Alleingang (Going it Alone), Markus Becker’s second solo album is released by BERTHOLD records on October 29th 2021. In his own inimitable style, the renowned concert pianist has created a jazz and classical music mosaic. In his first solo album Freistil (Free Style) he developed structures out of largely spontaneous improvisations. “In Alleingang,” explains Becker “I most often thought out structures and themes first, and then created the music live in the Sendesaal, Radio Bremen’s concert hall, where as always they did such a great job. That suits my own ‘Alleinstellungsmerkmal’ which is a lovely German word for ‘unique selling point’.”

Charles-Marie Widor was born in Lyon to a family of organ builders and consequently became an organist of great skill and an assistant to Camille Saint-Saëns at La Madeleine in Paris at the age of twenty-four.

Though barely remembered now, both Salomon Jadassohn and Felix Draeseke were major figures in German musical life in the second half of the 19th century. Both began their studies at the conservative Leipzig Conservatory but after independently encountering Liszt and his work at Weimar in the 1850s both became disciples of that composer and the New German School he established. Jadassohn subsequently returned to Leipzig where he composed and had a long and distinguished teaching career, his pupils including Delius, Grieg and Busoni, while Draeseke finally ended up in Dresden teaching at the Conservatory there.

Indeed: solitude, or, more exactly, isolation, is what marked Haydn’s biography the most. Composing at the Esterházy court, he lived far from Vienna, without having to bother with the distractions of socializing among the upper set in the Imperial city. Haydn could remain at one with himself and his music, as he famously stated himself: “No one near could confuse me, so I was forced to become original.” Perhaps his situation in those surroundings allowed him the inner freedom to write a sort of music that seems to remain at one with itself. Of course this music is also “asking” to be awoken into sound, to be heard by others. Yet in another way, in a spectacularly unspectacular manner, it seems to be thoroughly introspective, listening to itself.