Isang Enders has come far. At only twenty, he was appointed the Dresden Staatskapelle's cello section leader – a post that had stood vacant for over a decade. This marked him out as a truly great musician, and after several instructive years of orchestral work the young cellist sensed that the time had come for him to take his leave, if he was to mature as an artist.
The present debut album is one of the first fruits of that process of self-development, on a very personal level: named for the composer Isang Yun by his German-Korean parents, he wished the sources of his musical upbringing to contribute to this recording. The bridge that Enders builds for the listener is his lyricism. The cello seems the ideal instrument for the purpose, bringing together European and Asiatic sound worlds – Robert Schumann and Isang Yun – in cognate and universally comprehensible human utterances.
Andreas Hering is Enders's sensitive partner at the keyboard, an artist who can slip flexibly into the role of chamber music partner or song accompanist, to allow the cello's arches of melody the space they need. It comes as no surprise that this complete account of the works for cello and piano by the two composers also offers the first recorded performances of arrangements. Such has been the making of a poetic album full of fascinating cross-references and new discoveries.