Aline Zylberajch – fortepiano
Martin Gester – harpsichord
„The Order of Numbers versus the Freedom of Emotions – Bach and his Sons“
Johann Sebastian Bach: The Art of Fugue BWV 1080 (selection)
Toccata for harpsichord D major BWV 912
Wilhelm Friedmann Bach: Sonata F major F 10
Carl Philipp Emanuel Bach: Variations on „Folie d'Espagne“
Fantasia in F sharp minor „C. P. E. Bachs Empfindungen" Wq 67
Sonata in B flat minor arranged for harpsichord and fortepiano
ticket price: 200 CZK
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A graduate of the Conservatoire National Supérieur de Musique, Paris, and of the New England Conservatory of Music, Boston, Aline Zylberajch started her career as a harpsichordist. Later, her interest in the music of the late 18th century has led her naturally to an intensive involvement in the performance practice of the early piano and the amazing variety of instruments built at that time. Hence her repertoire as a soloist includes music by Byrd, Frescobaldi, Froberger, the French harpsichord schools, J.S. Bach and his sons, Haydn, Mozart as well as their many less known contemporaries. One of her other addictions is vocal music. She has taken part in many opera productions, and she greatly enjoys accompanying singers, for baroque music as well as Lieder evenings. She performs classical sonatas, trios and quartets with the violinist Alice Piérot and her trio AnPaPié; she is also a member of the ensemble "Le Parlement de Musique".
Among her recordings, those featuring music by Froberger "from a rediscovered manuscript" ( on the Ruckers harpsichord from Colmar's museum), François Couperin, "Portrait de l'Amour" ( on the Ruckers-Taskin harpsichord from Musée de la Musique in Paris) ASSAI, Rameau, " Pièces de clavecin en concerts", ACCOR, CPE Bach "Sonates Prussiennes" , LIGIA, Scarlatti's sonatas ( on Denzil Wraight's reconstruction of a Cristofori fortepiano, AMBRONAY) , Psalterion ( music for fortepiano and psalterion, with Margit Übellacker, AMBRONAY) Haydn ( Ariana a Naxos, Lieder and Canzonettas with Stéphanie d'Oustrac, AMBRONAY) have been highly praised by the critics (Diapason d'or, 10 de Répertoire, Choc du Monde de la Musique, Recommandé par Classica, Gramophone, Early Music Review...).
A new CD featuring music for two harpsichords will be released at the end of January 2012, and a CPE Bach CD will be recorded in the spring.
She teaches harpsichord at the Conservatoire National de Région in Strasbourg and she has been invited to give master classes in France, Austria, Spain, Poland, Germany, Mexico, USA, Japan and Australia.
Since 2011 she is also teaching in the pedagogy department of Conservatoire National Supérieur de Musique, Paris.
She is a founding member of "Clavecin en France" society.
In art, the shortest route to one’s destination is often not the best. Martin Gester’s artistic personality was forged through exposure to a large number of neglected masterpieces, a source of questions and investigations. Today that personality imbues his approach to mainstream repertoire, whether at the head of his ensemble, as guest conductor, or as soloist in chamber music. With his double training – literary and musical, instrumental (organ and harpsichord) and vocal – his passion for history and his attentiveness to oral traditions, his taste for dance and theatre and his special interest in restoring the links between cultures and disciplines which it is common practice to separate, he looks back, in his own way, to the Baroque ideal of the artist: open-minded, multifaceted, humanistic.
In 1990, when he founded in Strasbourg Le Parlement de Musique, a flexibly sized ensemble fashioned to suit his tastes, at once a place for experimentation and an instrument of diffusion, Martin Gester already had years of literary and musical studies behind him. By turns singer in polyphonic groups, interpreter and improviser (after the organ, he studied the piano and the harpsichord), choirmaster, musicologist and teacher (of both Classics and music), he has practised many repertoires ranging over four centuries. His early passion for Renaissance polyphony certainly played its part in reorienting his activity towards the art of the seventeenth and eighteenth centuries, but he also admits to a marked penchant for Haydn, Mozart, Schubert, Weber, and bel canto opera from Paisiello to Donizetti.
He had his first experience of the art of instrumental conducting at the head of Le Parlement de Musique, then as a guest conductor with groups of increasing size. Nowadays he is as likely to be found directing the Monteverdi Vespers as the vocal music of Scarlatti, Handel, Gluck or Mozart, the Passions of J. S. Bach or the symphonies of Haydn or Mendelssohn, enthusiastically crossing the traditional barriers between the so-called ‘ancient’ and ‘modern’ schools: at a time when it is all too fashionable to exaggerate their divergences, Martin Gester prefers to emphasise affinities and similarities, to restore the connections lost behind differences of styles and cultures.
At the head of Le Parlement de Musique, he has made around forty recordings (for Opus 111, Naïve, Accord-Universal, Assai, Calliope and Tempéraments-Radio France), most of them revelations of little-known music festooned with awards from the international press, in a variety of repertoires. These embrace motets by Charpentier, Brossard, de Lalande, François Couperin, Jacques-Antoine Denoyé, and Samuel Capricornus; oratorios including the anonymous ‘Uppsala Passion’ (one of the most highly awarded CDs of all time) and works by Keiser, J. S. Bach, Giovanni Battista Bassani, Alessandro Scarlatti, Carissimi, and Caldara; and organ concertos by J. S. and J. C. Bach, Giuseppe Sammartini, Vivaldi, and Haydn. He has conducted on four continents, in such prestigious venues as the Théâtre des Champs-Élysées and Théâtre du Châtelet, the Royal Opera at Versailles Palace, Jordan Hall in Boston, the Toruń and Poznań Philharmonic Halls, and the Ambronay, Saint-Michel-en-Thiérache, La Chaise-Dieu, Strasbourg, Sans-Souci (Potsdam), Schleswig-Holstein, Halle and Wrocław festivals. He has also appeared as a guest conductor of other ensembles, including the New York Collegium, Collegium Vocale Gent, La Chapelle Royale, Les Chantres de la Chapelle de Versailles, the Nederlandse Bachvereniging, Musica Aeterna Bratislava, the Toruń Symphony Orchestra, the Orchestre Symphonique du Rhin-Mulhouse, the Orchestra du Pays de Savoie, the Orquesta Sinfónica de Málaga, and the Camerata Antiqua de Curitiba. Alongside this he pursues a solo performing career as organ recitalist and chamber musician on the harpsichord and the fortepiano, notably as an accompanist of lieder.
In 1998 he began a particularly fruitful collaboration with the Polish orchestra Baroque Arte dei Suonatori. Their regular work on the Baroque concerto over a period of several years led, in 2007, to the recording of Handel’s twelve Concerti Grossi op.6 for the Swedish label BIS. This release, which attracted great attention from international specialist critics (BBC Music Magazine, Classic FM, Fono Forum, Alte Musik Aktuell, Tokkata, Diapason, Le Monde de la Musique, Orfeo, etc.), is the prelude to other projects, including Handel organ concertos, overtures by Telemann, and symphonies by C. P. E. Bach and Haydn.
Martin Gester teaches performance practice at the Conservatoire de Musique de Strasbourg and gives frequent masterclasses. Following his natural inclination for combining research, interpretation and pedagogy, he founded as a complement to Le Parlement de Musique the vocal studio Génération Baroque, a structure aiming to train young musicians, diffuse their performances, and ease their path into the profession. Its annual sessions are devoted to Baroque and Classical oratorio and opera (Haydn: L’Infedeltà delusa –‘Les Imbroglios de l’Amour: a journey through the operas of Mozart’ with the Académie d’Ambronay - Handel: Alcina at Suscinio Castle in the Morbihan département of France).
Martin Gester has been appointed Chevalier des Arts et Lettres by the French Minister of Culture for his direction of Le Parlement de Musique, and awarded the Order of Merit by the Polish Minister of Culture for his work with Arte dei Suonatori.