IMMERSEEL, JOS VAN - piano
EGMOND, MAX VAN - baritone

G. Faur La Bonne Chanson La chanson du pcheur, op.4 no. 1 (Thophile Gautier); Au bord de leau, op.8 no. 1 (Sully Prudhomme); Les berceaux, op.23 no. 1 (Sully Prudhomme); Nocturne, op.43 no. 2 (Villiers de lIsle Adam); De Venise, op.58 (Paul Verlaine); Mirages, op.113 (Baronne A. de Brimont); La bonne chanson, op.61 (Paul Verlaine)

Jos van Immerseel, the well-known harpsichordist and pianist, is appreciated all over the world for his authentic interpretations based on a balanced combination of technique, improvisational talent, and theoretical background. Over sixty recordings give evidence of the importance of primary source investigation in the shaping of a performance. For Jos van Immerseel, terms like rhetoric and stylistic approach are no longer sterile words. On the contrary, he has an unmatched ability to demonstrate that these elements, combined with pronounced and original musicality, can lead repeatedly to ground-breaking, unique interpretations. In 1985, after having conducted numerous ad hoc and guest ensembles for many years, Jos van Immerseel founded a permanent ensemble which was better suited to the realisation of his musical ideas and the results of his research; at the same time it was an experimental medium for the testing of his theories in practice: Anima Eterna. Nine years later, the orchestra has recorded 15 CDs including an unsurpassed complete recording of Mozarts piano concerti. Meanwhile van Immerseel made solo recordings of Haydns Seven Last Words on his Cristopher Clarke fortepiano and Debussys preludes and images on his Piano Erard 1897, the instrument he used for this recording as well.

The Netherlands baritone Max van Egmond was born in 1936. He studied with Tine van Willigen and Dr. Anthon van der Horst. He made his solo debut in 1959. Soon afterwards he won prizes at international competitions in s-Hertogenbosch, Brussels, and Munich. Together with Gustav Leonhardt and Nikolaus Harnoncourt he participated in a project to record the complete vocal works of J.S. Bach. Over the years, Max van Egmond also became an expressive interpreter of the art song: Haydn, Beethoven, Schubert, Ravel,Faure, Britten, and Voormolen. Van Egmonds career brought him from Europe to North and South America, the Near East, China, and Japan. In recent years he has been in increasing demand as a guest instructor and speaker at symposia.

(...) De Erard vleugel uit 1897, waar Van Immerrseel op speelt, biedt de diepte en helderheid voor de uitdrukking van de emoties, terwijl de stem er nuchter een hoogontwikkeld soort spechtegesang aan toevoegt. Trouw, November 1995
(...) lintonation reste trs sre et le timbre conserve beaucoup de charme. (...) (...) Linstrument est historique (...) (...) Il apporte ici la voix un prcieux supplment de couleur.(...) Rpertoire, January 1996
Bon enregistrement, transparent et homogne. Diapason, March 1996
(...) een van de mooiste Faur-recitals die ik de laatste jaren op cd heb gehoord. (...) (...) een opname die zo helder is, waarin elk woord perfect verstaanbaart is en waarin de piano prachtig klinkt (...) Audio Techniek, May 1996