UNCOMPRESSED WORL D

VOL . IV

AUDIOPHILE SOLO PIANOPUREST AUDIO-

NATURAL
DYNAMICSPLAYBACK CAREFULLY!
A U D I O P H I L E
R E C O R D I N G S

A complete compilation dedicated to a single instrument? Would that work?
These were our initial thoughts at the beginning of 2012 as we started work on“Uncompressed World Vol. IV”. And: which solo instrument should we even take?
Well here we agreed quite quickly on the piano. The question of whether one candedicate a complete compilation just to solo piano is yes, you can. In fact it works
really well. This is because no two pianos are the same, whether Steinway, GrotrianSteinweg, Bösendorfer, or Yamaha. Each manufacturer of pianos has its own
philosophy. Further differences are the various interpretations of the players and therecording technology used by the recording engineer. In any case, experts describe
the recording of a piano as the ultimate discipline in studio miking.
The background here is that a grand piano has a very wide frequency range (withresonant frequencies of the strings in the range of 27.5 to 4200 Hz and withharmonic waves up to 12 kHz) and also a very wide dynamic range. Another decisive
point is whether the instrument is situated alone in a large concert hall or fills thespace of a small recording studio. Where are the microphones positioned during therecording? Classical recordings in particular place the microphones a large distanceaway from the instrument. The resulting acoustic pattern is indirect, with a great dealof space present. Others place the microphones very close to the source where thesound is generated. The result is an intimate sound which includes all the ambient
noise. The hammer and pedal are clearly audible.
And you might find it hard to believe, but canned piano music has found its way into
our compilation. Sampled sound, played on a midi keyboard, and edited on a laptop.
Our recommendation: before reading the booklet, first of all listen carefully to the CD,track by track. Try to find out which track was not played with a “real” piano. We wish
you lots of fun during the search and even more fun with the audio journey throughthe Uncompressed World of the audiophile solo piano.

Do you know about the previous publications of the UNCOMPRESSED WORLD series?
Up to now there have been the following volumes:

A list of the places worldwide to purchase the CDs is available on request from:info@accusticarts.de
Many thanks for your trust and your choice to listen to ACCUSTIC ARTS AUDIOPHILE
RECORDINGS

Sincerely yours

Milan Sajé

Steffen Schunk

Rasmus Muttscheller

Matthias Frey

Matthias Frey SMILE
Producer: Matthias Frey

Statements by producer and artist Matthias Frey:
The recordings were made for the piano solo project “the time within”. My aim was toplay compositions which include the time factor, i.e. the breaks, to consciously playthe “air” between the individual sounds and give the “time within” musical space.
The same is with “smile”, i.e. to allow time for smiling and enjoying it. All tracks on
the CD were only recorded once (no cuts or overdubs), i.e. the factor of time was asnapshot. All recordings were made in the late evening hours. The Apfelhof Studio in
Schönborn was used.

Some technical insights in the production:
Microphones: AKG and Beyer
Digital recording
No FXGrand piano: Yamaha C3 / 1993

Martin Tingvall
Photo by Jenny Kornmacher

Martin Tingvall DEBBIE AND THE DOGS
Producers: Michael Dahlvid and Lars Nilsson

Statements by composer and artist Martin Tingvall:
The track “Debbie and the dogs” is about a woman in Jamaica. So for me the challenge was to get a “Jamaican spirit” on the track - on the one hand by keeping adrum groove without drums and on the other hand by sounding light and bright - notso easy for a Nordic person such as myself but I think I got at least some “Jamaicansun” caught on the track. My ambition for the recording was to play the whole album
like a concert – to reach a kind of “life feeling” and to record the “play of the moment”. This means that we almost didn’t cut the songs afterwards. No risk, no fun!

Some technical insights in the production:
The song was recorded in an old barn, close to Göteborg, Sweden, which has been remade into a recording studio. The ceiling there is as high as in a church. We used ninedifferent microphones to catch the whole room on tape. The two mics which recorded
the grand piano in the front are actually quite rare – they are Turessons, handmade
mics from Sweden.
I was recording on a Steinway & Sons grand piano (type D).

Omar Sosa

Omar Sosa ESPERANZA
Producer: Omar Sosa

Statements by co-producer Scott Price:
The track (and CD) was recorded at Systems Two in Brooklyn, New York on October
14, 2009. The piano was a Steinway concert grand, 385, built in 1984. Omar Sosa
used electronic effects and sampled sounds, which were played live, in real-time,
together with the acoustic piano which is a unique technique in the field of solo piano.
Omar Sosa approached the recording of this track, and the CD it’s taken from, as afree, improvised session. There were no charts or prepared musical material.

Some technical insights in the production:
Piano mics - stereo Neumann U87s, stereo Neumann KM 184s, stereo AKG 414s
Rhodes mics - stereo Sennheiser 409s
Room mics - stereo Earthworks
Console - Otari Concept One
Grand piano: Steinway concert grand, 385, built in 1984

Andreas LohAndreas Loh NUMINOSA
Producer: Marcus Horndt

Statements by composer and artist Andreas Loh:
“Numinosa” is an expression used by C.G. Jung particularly for frequently recurring
psychological patterns. These patterns form the basic motives or archetypes whichhave an effect on the collective and individual psyche. They develop a significant,involuntary emotional power which no individual in the long term can escape from.
Using the idea of the “Numinosum” I wanted to give this power some space in mycomposition process, to allow it to unfold in the music, regardless of whether I liked
this musical expression or not. My main intention during the recording process was,without preconceptions, to allow ample space for the flow of the music and improvisations so that they could unfold freely. The sound of the moment is an expressionof eternity.
Statements by producer Marcus Horndt:
As I have known Andreas Loh for a long time, I knew that my task would be to find theright atmosphere so that he could immerse himself in the playing of the music. The“magical moments” took place at night, especially with the “Numinosa” piece. It was
important for me through the microphone set-up and sound editing to highlight the
intimate atmosphere and closeness to the instrument, to give the listener the feelingof being close to the music.
Some technical insights in the production:
Microphones: 2x Neumann km184 (room) and 2x Neumann TLM102 (inside)
Cables: Vovox
Interface: Focusrite Saffire Pro 40
Computer: MacBook Pro
Plugins: Wave plugins for mixing
Grand piano: Steinway C (from the year 1998)

Photo by Jens Anders

Mathias Claus

Mathias Claus GRUSS AN F.
Producer: Mathias Claus

Statements by producer and artist Mathias Claus:
Mathias Claus is a composer, pianist and producer residing in Germany. Born 1956
in Waiblingen / Germany, he grew up with a love for jazz piano, and studied at the
famous Berklee College of Music in Boston / USA. Back in Germany he graduated withexcellence as a jazz pianist from Hamburg University of Music.
“Gruß an F.” is a crossover composition written by Mathias Claus. The jazz nocturne
follows one of the concepts developed during his studies, to compose classical-likemusic which includes improvised piano playing. In this work the composer followed
his analysis of the harmony found in nocturnes of classical composer Frederic
Chopin. “The use of jazz improvisational techniques developed from swing or bebop
is not appropriate. You have to bring your improvisations down to something very
simple, which is the difficulty.” he says. Close to this aspect, the pianist also makes
use of typical free timing interpretations of the classical romantic era. “A nocturne
is something very plain and unpretentious, and simply outlines beauty in music. As aresult, you need to avoid any complex and complicated musical elements or habits.”“Gruß an F” is a greeting addressed to Frederic.
Some technical insights in the production:
Grotrian-Steinweg grand piano “Concert”, 2.25 metres, from the year 2006
RME Fireface USB interface, Lake People mic preamp
Microphones: Schoeps stereo set MK 22, Brauner Phanthera
Mixing: Thomas Beer (M.Sc.), Aachen.
Production system: Windows 8, Cubase 7, plugins for Waves, DMG Audio, Slate Digital, iZotope, SPL, IK Multimedia and others. Interfaces from RME and Focusrite.
Monitoring by KRK and Tannoy. Headphones by Beyerdynamic, AKG, Sennheiser andAudio-Technica. Acoustic elements by HOFA and also own construction.

Martin Vatter

Martin Vatter WALCHENSEE, MONDNACHT
Producer: Martin Vatter in cooperation with Franz Marc Museum

Statements by recording engineer Jürgen Reis:
The pianist Martin Vatter has made a name for himself among lovers of exceptional
piano music.
My audiophile recordings are always limited to their essentials and appeal throughtheir authenticity and coherence which capture the sounds in their greatness andsplendour as if they were perceived live. A microphone set-up for equivalence stereophony. Equivalent attention to the phase and sound pressure just as we also hear.
The positioning and angle of both microphones relative to the sound source werebased on the overall result of research carried out by Williams, Sengpiel, NOS and
ORTF and were selected so that the size of the sound body (the grand piano) was welltaken up and the value and phase were equally recorded.
Some technical insights in the production:
The recording was made with 2 large-membrane cardoid microphones with discreteclass A technology. These were very good copies of the Neumann U67, only insteadof the original tube circuit had transistor circuits now used by Neumann in the TLM67
with a discrete FET circuit modified by myself.
Positioning: equivalence stereophony, identical priority for running time and intensityof the stereophony offer a good balance between orientation and spatial representation. Distance of the mics – about 60 cm from the piano strings (jazz-oriented distance). Recorded in 24 Bit 88.2 kHz via an E-MU 1616M Master Grad Audio Interface.
Mixed in 64 Bit 88.2 kHz double point precision resolution. Finished in 16 Bit / 44.1
kHz for CD and 24 Bit / 88.2 kHz for high resolution.
Grand piano: Steinway & Sons Model D 274 cm, year of 1929.
Apart from the intro and outro effect with this piece, all the pieces were recorded“Live To Track”.

Michael Fiedler

Michael Fiedler GEDANKEN
Producer: Michael Fiedler

Statements by producer and artist Michael Fiedler:
I am a passionate composer and pianist and dedicate myself to the magic of the
melody. In the best sense of the word my music is “romantic” because it wants to“relate” something to the listener. I have therefore given my piano solo program
called “TRAUMZEIT” (dreamtime) the accompanying title of “The musical diary”. I
would like to invite my listeners to let themselves and their senses enter the realms
of fantasy and discover that one can see with ears ...
In my opinion, a special atmosphere is important for concerts and sound recordings and therefore my studio (DIE TRAUMWERKSTATT) (the dream workshop) is
furnished to be consciously very homely and comfortable. And during the production of “Thoughts” there was an additional and completely new experience andchallenge as in 2007 I was given the opportunity to retreat for three days to a piano
establishment of a piano builder I am friends with and to make a number of different
recordings there. It was very inspiring for me and unforgettable to be surrounded byapprox. 30 pianos and sit at a white Berdux grand piano, lost in space and time ...
Some technical insights in the production:
The sound recording was made in a piano establishment which in contrast to the usual set-up in a recording studio was a very interesting atmosphere for a change and avery interesting arrangement. An empty piano establishment, quiet and in the middle
the white Berdux grand piano, surrounded by approx. 30 pianos.
Microphones from the Gefell brand were used which originated from a discontinued
radio broadcaster. A computer with Cubase was installed for the recording with a
Tascam interface.
Grand piano: BERDUX - G 185 in white

Producer: Götz A. Wörner

Statements by recording engineer Johannes Wohlleben:
Jesus Chucho Valdés is one of the outstanding pianist of Cuban Jazz. The 5 times
Grammy award winner is the founder of the legendary group Irakere, one of Cuba’s
best-known Latin jazz bands. He is Cuban from the heart and an outstanding personality.
The song is a music piece from the 80’s. It was recorded in 1988 in Sandhausen, Germany in the Studio van Geest.

Some technical insights in the production:
For the recording we used a Sony F1 digital audio recorder together with a Lexicon
reverb.
Grand piano: Bösendorfer Imperial

Johannes Wohlleben

Jesus Chuchi ValdésJesus Chucho Valdés ADIVA

Photo by Peter Hoffmann

Milan Sajé

Joerg Reiter

Joerg Reiter SWEET DELIGHT
Producer: Joerg ReiterStatements by recording engineer Milan Sajé:
The track was recorded especially for Uncompressed World Vol. IV in Joerg Reiter‘s
private studio in Stuttgart in March, 2013 by Milan Sajé.
Joerg Reiter has been a known quantity in the German jazz scene since the lateseventies and has worked together with many European and international jazz greatssuch as AI Jarreau, Chaka Khan, Dianne Reeves, Billy Cobham, Jerry Brown, AnthonyJackson, Kirk Whalum and Helen Schneider on stage, on television and in the studio.
He regularly plays with flugelhorn player Ack van Rooyen as a duo and also plays invarious radio big bands. In 1993 he was made a professor of piano and ensemble
conducting in the department for jazz and popular music of the university of musicat Mannheim-Heidelberg.
I met Joerg for the first time in the mid-eighties in the Bauer Studios shortly before
he was given the first jazz award of the German state of Baden-Wuerttemberg.
I know and appreciate Joerg as a very sensitive yet very expressive virtuoso jazzpianist. He can improvise on a theme in a beautifully structured way for several
minutes.
Some technical insights in the production:
The recording was made with 2 x Brüel & Kjær 4011 and 2 Neumann KM84 microphones. Newly restored Telefunken V676 units were used as microphone amplifiers.
The mixdown was made in Protools HD with the addition of an EMT 252 reverb.
The grand piano used was a Steinway & Sons concert grand piano, model D, from theyear 1958.

Lutz Gerlach & Ulrike Mai

Photo by Peter Hoffmann

Lutz Gerlach & Ulrike Mai 4 RAIN
Producer: Lutz Gerlach

Statements by producer and artist Lutz Gerlach:
As a pianist, composer, producer and studio musician I can look back on many yearsof experience working in large and small studios. My productions are mostly createdon my own. But for the mastering I welcome technical assistance for possible corrections. These are the ideal conditions to enable the individual sound of the grandpiano in line with my expectations. However, the result is, as with all art, also largely a“question of taste”.
Some technical insights in the production:
I love sounds rich in harmonics and prefer reduced music without pathos. In orderto render these harmonics well and generate a certain intimacy, I place the microphones quite close to the strings. The bass of an instrument or the length of thestrings are not so important for me (which is different, for example, for the worksof Rachmaninow), therefore I also like to play smaller instruments, in this case a“Yamaha” (from the year 1997). Two Neumann microphones and a tube preamp
from SPL were used for the recording. An Alesis “Masterlink” was used as a recording device” because I find the converter very dynamic and natural. In the same way,
the brand of grand piano just as the use of effects such as echo is a question of yourprinciples. In this case the closeness of the microphones to the instrument reduced
the audible sound from the recording room. As I rather prefer a large warm echo, therecording was edited with effects during the mastering. In the ideal case the echo
combines harmonically with the sound of the grand piano and gives the instrument
an additional nuance. For this production we used a Lexicon 300 and a TC Unity. Just
as with all my CD productions (which now total more than 40) I “naturally” didn’t use
any compressors. Just to get this straight, I should mention that the recordings are
10 years old.

Producer: Kevin Malpass

Statements by producer and artist by Kevin Malpass:
The piece was written for a pianist with extra-ordinary ability. It was performed live
but had never been recorded so I re-visited the midi program and got the best sampled piano I could find (and afford) to have a recording of the piece. At first it was
just for my own curiosity, but as I got into how good the piano sounded I developed itsome more and so we have the finished work.
I guess what is therefore special about the recording is that it is a ‘pretend’ piano,
programmed using Logic on a laptop! I played the parts in using a weighted keyboard(very slowly) and I edited the velocities a lot before I was happy with the sound. There
was also one thing missing...I love the sound of the piano dampers (on a real piano)leaving the strings before a chord is struck. You hear this on beautifully crafted recordings and so I sampled from a real piano just for that sound. If you listen carefully,
you can hear the sound in the opening bars of the piece quite clearly.
I suppose what is special about the musician (me) is that I am certainly no pianist.
My goal is to have the piece ‘performed’ by a Disclavier grand piano, as developed by
Yamaha. I believe Bösendorfer now have the technology too.
Some technical insights in the production:
For the piano Ivory II - Geman Steinway D10 / Logic 8, Space Designer for reverb
Akai MX1000 weighted keyboard / Apple Mac Book Pro
For the pedal noise 2x Neumann U87s / SSL G series preamps / Yamaha C3 piano

George Kousa

Kevin Malpass

Kevin Malpass REFLECTION

Producer: Wolfgang DaunerStatements by recording engineer Carlos Albrecht:
Wolfgang Dauner is one of the highest profile pianists alive today in Germany and has
an international reputation. In particular the formation “United Jazz + Rock Ensemble”
co-founded by him has attracted attention at home and abroad. Humour, a willingness to experiment and enormous talent as a pianist and composer are the outstanding features of this artist.

Some technical insights in the production:
Digitally recorded by Wolfgang Dauner at home with a Neumann SM69 stereo microphone in M/S via a Studer 169 mixer.
Grand piano: Bösendorfer C

Carlos Albrecht

Wolfgang DaunerPhoto by Jörg Becker

Wolfgang Dauner WENDEKREIS DES STEINBOCKSPhoto by Caroline Fischer

Jin JuPhoto by Tom Wagner

Jin Ju SONATA D958-MENUET TO
Producer: Werner DabringhausStatements by producer and recording engineer Werner Dabringhaus:
Such a clear, unpretentious virtuoso has only rarely been heard. The player’s deep
musical intuition enables her to convey and interpret even the most hidden musicalmessages.

Some technical insights in the production:
The recording was made in the Abtei Marienmünster.
Loudspeakers: Acapella: Sarastro; Ecouton: LQL 200; Quad: ESL; Quadral: Ascent;Headphones: Jeklin Float
Preamp: Millennia
RME: Sequoia
Grand piano: Steinway concert grand piano of 1901

Holger Busse
Photo by GENUIN - I. Zandel

Caroline Fischer
Photo by Caroline Fischer

Caroline Fischer VALSE IMPROMPTU
Producer: Holger Busse

Statements by recording engineer Holger Busse:
Sometimes you are just lucky that everything fits perfectly and the room, instrument
and musicians all go well together. In this recording, the concert pianist is the young
Caroline Fischer from Berlin, who already at the age of 9 years was accepted as ayoung student by the Berlin University of the Arts and who always entrances listeners with her sparklingly brilliant and expressive style. She selected a Steinway D fromthe numerous concert grand pianos available at the Gewandhaus from the year 1992
which wonderfully accommodated her playing style. And, as a recording room, thechamber music hall of the Gewandhaus of Leipzig was available to us for several days
– a well-proportioned, pleasantly airy sounding concert hall with space for up to 500
listeners. An overall ideal combination, which can surely be heard in the recording.
Some technical insights in the production:
Microphones: Schoeps MK2s, MK21, MK4
Pre-amplification – D/A conversion: “Micstasy” by RME
Recording media: Workstation with “Sequoia” by Magix
Monitor speakers: Quad ESL 63 electrostatic loudspeakers

Claudius Tanski

Claudius Tanski AUF FLÜGELN DES GESANGES
Producer: Werner DabringhausStatements by producer and recording engineer Werner Dabringhaus:
The “song” genre played an important role in romantic music and a number of transcriptions of the great virtuosos have paid tribute to the song culture of high romanticism and paved its way for the virtuoso presentation on the concert stage. Claudius
Tanski ranges excellently over the sound spectrum extending from Mendelssohn andSchumann to Liszt and Gustav Mahler.

Some technical insights in the production:
The recording was made in the Abtei Marienmünster.
Capacitor microphones: B&K, Neumann, Schoeps, Sennheiser
Loudspeakers: Acapella: Sarastro; Ecouton: LQL 200; Quad: ESL; Quadral: Ascent;Headphones: Jeklin Float
Preamp: Millennia
RME: Sequoia
Grand piano: Steinway concert grand piano of 1901

Lev Vinocour

Lev Vinocour THE SEASONS OP. 37
Producer: Werner DabringhausStatements by producer and recording engineer Werner Dabringhaus:
Lev Vinocour kindles the fire typical of impassioned Russian salon music from theSteinway concert grand piano of 1901 — which makes this music piece an audiophile
feast!

Some technical insights in the production:
The recording was made in the Fürstliche Reitbahn in Bad Arolsen.
Loudspeakers: Acapella: Sarastro; Ecouton: LQL 200; Quad: ESL; Quadral: Ascent;Headphones: Jeklin Float
Preamp: Millennia
RME: Sequoia
Grand piano: Steinway concert grand piano of 1901

Elisabeth Leonskaja

Elisabeth Leonskaja FRÜHLINGSLIED OP. 62, 6
Producer: Werner DabringhausStatements by producer and recording engineer Werner Dabringhaus:
Elisabeth Leonskaya, “one of the few grandes dames of piano playing” (Piano News),
needs no further introduction here.

Some technical insights in the production:
The recording was made in the Fürstliche Reitbahn in Bad Arolsen.
Loudspeakers: Acapella: Sarastro; Ecouton: LQL 200; Quad: ESL; Quadral: Ascent;Headphones: Jeklin Float
Preamp: Millennia
RME: Sequoia
Grand piano: Steinway concert grand piano of 1901

Kirk Monteux

KIRK MONTEUX ETERNAL DESERT (BONUS TRACK)
Producer: Kirk Monteux

Statements by producer and artist Kirk Monteux:
When I met Matthias Frey the very first time, I was so amazed by the way he plays
the piano. So I asked Matthias to be a part of my upcoming album “Via Lucis”. Heagreed and I took my guitar out of the trunk right away and we set up a couple ofmicrophones and started to improvise. Just his Yamaha C3 piano, my Burguet guitar
and his loop recorder. Matthias likes to create those rhythms by tapping and booming around the piano. Later in my studio I did some programming and that’s it.

Some technical insights in the production:
Recording at the Apfelhof Studio Grand piano: Yamaha C3 (1993) with two Neumann KM100 in a MS setup
Guitar: Burguet Fuego with a Neumann TLM103 and an AKG C414 in an A-B setup

Mixing and Mastering at mysoftmusic Studio Mixing console: Sony DMX R100
Reverb: Lexicon 480L
Monitor: Genelec 1032A
Mastering: Focusrite Red 3
DAW: Logic Pro

COMPOSERS, ARTISTS & CO.

Matthias Frey

Composed by Omar Sosa

SMILE

Published by Sosafunke Music Publishing(BMI)

Time: 3:26
Composed by: Matthias Frey
Copyright Control
Recorded at Apfelhof-Studio, Schönborn,
Germany

Taken from the album: SKP 9102 “calma –solo piano & …”
Produced by Omar Sosa
Co-Produced by Scott Price & Greg Landau

Recorded and produced by Matthias Frey

Recorded at Systems Two, Brooklyn, NY

Taken from the album “The time within”

Engineered by Max Ross & Joe Marcianowww.matthias-frey.com

Mixed and mastered by John Greenham,
San Francisco, CA

P 2004 Matthias Frey

Executive Producer: Scott Price
LC 10482

Martin Tingvall

P 2011 SKIP RECORDS

DEBBIE AND THE DOGS
Time: 4:20
Composed by Martin Tingvall
Published by Skip Sounds
Taken from the album: SKP 9117 “en nydag”

Andreas Loh
NUMINOSA
Time: 5:44
Composed by: Andreas Loh

Recorded, mixed and mastered by Michael
Dahlvid and Lars Nilsson at Nilento Studio,
Kallered, Sweden

Copyright Control

LC 10482

Recorded and produced by Marcus Horndt

P 2012 SKIP RECORDS

www.marcushorndt.deRecorded at Community Center, City of
Hohenmölsen, Germany

Taken from the album “Numinosa”
www.andreasloh.com
Omar Sosa
ESPERANZA
Time: 5:23

P 2013 Andreas LohCOMPOSERS, ARTISTS & CO.

Mathias Claus

Michael Fiedler

GRUSS AN F.

GEDANKEN

Time: 3:18

Time: 3:49

Composed by Mathias Claus (CopyrightControl)Composed by Michael Fiedler

Produced by Mathias Claus

Taken from the album: “Sonnenaufgang”

Recorded at Mathias Claus Studios
Braunschweig, Germany

Recorded at Piano Scheck, WaiblingenHegnach

Mixed by Thomas Beer, (M.Sc.), Aachen
www.mathiasclaus.com

Recorded and mixed by Michael Fiedler –DIE TRAUMWERKSTATT

P 2013 Mathias Claus

Mastered by Milan Sajé

Published by Mypiano

P 2007 Michael Fiedler – DIE
TRAUMWERKSTATT
Martin Vatter
WALCHENSEE, MONDNACHT
Time: 9:14

Jesus Chucho ValdésComposed and arranged by: Martin Vatter

ADIVA

Copyright Control

Time: 3:16

Produced by Martin Vatter in cooperation
with Franz Marc Museum

Composed by: Jesus Chucho ValdésRecorded at Bauer Studios, Ludwigsburg,
Germany, by Jürgen Reis on his own
equipment
Taken from the album “Klangbilder 1”

Published by Misa Negra Editorial/Mawi
EditionTaken from the album “Lucumi”
Produced by Götz A. Wörner

LC 11173

Digitally recorded at Tonstudio van Geest,
Sandhausen, Germany by Johannes
Wohlleben

P 2009 Martin Vatter

www.termidor.com

www.martin-vatter.de

LC 10197
P 2005 Timba Records

Joerg Reiter

Kevin Malpass

SWEET DELIGHT

REFLECTION

Time: 5:04

Time: 3:13

Composed and performed by: Joerg Reiter

Written by: Kevin Malpass(Manuskript – MSPT)

Published by: Kevin Malpass (PRS/MCPS)

Recorded and mixed by Milan Sajé, March2013 in Stuttgart

Recorded at ”The Fort”, London by Kevin
Malpass

P 2013 Joerg Reiter

Mixed by Kevin Malpass
Produced by Kevin Malpass
P 2013 Kevin Malpass

Lutz Gerlach & Ulrike Mai
4 RAIN, PIANO 4 HANDS
Time: 4:33

Wolfgang DaunerComposed by: Lutz Gerlach

WENDEKREIS DES STEINBOCKS

Copyright Control

Time: 4:57

Taken from the album “Out Of Season”

Composed and arranged by: Wolfgang
DaunerRecorded at LGM-Klanggalerie “Das Ohr”
Ahrenshoop/ Germany
Recorded and produced by Lutz Gerlach
Mastering by Lexa Thomas / Lexa Music
BerlinCopyright Control
Sound-recording and mixing: Carlos
Albrecht and Wolfgang Daunerwww.lgm-records.de

Digital Recorded in Wolfgang Dauner´sapartment

LC 02079

Mastering: Bauer, Ludwigsburg. Germany

P 2002 Lutz Gerlach

Produced by Wolfgang Dauner
Taken from the album “Solo Piano”
P 1983 Wolfgang Dauner

COMPOSERS, ARTISTS & CO.

Jin JuClaudius Tanski

SONATA D958-MENUETTOAUF FLÜGELN DES GESANGES

Menuetto. Allegro – Trio – Menuetto dacapo

Time: 3:17

Time: 3:08
Franz Schubert (1797-1828)
Taken from the album

Felix Mendelssohn Bartholdy (1809-1847)
arr. for Piano by Franz Liszt
Taken from the album “Auf Flügeln desGesanges – Piano Works”“Beethoven - Schubert - Czerny - Piano
Music”, MDG 947 1698-6 (Hybrid-SACD)

MDG 912 1489-6 (Hybrid-SACD)

Recorded at Abtei Marienmünster

Recording engineer: Werner Dabringhaus

Recording engineer: Werner Dabringhaus

www.mdg.de

www.mdg.de

LC 06768

LC 06768

P 2008 Musikproduktion Dabringhaus
und Grimm

P 2011 Musikproduktion Dabringhaus
und Grimm

Recorded at Abtei Marienmünster

Lev Vinocour
VALSE IMPROMPTUTHE SEASONS OP. 37
No. 6: Juin, Barcarolle, Andante cantabile

Time: 5:49

Time: 4:36

Franz Liszt (1811-1886)

Peter Tschaikowsky (1840-1893)

Taken from the album “Lisztomagia”,
GENUIN classics, GEN 89147

Taken from the album “Peter Tschaikowsky– Oh! Chante encore! Piano Music”,

Recorded by Holger Busse at
Kammermusiksaal Gewandhaus Leipzig

MDG 904 1397-6 (Hybrid-SACD)

www.genuin.de

Recording engineer: Werner Dabringhaus

LC 12029

LC 06768

P 2009 GENUIN classics

www.mdg.de

Caroline Fischer

Recorded at Fürstliche Reitbahn Bad Arolsen

P 2006 Musikproduktion Dabringhaus
und Grimm

Elisabeth Leonskaja

www.mysoftmusic.com

FRÜHLINGSLIED OP. 62, 6

P 2008 Black Forest Music

Time: 2:37
Felix Mendelssohn Bartholdy (1809-1847)
Taken from the album “Mendelssohn
Bartholdy – Piano Concertos 1&2”
MDG 943 1421-6 (Hybrid-SACD)
Recorded at Fürstliche Reitbahn Bad
ArolsenRecording engineer: Werner Dabringhaus
www.mdg.de
LC 06768
P 2006 Musikproduktion Dabringhaus
und Grimm

KIRK MONTEUXETERNAL DESERT (LA CALIMA EDIT)
Time: 2:46
Composed by Kirk Monteux
and Matthias Frey
Published by Black Forest Music
Publishing/Copyright Control
Recorded and produced by Kirk Monteux at
Apfelhof-Studio, Schönborn, Germany
Mixed and mastered by Kirk Monteux atmysoftmusic-Studio, Frankfurt, Germany
Classical Guitar, Programming:
Kirk Monteux
Grand Piano: Matthias Frey
Taken from the album “Via Lucis”