Stéphanie Moraly débute le violon à l’âge de 6 ans et fait montre d’un talent précoce. Élève de Suzanne Gessner au CRR de Paris, elle remporte son premier concours à 10 ans et, à 11, donne son premier récital, obtient le Premier Prix du Concours Jeunes Prodiges Mozart et se produit en soliste aux Théâtres des Champs-Elysées et du Châtelet à Paris, ainsi qu’à Prague. A 16 ans, elle entre au Conservatoire de Paris dans la classe de Sylvie Gazeau, en sort avec un Premier Prix à 19, et part ensuite se perfectionner avec Michèle Auclair au New England Conservatory de Boston.
Italian group L'Albero del Veleno (The Poison Tree) released a well-received debut back in 2013 entitled `Le Radici del Male' (`The Roots of Evil'), a cinematic horror-influenced work of gloomy Goblin-styled pieces. It was a superb first effort from a talented bunch of young musicians, but now it almost seems like a mere practice run for what they've delivered here four years later! 2017's `Tale of a Dark Fate' is a fully instrumental rock opera told in two acts, conveying the stories of Hypnos and Thanatos, two siblings of ancient Greek mythology that reside in the underworld, and it holds all the moodiness and mystery of that legendary above-mentioned horror soundtrack group, but L'Albero del Veleno go much further…
Schubert’s two Piano Trios are amongst his greatest works, contrasted both within themselves and between each other although written within weeks of each other. The B flat has a superficially contented character at the start, but even here clouds seem to come across the sky at increasingly frequent intervals. The E flat is a more obviously dramatic work throughout, and the curiously ambiguous march of the slow movement is surely some of the most inspired music Schubert ever wrote.
These readings of Fauré's two late piano quintets by the Schubert Ensemble of London are paradoxical. The group's performances are strong-willed and purposeful in the outer movements, particularly in the C minor Quintet's ever accelerating Finale, yet soft-focused and sensuous in the central slow movements, especially the D minor Quintet's deeply dolorous Adagio. The tone changes from robustly incisive to sweetly sonorous, the ensemble from vigorously muscular to smoothly refined, and the rhythms from sharply accented to softly undulating.