parallel between the Inquisition's church-sponsored purges and the "Washington Witch Trials," fueled by anti-Communist hysteria and waged by the House Un-American Activities Committee. Charged with rage and indignition, she began her adaptation of Voltaire's with lyricist John LaTouche and Bernstein, who wrote numerous musical sketches. Before long, LaTouche was replaced by poet Richard Wilbur. Hellman, Bernstein, and Wilbur worked periodically over the next two years but labored in earnest through 1956, a year when Bernstein was simultaneously composing West Side Story. By October 1956, Candide was ready for performances in Boston, where Dorothy Parker contributed lyrics to "The Venice Gavotte" while Bernstein and Hellman had also added lyrics of their own to other numbers. The lyricist credits were already beginning to mount up.

Conducted by Leonard Bernstein

SECRETS FOR FREE
FERDINANDO DE SENA

It should be no secret that Miami-based composer Ferdinando De Sena is a tour de force amongst electroacoustic composers. Just listening to SECRETS FOR FREE is all the proof you need. The EP boasts adventurous yet accessible compositions that balance real instruments with computer-generated sound. SECRETS FOR FREE is a testament to fans of either subgenre that the two approaches to classical music do not have to be mutually exclusive.

Starting with Deciphered Reverence, De Sena’s orchestra creates a thrilling balance of sensual suites and chilling chamber music. The composition is an adventure from beginning to end, leading the listener on a journey through the trials and tribulations of sonic wonder. The trumpets fill the heart with triumph; the strings lull the listener through tender balance, and the percussion booms with excitement at every turn of the performance.

The second composition, titled eponymously, showcases De Sena’s complex ear of electronic music. Unlike the grounded performance of Deciphered Reverence, Secrets For Free reaches for something beyond the limitations of live instruments. De Sena interweaves the flute and digital instruments into a chamber music texture with a raw electronic sound reminiscent of some early video games.

The third and final track is De Sena’s String Quartet No. 1. Originally written in memory of his mother-in-law Marie Warach, the track was commissioned by Compositum Musicae Novae for the CMN Quartet. The composition is broken down into three movements, each reflecting a mood of sorrow and mourning. Tension lies in the plucking of the strings and curious crescendos building to their breaking point, as if to reflect an air of disbelief. String Quartet No. 1 succeeds in perfectly capturing the denial one feels over a death.

SECRETS FOR FREE is De Sena’s third project with Navona Records. He is a former student of fellow PARMA artist Dennis Kam. The composer earned a B.A. in Computer Music at Ithaca College, a Masters degree in Electronic Music and a D.M.A. in Composition at the University of Miami. He teaches composition and electronic music at the New World School of Arts.

A Quiet Place is a 1983 American opera with music by Leonard Bernstein and a libretto by Stephen Wadsworth. It is a sequel to Bernstein's 1951 “opera in seven scenes” Trouble in Tahiti.

In its original form, A Quiet Place was in one act. Bernstein spoke of it as having a Mahlerian four-section structure. The premiere, conducted in Houston by John DeMain on June 17, 1983, was a double bill: Trouble in Tahiti, intermission, A Quiet Place.

In its three-act form, Act II largely consisted of Trouble in Tahiti in flashback. This form appeared in 1984, with John Mauceri conducting in Milan and Washington. It was refined in 1986 for Vienna, where a recording was made and the composer himself conducted.

Conducted by Leonard Bernstein

3 : THE MUSIC OF GINA BIVER
Fuse Ensemble

On 3: THE MUSIC OF GINA BIVER, her debut recording on Ravello Records, composer, guitarist, vocalist and producer Gina Biver presents five selections featuring the concept-based new music/new media performing collective Fuse Ensemble, a group in which she has played an integral part for the past decade. Not only did Biver compose the five tracks on the album, she either performed on, produced, mixed and/or engineered many of them.

On the opening track, Mirror, which draws its inspiration from the poem “Empress in the Mirror” by the American poet Colette Inez – who joins the composer in contributing spoken word to the track – Biver begins her exploration into the very nature of identity. Girl, Walking continues that exploration, flowing through five sections that are shaped as they go along by improvisations of the parts of the bassist, flutist and guitarist. Those improvisations unfold and force the unexpected; awakening new shapes and realities while the repetitive nature of the Biver’s electric guitar maintains an underlying continuing, eternal presence.

We Meet Ourselves is dedicated to fellow Fuse Ensemble member Scott Deal, whose solo marimba triggers audio samples which represent Jung’s theories about the impact of confrontations with the unconscious and of the messages we receive as we go through life. On The Cellar Door, Biver musically explores Jung’s theory of individuation, the process by which the psyche becomes integrated and whole. Its audio track, with the vibrant and ethereal sounds of the waterphone, represents the unconscious, while the piano and cello represent the conscious life.

Perhaps the only piece on the album not deriving inspiration from psychological inquiry is the closing track, No Matter Where. Biver states that she interpreted “No Matter Where, Not Pictured Here,” a painting by the notable American artist Jackie Tileston, as a journey and so decided to sonically travel around it. Captured sound (trains) is constant, suggesting unending movement; piano floats like water. The Asian influenced leg of her journey features tablas and ascending violin and piano lines made from Indian ragas and prepared piano with small Tibetan bells sitting atop the strings. Trains trail off, slowly fading away as the piece ends.

Gina Biver is a composer, guitarist, vocalist and producer. She composes electro-acoustic music for chamber ensemble, choirs, dance, multimedia and film. Since 1991 she has scored music for television and film, winning multiple awards for her work. Biver’s work in inspired by the written word and by visual art. Her life and work involve collaborations with other musicians, filmmakers, choreographers, poets, computer artists, sculptors, painters and video artists.

Anton Bruckner's Symphony No. 7 in E major (WAB 107) is one of his best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used.

Sylvia Wagner, conductor
CMD German Opera Company of Berlin Orchestra