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Konstantin Manaev (*1983 Yekaterinburg/Russia) received his first cello lesson by Vadim Klischin at the age of seven. He studied at the Special School of the Moscow Conservatory with Kirill Rodin, later with Wolfgang Emanuel Schmidt at the Academy of Music Münster and the Academy of Music Dresden. Since 2007 he has studied with Ivan Monighetti at the University of Music Basel. He attended master classes of Daniil Shafranity, David Geringas, Frans Helmerson, Natalia Gutman, and Siegfried Palm. As a soloist and chamber musician, Konstantin Manaev received international awards like e.g. the 1. prize of the Concorsi Int. di Musica Val Tidone/Italy and the 1. prize at the 12. Young Concert Artists European Auditions in Leipzig. With the 2. prize he was rewarded at the Concorso Int. dei Duchi d’Acquaviva in Atri/Italy, the 6. ADAM Int. Cello Competition in Christ Church/New Zealand, the Int. Charles Hennen chamber music competition in Heerlen/Netherlands and the Int. Swedish Duo Competition in Katrineholm/Sweden. In 2002 he won the Young Artist Award of the GWK in Münster/Westphalia together with Katherina Titova on piano. He was also given a scholarshipof the Werner Richard - Dr. Carl Dörken-Foundation, Herdecke and the Vladimir-Spivakov-Foundation Moscow. Konstantin Manaev performs all over Europe, Japan, the USA and is invited torenowned festivals like the Festspiele Mecklenburg-Vorpommern, the Schleswig-Holstein Musik Festival or the Viana do
Castelo Int. Music Festival.

Alexander Matrosov (*1979 Tschimkent/Kazakhstan) was the youngest student of Oleg Scharov at the Special School for Gifted Children Rimsky-Korsakov in St. Petersburg in 1989, where he proceeded with his education until 2002. The next year he moved to Germany and started his studies with Mie Miki at the Acamedy of Music Detmold, Dept. Dortmund, then leaving with her for the Folkwang Academy in Essen. Between 1990 and 2005 Alexander Matrosov received twenty renowned awards
like e.g. the Young Artist Award of the GWK in Münster/Westphalia in 2005 as well as the Grand Prix of the 4. IAA Int. Accordion Competition in Tokyo and the 1. prize of the Federal Competition of German Music Academies in Hamburg. In Essen he was awarded the Folkwang Prize and in Amsterdam the Prize of the Int. Gaudeamus Interpreters Competi-tion. He was scholar of Yehudi Menuhin "Live Music Now" as well as of the Kölnische Rückversicherungs-Gesellschaft GenRe. As a member of the Folkwang Accordion Trio, he was given the special grant of the Werner Richard - Dr. Carl Dörken Foundation, Herdecke. Alexander Matrosov was decorated with the Honorary Award of the Ministerpräsident of the state of Baden-Württemberg in 2003 and won the 1. prize of the Gitta di Lanciano in Italy and at the Int. Accordion Competition in St. Petersburg. Three years before he had won the Grand Prix France in Geneve, in 1998 the 31. Int. Accordion Competition in Paris, and in 1992 the Russian Accordion Competition in St. Petersburg.
Debut CD by ClassicClips (CLCL 101).

Franghiz Ali-Zadeh (*1947 Baku/Azerbaijan) received her piano and composition education at the Conservatory of Baku and finished a post graduate class under Kara Karajew in 1976. Afterwards, she taught at the conservatory of her hometown and, from 1990 on, she worked as professor for contemporary music and the history of orchestra styles. From 1993 to 1996 she led the choir of the Mersin Opera in Turkey followed by a teaching engagement for piano and musical theory at the Mersin conservatory for two years. With her "Piano Sonata in Memoriam Alban Berg" (1970) the composer introduced herself to the western countries at the music festival of Pesaro in 1976. After this performance her music was played at many famous festivals, in portrait concerts, on the radio and on CD productions in the USA and all over Europe, Australia, Israel, and Turkey. In 1999 Franghiz Ali-Zadeh became the first female "Composer in residence" at the Internationale Musikfestwochen IMF Lucerne. On behalf of the Calouste Gulbenkian Foundation Franghiz Ali-Zadeh developed a concert for violoncello and orchestra, which was premiered in Lisbon by Ivan Monighetti (violoncello) and the Gulbenkian Orchestra under Muhai Tang in June 2002. In the same year the twelve cellists of the Berlin Philharmonic started their 30. anniversary by a big cello festival in the Berlin Philharmonic, for which Franghiz Ali-Zadeh was engaged to write the composition „Schüschtar" (meta-morphoses for 12 violoncellos). In March 2003 Alexander Ivashkin played the British premiere of „Ask havasi", a piece for violoncello solo in the Royal Festival Hall in London. On the occasion of the reopening of the concert hall of Baku in January 2004, Mstislav Rostropovich conducted "Hommage", an orchestral work especially composed for this event. The Philharmonic Orchestra Baku performed. In the context of the Concours de Violoncelle Rostropovitch 2005 in Paris „Oyan!" premiered, a piece for violoncello originally composed for this competition. With this recording by Konstantin Manaev the whole present chamber music oeuvre for violoncello solo and duo of Franghiz Ali-Zadeh is presented on CD.
For Franghiz Ali-Zadeh’s vita
see also: www.sikorski.de

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ORDER	VIDEO
"OYAN" Ali-Zadeh: Chamber Music for Cello Konstantin Manaev Violoncello Franghiz Ali-Zadeh Piano Alexander Matrosov Accordion CLCL 109
FRANGHIZ ALI-ZADEH (*1947)
Counteractions (Yanar Dag) for violoncello and accordion*	11:25
Oyan! for violoncello solo*	10:27
Ask hayasi for violoncello solo	8:57
Habil-sajahy for violoncello and piano	17:08
total 48:29
* First recording
"Counteractions" (Yanar Dag) for Violoncello and Accordion/Bayan (2002/03) In Azerbaijan places can be found where the soil is burning. Here, where so much oil lies deep under ground, the gas elevates to the surface and catches fire. So the legend of Yanar Dag, the "burning mountain", exists. They say that the fire leaving the mountain (accordion) comes from a young man who is very much in love (violoncello). The monumental spatial sound of the accordion like the grumbling of the earth confront the excited "human" voice of the cello. Both are in eternal antagonism because there is no power to overcome the grief as well as there is no power to extinguish the flame of love. Franghiz Ali-Zadeh, September 8th, 2002 "Oyan!" for Violoncello Solo (2005) In Azerbaijan "Oyan!" literally means "Wake up!". But by this word much more is said: "Come to yourself! Take courage! Oppose!" - on a new day, for good deeds, for a heroic deed. The meaning is depending on intonation as well as on context. Also in my work for violoncello solo, the player has many possibilities for free interpretation. He may play the sections of "Oyan!" with percussive effects in order to underline the tension and the offensive momentum - or he can just leave them out. Another choice exists in the dolcissimo section (bars 86 - 93), where two versions (ossia) are available. In addition to that, the interpreter should perform the flageolet sections completely arbitrary, e.g. in the bars 176 -178 he can choose to play either fourth or quint flageolets. Fast rhythmic and metric changes, numerous accelerandi and ritardandi add to a relative freedom and flexibility in the realization of the indicated tempi, too. Thus, based on the title of the piece, every cellist is able to present his style. Fantasy and courage are very welcome within the interpretation. Franghiz Ali-Zadeh, 2005 "Ask havasi" for Violoncello Solo (1998) The composition „Ask havasi" for violoncell solo is a gift to the cellist Ivan Monighetti by Franghiz Ali-Zadeh on the occason of his 50th birthday. This work is her very personal expression of adoration and gratitude for a friendship and successful artistic co-operation that is lasting now many decades. On November 26th, 1998 Monighetti premiered "Ask havasi" at the Tallinn Festival in Estonia. The title is mysterious and can hardly be translated. The Turkish word „ask" means love, in the broadest sense of the word. „Hava", or in plural „havasi", contains a whole variety of meanings like: air, mood (mentally and musically), emotion, impression, melody, mode (Mugam or Maqam), meter, dance ... „Ask havasi" tells a love story. But the recognition of details is not to be expected: the folkloric narration,illustrated by Persian miniatures, "Leyla and Megnun" ("Leyla ile Mecnun") by Mehmet Fuzulî (also: Muhammed Fizumi, 1494 -1555/6) inspired Franghiz Ali-Zadeh in writing this piece. The story deals with the encounter of two young people who do not know each other. They fall in love on first sight. In the first days of spring, the gardens blossom and scent, Leyla promenades with her girlfriends. And Qays goes hunting. Both feel that this day would bring something very unusual. Both talk, still apart, about the beauty of nature. Unsuspectingly, they approach each other. When their praise of nature reaches the climax, they recognize each other and, immediately, faint, „megnun", senseless and crazy for love. "Nobody has ever written anything better about love", says the composer in a letter to Ivan Monighetti. "In our torn and cynical time the most important thing of manhood is lost: the pureness and dew of feelings. Therefore, I would like to remind you of Leyla and Qays."

"Ask havasi", virtually, is an endless melody which is sung out of love. The performer sings like a man in love - on his instrument and with his voice. He does not only show all his virtuosity but he inserts all his emotions, everything he has to say with his heart, in the "story". He could go on telling, on and on, could dance, he would like to sigh and moan. Directions like "with a resonant, beautiful tone", "amoroso", "dolcissimo", "grazioso", "agitato", "cantabile", "leggiero" display the character of the composition. Intensely striving melodies, oscillating figures and twinkle-toedly downhill bouncing short motifs alternate, gradually enhance their impact and change into two voices just before the climax which mounts up in waves. The meter is free throughout. Like a Mugam-interpreter, who improvises differently depending on the mood and grade of ecstasy, the cellist may decide on certain points how often he wants to repeat the motif, how long he wants to "savour" a passage. But even "Ask havasi" has to end. The composition fades in a relaxed way, detached and jaded - "like a breeze".
Ulrike Patow and Thomas Meyer

"Habil-sajahy" for Violoncello
and Prepared Piano (1979)
The work "In the Style of Habil" was developed at Ivan Monighetti’s suggestion, whom it is dedicated to and who premiered it in the small hall of the St. Petersburg Philharmonic together with Franghiz Ali-Zadeh on the piano in 1979. 1990 Juri Gabai wrote about this premiere in the Soviet magazine "Music in the USSR": "The audience in the crowded hall was anxious to witness the appearance of the famous cellist Ivan Monighetti, who was announced to play Webern, Cage and Sofia Gubaidulina. But to the surprise of all the piece ‘Habil-sajahy’ by Franghiz Ali-Zadeh became the highlight of the program, brilliantly interpreted by Monighetti. [...] The music casts a spell on the audience from the very beginning. The logic of its development was extraordinary and hinted, although cello and piano performed in the techniques of the so-called avantgarde, at a completely different direction. A rare harmony was characteristic of the development - starting at the non-existing (or existing) cello part to the ecstatic culmination where many more than two musicians seemed to take part. [...] It is difficult to judge the composition and the performance separately. Both had a very strong, magical impact on the audience who listened to the concert with bated breath." At the Warsaw Autumn Festival 1983 "Habil-sajahy" was declared the best work for violoncello of the decade. "Habil-sajahy" is a one-movement composition, inspired by the art of Habil Alijew, a master virtuoso on the Kemanche, the spiked fiddle, who is highly adored in Azerbaijan. The piece enfolds itself by stages. Their tonal development is very much influenced by the traditions of the Mugam art in Azerbaijan, the professional music of oral tradition. The seemingly free, improvising form originates in the usual sequence of narrative sections (rhapsody, recitative) and dance interludes in the Mugam performance. The melody paradigm, which the composition is mostly based on, relies on the 4. capital mode "Tschargjach", which bears a passionate excited atmosphere within the Mugam tradition. The European instruments violoncello and piano in "Habil-sajahy" imitate by different means the tone colours of the national instruments. The cello takes the part of the Kemanche. By plucking the strings with and without the plectrum the piano sounds like the long necked lute Tar or the short-necked lute Ud, by tremolo or bowing over the strings with a rubber stick it sounds like the Daf, a kind of tambourine, or like the small fictile timbal pair Gosch-nagara by knocking on the piano lid.
Ulrike Patow