48 Results for : virtuosos

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    I Dont Want to Love
    Audiences love Artek concerts for their compelling musical settings of beautiful poetry and in- fectious dance rhythms that infuse the performances with vitality and spirit. Founded by director Gwendolyn Toth in 1986, Artek's singers and instrumentalists are all recognized virtuosos with a love for music of the early baroque that is Artek's signature repertoire. Artek has toured exten- sively to American and European festivals and worldwide with the Mark Morris Dance Group, and has mounted staged performances of early baroque operas and it's own musical theater show, I'll Never See the Starts Again (set to music of Monteverdi) in New York City and the Edinburgh Fringe Festival in 2005. In 2010, Artek celebrated it's 25th anniversary season with gala performances of Monteverdi's Vespers of 1610 in New York City and the National Gallery in Washington, DC, and made it's Lincoln Center debut. Artek's previous recordings include Monteverdi's opera, Orfeo, Monteverdi madrigals as heard with the Mark Morris Dance Group, I Don't Want to Love, and early Italian songs and arias with countertenor Drew Minter in Loveletters from Italy. Director Gwendolyn Toth is recognized as one of America's leading early music artists, perform- ing with equal ease on the harpsichord, organ, and fortepiano. She has recorded Renaissance and baroque organ music on historical organs in Holland, and Bach's Goldberg Variations on the lautenwerk. Opera News honored Ms. Toth as an "Outstanding Young Conductor" in 1989, and in 2001, she received the "Newell Jenkins Prize" for excellence in early music performance.
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    Lo Mejor de Javier Echecopar Mongilardi
    Javier Echecopar Mongilardi Inició sus estudios musicales a los 7 años, con profesores privados y en el Conservatorio Nacional de Música del Perú. Al término de los mismos, fue becado por la UNESCO para proseguir su formación en la Ecole Normale de Musique de Paris. Posteriormente obtuvo una beca del Consejo Británico para realizar estudios especializados en el Guildhall School of Music de Londres. Ha ejercido la docencia en conservatorios del Perú, Latinoamérica y Europa. Desde sus inicios, ha obtenido el reconocimiento del público y de la crítica en el Perú y en el extranjero, por sus dotes interpretativas como concertista y también como compositor. Ha efectuado durante años un valioso y profundo trabajo de investigación sobre la música peruana, centrado en dos grandes vertientes: el periodo barroco colonial y la tradición popular. Esta tarea lo ha llevado a recorrer el Perú para investigar y preservar el repertorio y la técnica de la música tradicional. Igualmente, ha realizado numerosas investigaciones en catedrales, conventos, museos y archivos tanto nacionales como extranjeros. Asimismo, ha grabado 14 discos, cinco DVD y producido varios libros de partituras de música barroca, de música tradicional y de sus propias composiciones, parte importante de ellas publicadas en Europa. Ha recibido diferentes distinciones nacionales e internacionales, merced a su actividad como intérprete, compositor e investigador. Su obra ha sido declarada de interés cultural para la nación por el Ministerio de Educación del Perú. Anualmente realiza giras internacionales de conciertos y es invitado como jurado en diferentes conservatorios europeos. Ha dirigido orquestas de cámara en Lima y París y sus presentaciones lo han llevado a los más importantes auditorios e instituciones del mundo. Fundó y dirigió la Escuela de Música de la Universidad Católica del Perú y fue nombrado corresponsal ante la UNESCO-París para el Programa Artistas Transfronteras, asimismo tuvo a su cargo la agregaduría cultural del Perú en Madrid, España. Es miembro activo de varias entidades nacionales e internacionales dedicadas a la educación y la cultura, así como a la investigación y difusión del repertorio musical peruano y latinoamericano. COMENTARIOS "Artista extremadamente dotado y sin duda alguna destinado a realizar una brillante carrera". Pierre-Petit, Primer Grand-Prix de Roma. Director de L'Ecole Normale de Musique de París. París, 1978. 'La inteligencia artística de Javier Echecopar, la sobria elocuencia de su talento convencen plenamente'. Bruno Montanaro, revista "Les Cahiers de la Guitare". París, 1987. "Gracias a su profundo conocimiento de nuestra música tradicional, Javier Echecopar, brillante guitarrista, encarna el nuevo espíritu de la música peruana". Edgar Valcárcel, Compositor peruano, Ex Director del Conservatorio Nacional del Perú. Lima, 1992. "Sus interpretaciones tienen algo de sublime y de profundo, ¿debemos decir metafísico?". Revista Le Monde de la Musique, París, 1995. 'Javier Echecopar destaca por sus grandes dotes interpretativas, ya que es un guitarrista de experiencia y gran poder de comunicación. Efectuó unas filigranas con su instrumento que resultaron sorprendentes". Diario "El Mercurio', Santiago de Chile, 1993 "Lo que hace Javier es música vital, el placer de escucharlo no es solo intelectual, es sobre todo para los sentidos". Revista "Guitare & Laute", Colonia, 1994. "Javier Echecopar es uno de los guitarristas peruanos más grandes de todos los tiempos. Dotado de una delicada sensibilidad, balanceada admirablemente por una disciplinada sobriedad y un desusado rigor como ejecutante. Cada interpretación es una joya, donde el virtuosismo técnico está al servicio de una ejecución que cuida hasta los más pequeños matices". "Para calificar el arte de Javier Echecopar se me ocurre un adjetivo habitualmente poco usado: honestidad". Nelson Manrique, Historiador. Diario "El Peruano" Lima, 1996. "El investigador, compositor y guitarrista peruano Javier Echecopar nos ofrece todo un panorama del repertorio barroco para guitarra de su país. Con la alquimia de su maravillosa interpretación nos transporta al corazón de la vida colonial de la Lima del siglo XVIII. Es un excelente trabajo que podría ser comparado a las novelas de Alejo Carpentier... nos hacen voyager dans le temps". Francisco González, revista "Les Cahiers de la Guitare" París, 1996. "Echecopar fue el más aplaudido en el Quinto Festival de Quito (Ecuador). Cualquier comentario sobre la calidad interpretativa de un músico de estas condiciones estaría demás. Javier Echecopar, sin duda alguna marcó el punto más alto del Festival". Diario "El Comercio", Quito, 1998. "Una tradición verdadera es una fuerza viviente que anima e informa el presente, escribe Igor Stravinsky: Javier Echecopar es uno de los músicos de nuestro país más conscientes de esta verdad". Ha cimentado de manera clara y eficaz su lenguaje musical, contribuyendo con verdad a una formación todavía no muy clara de nuestra identidad nacional". 'Las interpretaciones de Javier Echecopar alcanzan una calidad musical extraordinaria'. 'Las transcripciones realizadas por Javier Echecopar constituyen el más valioso y sustantivo aporte de los últimos cien años, incluso en el contexto de los países de Latinoamérica". Celso Garrido Lecca, Compositor peruano y Ex Director del Conservatorio Nacional del Perú. Lima, 1999. "La calidad musical y artística de Javier Echecopar le han permitido recorrer las salas más importantes de las capitales del mundo. Su competencia profesional abarca tanto la musicología como la interpretación y la composición. Javier Pérez de Cuéllar, Ex Embajador del Perú en Francia, Ex-Secretario General de la ONU. París, 2002. "Los dedos de Javier Echecopar se deslizan veloces y virtuosos sobre las cuerdas que parecen ser más de las que son, así como los sonidos que son irrepetibles, lentos o fugaces, alegres o desgarrados, cayendo como gotas de cristal o sonando como tambores". Maki Miró Quesada, Diario "El Comercio", Lima, 2002. "El concierto Entre lo Barroco y lo Andino fue extraordinario y es absolutamente necesario que se conozca en muchos lugares del país". Raúl Vargas, "Radio Programas del Perú", Lima, 2007. "Un concierto precioso, un compendio de música, historia y color. Hermosas sus composiciones e interpretaciones con el Cuarteto de cuerdas latinoamericano y espectaculares las canciones en las que actuó con Mariela Kohn y Magali Revollar. Ha sido un privilegio tenerle entre nosotros en Madrid". Cecilia Rodrigo, fundadora de las Ediciones Joaquín Rodrigo, hija del compositor español. Madrid, 2011.
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    Violin Concerto
    One of the most widely performed works in the violinist's oeuvre, Tchaikovsky's Violin Concerto has been the subject of many a release over the years. Here, rather refreshingly, it is joined by a host of other orchestral works written for the instrument: the quiet Sérénade mélancolique, created for the esteemed Hungarian violinist Leopold Auer and composed soon after the Piano Concerto No.1 in B minor, the Valse-scherzo, a charming divertissement with a gypsy flavour and strong rhythmic pulse -- not to be confused with the much more famous version for solo piano, and finally Souvenir d'un lieu cher, whose middle movement was originally intended as the slow movement of the Concerto and which was later re-orchestrated by Glazunov out of the lesser known version for violin and piano.Interpreting these works is internationally renowned Ilya Grubert, winner of the Tchaikovsky Competition back in 1978 and described as 'a musician of exceptional talent, a violinist in the tradition of the great Russian virtuosos, possessed of a clear unwavering tone and an extraordinary technique.' (New York Times). He is supported by an all-Russian cast: the Moscow Philharmonic Orchestra directed by Vassily Sinaisky -- now Conductor in Residence at the Bolshoi Theatre.Other information:- Recorded in Moscow, 1997.- This CD presents one of the most popular and widely performed concertos, the Tchaikovsky Violin Concerto, logically coupled with the composer's other works for violin and orchestra, thus showing the two faces of the Russian master: the large scale, dramatic concerto form and the smaller scale genre pieces (Valse Scherzo, Souvenir d'un lieu cher), mildly melancholic and melodious, breathing the atmosphere of Russian aristocratic salons.- Excellent performance by Ilya Grubert, prize winner of the 1978 Tchaikovsky Competition, supported by the all Russian forces of the Moscow Philharmonic under Vassily Sinaisky.- Contains notes on the composer and the music.
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    Tales of a Summer Past
    'An astonishing accomplishment.' 'This recording occupies a very special niche in the musical world.' Richard Condon - Green Man Review "An album of charming pieces.' 'I urge people to buy the CD" Robert Hugill - Music and Vision "A CD for classical music buffs with an adventurous spirit to savor again and again.' ' Tales of a Summer Past is a fascinating musical journey!' Kathy Parsons - Solo Piano Publications 'Tales of a Summer Past will likely reward you with many pleasant hours of listening enjoyment.' Bill Binkelman - Wind and Wire 'One knows that Tales of a Summer Past will certainly not be the last we hear of this dynamic composer." Michael Woodhead - LuxAeterna, 'This music is truly divine. Nick's style combines the timeless feel of the classical composers with a slight hint of New Age. I have added this CD to my list of all-time favorites! ' Ann Albers -Vision of Heaven Although he is now known as a composer of music that is very much classical in style, he certainly did not start his musical career in that vein. A self taught musician, Nick forged a reputation in the mid eighties as a skilled songwriter and a gifted pop keyboardist & vocalist. Inspired by the likes of the English keyboard virtuosos and singer songwriters Howard Jones, Thomas Dolby and Nik Kershaw, Nick released his first two solo albums in 1985. 'Make it Happen' reached number one on the West Australian Independent Charts and the follow up album 'Deja Vu' made it to number three. In 1986 Nick formed an original band called 'De Vie' who recorded an album of Nick's songs entitled 'Spice of Life'. Despite their potential, De Vie was short lived. The following year Nick withdrew from the music scene to focus on other interests after recording 'Dress to Impress', his third solo album. It was not until 1992 that he re-emerged with 'A Chance to Dream', an album he produced and engineered in his own studio. The production values of the recording, the quality of musicianship and the strength of song writing earned praise. In late 1992 Nick moved to Melbourne where he continued to hone his skills as a songwriter. He wrote commercial jingles and recorded with a number of local musicians. Nick returned home in 1996 with the desire to expand his musical horizons. Inspired by the World Music phenomenon, Nick set about recording 'Tears of the Moon' which was released in May 1997. The instrumental album received generous reviews and represented a significant departure from his previous writing styles. Once again Nick took time out from music composition and recording to pursue other interests including acting and singing. It would be a further 6 years before he would even play a keyboard again! Yearning to get back into writing music, Nick wrote and recorded 'Eclipse' in 2003. Nick produced an album that was an eclectic fusion of New Age, contemporary classical, Celtic and even jazz styles. Eclipse was Nick's attempt to step out of his comfort zone and take his writing to the next level. Despite favourable reviews, Eclipse failed to sit comfortably in any one genre and as adventurous as it was, it did not strike the same chord with listeners as Tears of the Moon. Eclipse was, however, a very important step in his musical development and he learnt a lot from the experience. In March 2004 Nick set about writing material for 'Tales of a Summer Past'. Released in February 2005, it is an album that is firmly in the realm of New Age classical/crossover classical music. Using only orchestral sounds he aimed to re-captured the energy of Tears of the Moon yet produced an album that explored the neo-classical far more deftly than did Eclipse. The reviews he received were extremely positive. Not one to sit still for too long, Nick was driven to produce yet another album and commenced writing material for 'Candescence' in July 2005. It was released mid 2006. His rapid development as a composer is evident with the critiques he has received. As for the future, Nick is undecided about whether he will compose again. He is enjoying a well earned break after a prolific few years.
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    The Jupiter Project
    Caroline Balding (Violine) - Andrew Skidmore (Cello) // As Mozart's reputation grew in the nineteenth century, three great virtuosos of the pianoforte recomposed his overtures, symphonies and concertos, adding many more notes to suit a more flamboyant style of playing on a much larger instrument. But instead of a full orchestra, Clementi, Cramer and Hummel wrote for a quartet of piano, violin, flute and cello.
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    Organ Music
    Guandalino, Carlo - Sonate Nr. 2 G-moll Op. 421. Maestoso - Piu Moto - Maestoso2. Adagio3. Introduction: Allegro Assai - FugeGuandalino, Carlo - Schmuecke Dich, O Liebe SeeleGuandalino, Carlo - Sonate Nr. 6 E-moll Op. 1371. Aus Tiefer Not Schrei Ich Zu Dir: Grave - Moder2. Adagio Molto - Piu Moto - Tempo 13. Introduction: Allegro Risoluto - Andante - A Te4. Poco ModeratoGuandalino, Carlo - Nun Sich Der Tag (ChoralvorspiHere's a name to conjure with. In fact there have been a few recordings of the nine organ sonatas by Gustav Merkel (1827-1885), though most of them are presently deleted, this new recording offers an excellent opportunity to become familiar with one of the organ virtuosos of his time and place, which is to say 19th-century Germany, more specifically Dresden, where he became organist of the Kreuzkirche and professor of organ at the city's conservatoire for the last quarter-century of his life. Gustav Adolf Merkel (1827-1885) was a German Romantic composer,mainly for his own instrument, the organ. He completed his studies inDresden, where he staid till his death as organist and teacher. He also hadlessons with Robert Schumann in Leipzig.Merkel's style is strongly influenced by Baroque counterpoint, notably byJohann Sebastian Bach, which he incorporated in the romantic idiom ofhis time, with its warm harmonies and long melodic lines.On this new recording we hear two of his Organ Sonatas, large-scale 4-movement works, of which the number 6, "Choral-Sonata" is the mostfamous.Italian organist Carlo Guandalino plays the magnificent organ of theCathedral of Thiene (Vicenza, Italy), restored by the famous organ builderZanin, the specifications of which are included in the booklet.Guandalino's affinity with the German Romantic repertoire was alreadyapparent in his recording of organ music by Rheinberger (BC95466).
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    The Great Piano Works
    Franz Liszt is universally celebrated as one of the greatest-ever virtuoso performers on the modern piano. Contemporary accounts describe his seemingly superhuman technical abilities and equally striking charisma and stage presence. Yet Liszt was a formidable composer, and his expansion of pianistic possibilities was achieved as much through innovation in his own great piano works as through his astonishing performance on the instrument, if not more. Like many child virtuosos thrust early into busy concert careers (Liszt's began at the age of nine) he retired early, weary of the spotlight, turning his back on the stage at the remarkably early age of 35. Since he lived to the likewise remarkable old age of 75, much more than the latter half of his life was devoted solely to composition, and having been a pianist of his calibre, the works he created for his own instrument were indeed groundbreaking. Showcasing the demanding pieces in this set - from the thundering of Liszt's virtuoso side to the mysticism of his deeply spiritual side - are 15 renowned pianists on recordings dating from 1994-2016. Liszt's piano works may be divided into several diverse categories. These include the virtuoso showpieces based on themes from operas (Isoldens Liebestod Alexander Gavrylyuk, Wagner Transcriptions François Dumont, Bellini and Donizetti Transcriptions Mark Viner, Verdi and Beethoven Transcriptions Michele Campanella), religious-inspired or devotional works (Bénédiction de Dieu dans la solitude and 2 Légendes Irene Russo) the spare, enigmatic pieces from his last years (Trübe Wolken, En reve, Bagatelle sans tonalité Philipp Kopachevsky and La lugubre gondola Misha Dacic), a ground-breaking sonata regarded as an iconic work of the repertoire (Sonata in B minor Philipp Kopachevsky), and numerous piano transcriptions of other composers' non-operatic works (Grandes études de Paganini Goran Filipec, Beethoven Symphony No.6 in F Op.68 'Pastorale' Michele Campanella). The set concludes with a grand gesture, as Nelson Freire is joined by the Dresdner Philharmonie under Michel Plasson for Liszt's two well-loved piano concertos. Franz Liszt was without doubt one of the greatest (if not The Greatest) pianists of all time, as well as an innovating and visionary composer, in one word...a Genius! This set presents an extensive survey of Liszt's piano works, grand scale or intimate, thundering or tender, passionate or devout. In these works we find all Liszt's pianistic innovations, feats of jaw dropping virtuosity, unheard-of sonorities and future-looking asceticism. All genres of his pianistic output are present: original works like the complete Hungarian Rhapsodies, the Complete Studies, Années de Pelerinage, Ballades, Polonaises, Mephisto Waltzes and the immortal Sonata, Opera Paraphrases and Fantasies, Beethoven Symphony transcriptions and the Piano Concertos and Totentanz. Performed by an extraordinary line up of present day pianists: Enrico Pace, Vincenzo Maltempo, Nelson Freire, and many more. Recorded between 1994 and 2016. This set comes with new liner notes written by Philip Borg-Wheeler.
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    Die Romantische Viola
    Jean-Louis Delahaut (Piano) // The Director of the Orchestre Philharmonique Royal de Liège, Daniel Weissmann, is first and foremost a violist. In the company of the pianist Jean-Louis Delahaut, he presents a recital that illustrates the rich repertory of his instrument from the age of the Romantic composers and virtuosos.
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