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From Handel to Klezmer
Guitarist, Artist, Argentine Tango Dancer Gregory Nisnevich began his music studies in St. Petersburg, Russia at the age of four. He studied with Vladimir Denisov, Yevgeniya Riabokon and Ilya Permiakov. He continued his education with Joseph Urshalmi at the Jerusalem Rubin Academy of Music in Israel, where he later became a faculty member. In 2001, Gregory became the first guitarist to receive a prestigious Artist Diploma from the Lamont School of Music at the University of Denver, Colorado, where he studied with Maestro Ricardo Iznaola. Gregory is a winner of the 1998 International Classical Guitar Competition in Portland, Oregon, a first place winner of the 1995 International Israeli Radio Competition and a first place winner of the 1992 Contemporary Music Competition in Israel. He is a winner of special grants from American-Israel Cultural Foundation, Chamber Music America, and a three-time winner of the grant from Colorado Council of the Arts. Gregory's repertoire as a soloist includes not only music by Israeli and Russian composers, but also an extended 'standard' repertoire of a performing guitarist that includes Baroque, classical, Spanish and 20th century music. This Russian-born musician interprets Russian, Spanish, South American and other world classical and folk melodies with an impeccable sense of style and affection, showing the lyrical beauty and color of the music. Gregory's unique artistic abilities and highly successful concerts and recitals earned him the honor of the first performance of works by famous contemporary composers Jan Freidlin, Emanuel Val, Daniel Akiva and others. In 2001, Gregory encountered passionate music of Argentine Tango and it has become a part of his repertoire not only as a musician, but as a dancer as well. It has opened for him a new, endless path of creative exploration. As a dancer, Gregory performs in tango shows and teaches group and private dance classes. Currently, Gregory maintains an active touring schedule, both as a soloist and as a chamber musician. He performs regularly with the Jerusalem Chamber Orchestra, Golden Strings Quartet in Israel and Europe, the Mercury Ensemble and Extasis Tango Orchestra, and Jupiter Tango Orchestra in the United States. Ilya Schwartz - Clarinetist Ilya was born in St. Petersburg, Russia. He studied clarinet at the Rimsky-Korsakov Conservatory. Ilya continued his studies at the Rubin Academy of Music and Dance in Israel under Ilan Schul. While finishing his studies at the academy, Ilya performed as a member of several chamber ensembles and won a number of musical competitions. He now lives in Israel and is the principal clarinetist for the Raanana Symphony Orchestra. 'From Handel to Klezmer' (2004) - duets for guitar (Gregory Nisnevich) and clarinet (Ilya Shwartz). This disc features music of Handel, Villa-Lobos, de Falla, Piazzolla & Pavolotsky, and it is a result of many years of partnership of these remarkable musicians. This recording features and contrasts the music of different styles and different programs performed by Gregory and Ilya over the years of their professional collaboration.- Shop: odax
- Price: 24.56 EUR excl. shipping
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Dancing Suite to Suite
Dancing Suite to Suite Dancing Suite to Suite is the fruition of the search for roots musical and genealogical. I first set foot on my ancestral land of Norway in July 1998. Landing in Oslo, I was greeted by my cousin Jens Moe who whisked me straight away to Telemark to meet the hardangerfele player Tarjei Romtveit at his bucolic home in Vijne where we fiddled for most of the afternoon. Lodgings were in a hytte with a sod roof by a rolling stream in Mjonoy where we resumed the fiddlefest the following day. I had been yearning for a hardangerfele lesson since my childhood, intrigued by the intricately inlaid Norwegian violin with five sympathetically vibrating strings underneath the bridge. Tarjei taught me his favorite tunes, which I preserved on DAT tape for future practice sessions. Jens and I searched for Noekken and other trolls during our midnight hikes in the rustic forest. After several days in Oslo, I made the pilgrimage to the family island near Kragero where I met more cousins, and slept in the same bed as my great uncle Tillman Breiseth had years ago while on vacation from teaching Ibsen at the University of Oslo. I gathered enough Nordic inspiration for the trek to Denmark where I was engaged to play several solo violin recitals at Klint, a community which gathers each summer to study the writings of the Danish cosmologist Martinus. I played the concerts at Klint for an enthusiastic audience. After the second concert, Ole Saxe invited me to jam with him on drums and piano on any evening after dinner, but I was far too interested in hiking along the coast of Nykoebing Sjaelland at midnight. So our musicmaking did not begin until I received the gift of the score Salsa for Karen in September 1998. The notes leapt off the page, demanding idiomatic interpretation. I learned the gem in a week and it quickly became a staple of my repertoire as an encore, or by adding Nigerian clay pot (udu) played by Ian Dogole during our duo recitals. I was elated to have such a dynamic piece in my arsenal. Following the suggestions of a friend, I requested an entire suite from Ole Saxe based on the model established by Johann Sebastian Bach: multinational dances related by key comprising an organic whole. Within several weeks Jig for Alan appeared as a gif file on my computer. Then followed the Ziga Dance, Rhumba de la Luna, Redhaired Tango, and finally the Flamenco Alojera, all composed by the end of March 2000. These dances reflect Ole's background in folk themes and rhythms and are vivacious and intoxicating to practice and perform. We finally premiered the Dance Suite in it's entirety in Palo Alto, California on December 8, 2000 at 8:45 pm, following a performance of Bach's D minor Partita. Ole was present for the premiere and the subsequent performance at Anna and Frank Pope's ballroom in San Francisco. We were further encouraged by a grant from the Community Foundation of Silicon Valley as well as Maestro Eric Kujawsky requesting Ole to orchestrate the Dance Suite for a performance with the Redwood Symphony in April 2002. On October 23 and 24, 2001 we recorded Dancing Suite to Suite at Skywalker Ranch. We added Odd Bakkerud's epic hardangerfele tune Fanitullen as a spice to this recording which celebrates the joy released by the chance encounters that led to this Swedish American collaboration. It is purported in Scandinavian mythology that a fiddler must spend time in the water to achieve excellence and inspiration. The cover photo represents a fiddler seated on a rock in a stream at the base of Mount Shasta, absorbing fluidity and virtuosity from Noekken the water spirit. Karen Bentley Dance Suite for Solo Violin, by Ole Pullar Saxe Salsa for Karen, dedicated to my special violin muse, is the origin of the whole suite. From a concert in Klint in Denmark, where Karen played part of the Sibelius Violin Concerto, as well as the Flight of the Bumblebee by Rimsky-Korsakov, came the idea to write a salsa, especially for Karen. I understood that it would be possible to catch both rhythm and spirit in the salsa music through her capacity, and felt a certain excitement building up inside. We never talked about this at the time, but later I suggested the idea by email, and received the reply 'Go for it!' From this point musical scores went to and fro between Sweden and San Francisco, and the suite came to life. The Afro-Cuban music is very much my musical identity. In our world music band Mondo Muziko we often play both salsa and Afro music for multicultural dancing. This is music for joy and togetherness that crosses borders and limitations, and offers a generous and warm experience of love. Salsa music moves your feet and hips and it was not until my 40-year crisis made me buy a drum set that I fully found this joy as a musician. Flamenco Alojera emanates from a strange recognition of the Spanish temperament and culture within me. Maybe the contrasts in the dramatic mountain view over the little village Alojera, on the Canarian island Gomera, is similar to the ups and downs of this music. So the music was formed after a holiday in the Gomeran mountains. Another association is from a period of my life where I lived in a flat in Stockholm, with an American blues singer Eric Bibb and his Spanish wife Magalida in the flat below, and a Spanish flamenco singer Rogelio in the flat above. So the music was all around, and the rhythm of the flamenco clapped and tapped through the floor with the heartbreaking improvisations of Rogelio's voice on top and Eric's below, shaping my dreams at night and growing seeds of hot passion and mellow blues into my cool Scandinavian blood. Often when I play some lyric Scandinavian folk music, I suddenly find the music changing into burning Spanish rhythms and scales. Where did this Spanish blood come from? Ziga dance is dedicated to my Bosnian friends Enes Ziga (folk musician) and his wife, Elsa Ziga (folk dancer). Enes has a beautiful voice and can sing mellow ballads from the Balkans all night. These folk songs are influenced by Arabic scales, and the 7-beat rhythm is common in this music. We have made several concerts together (one at the Siljan festival) where the audience would dance in a circle, the Swedes trying to get their hambo, and polska feet to catch up with the elegant Bosnian dancers. Sometimes beautiful belly dancers from Iraq would join the musicians on stage (very difficult for musicians to concentrate on playing though). The light theme is inspired by a Macedonian folksong. This fusion of international music and dance in the Leksand community has meant a lot for the integration of 150 Bosnian refugees in our little Swedish society during the period of war in Yugoslavia. Jig for Alan is dedicated to my father in law, half British, quarter Scottish and quarter Irish, with a deep interest in music. The Jig is inspired by a magical evening in Danish Skagen. Landing with our little sailing boat on a nice summer evening after sailing all day from Gothenborg, Sweden, we went to a music bar, Visekrogen, to see if some Danish folksingers were on stage. To our surprise it was an Irish evening, with an Irish singer and his band of banjo, violin and pennywhistles. Being the first long trip for Alan in a time of deep personal crisis due to serious illness in near family, this was like paradise. The jigs and reels moved faster and higher and the Danish beer moved down in the warm, family-like atmosphere. This was the climax of a wonderful sailing holiday between Sweden and Denmark that even musically took us way out west to the greens of Ireland. Redhaired Tango emanates from a childhood memory of a school dance in the huge school auditorium. I was eight years old, deeply in love with the redhaired girl in the class. Gathering courage, it took several hours before I dared go across the endless floor to ask her for a dance. She said 'Yes'. And guess what the band played? TANGO! My dance lessons had not reached beyond valse and ji- Shop: odax
- Price: 19.79 EUR excl. shipping
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Klaviertrios
Rimsky-Korsakov described Taneyev's best music as possessing 'a wealth of beauty and expressiveness', a verdict with which no one is likely to disagree after hearing the piano trio recorded here. Rimsky was (unjustly) disparaging towards his own, unfinished, trio, which emerges as a brooding, substantial work well worthy of revival.- Shop: odax
- Price: 15.27 EUR excl. shipping
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Rimsky-Korsakov: Sheherazade, Capriccio espagnol
No description.- Shop: odax
- Price: 13.39 EUR excl. shipping
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Romantic Novelties For Violin And Orchestra
Martyn Brabbins (Dir) // Hideko Udagawa has performed extensively throughout the world and captivates international audiences with her artistry and enthusiasm. As a protégée of Nathan Milstein, she has inherited the great Russian romantic tradition of violin playing, and brings it to the fore in this collection of works by Rimsky-Korsakov, Tchaikovsky, Glazunov, Gade and Ysaÿe.- Shop: odax
- Price: 16.29 EUR excl. shipping
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Delicias-Spanish Delights For Piano Duo
15 Piano-Duo Stücke v.Chabrier,Granados,Lecuona,Rodrigo,Chaminade,deFalla,Saint-Saens,Tarrega,Rimski-Korsakov- Shop: odax
- Price: 22.63 EUR excl. shipping
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Nicolai Gedda singt Arien und Lieder
Eine wertvolle Zusammenstellung von Liedern und Arien, die Gedda in den Jahren 1954 bis 1965aufgenommen hat. Hört man Gedda in so konzentrierter Form als Belcanto-Tenor, Mozart-Stilist,Schubert-Interpret, als Exponent des französischen Kunstliedes (Debussy, Poulenc) wie als genuinerGestalter des russischen Repertoires, kann man nur den Hut ziehen. Dass Gluck grundlegend andersklingt als Mozart, ein tenoraler Reißer wie die "Brüder, im Sturm"-Arie aus Glinkas Ein Leben fürden Zaren eine andere Stimme erfordert als das Liedrepertoire von Rimski-Korsakov, dass DebussysBeau soir dem Sänger andere Farben abverlangt als Schuberts Nacht und Träume - das alles gilt alsselbstverständlich. Doch wann hat man solche Differenzierung so selbstverständlich bei ein unddemselben Sänger gehört? Gedda setzte im Laufe seiner Karriere weltweit Maßstäbe, und zwar in allenSparten und Sprachen.- Shop: odax
- Price: 6.31 EUR excl. shipping
