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  TSCHAIKOWSKY - ZUM ENTSPANNEN UND GENIEáEN

  "Tschaikowsky - zum Entspannen und Genießen" liefert einen großartigen Überblick über die verschiedenen Facetten des großen Peter Iljitsch Tschaikowsky. Natürlich finden sich hier der Blumenwalzer aus dem Nussknacker und oder der Tanz der kleinen Schwäne aus Schwanensee, aber auch Auszüge aus Tschaikowskis Sinfonien, Klavier- oder Violinenkonzerten sowie Stücke für Solisten wie z.B. Auszüge aus den Jahreszeiten. Interpretiert werden die Kompositionen hier von ausgewiesenen Tschaikowsky-Experten wie Daniel Barenboim oder Mstislav Rostropovich, vorgetragen von Star-solisten wie Anna Netrebko, Gidon Kremer oder Martha Argerich. Ein Überblick für Einsteiger, aber sicherlich auch mit Leckerbissen für Kenner."Musik zum Entspannen und Genießen" - die neue Midprice-Serie präsentiert von Deutsche Grammophon und Klassik Radio:- 2 CD Konzeptalben für jeden Geschmack zum attraktiven Preis, ideal auch als Geschenk- die schönsten Werke und Melodien der berühmtesten Komponisten in herausragenden Einspielungen garantieren Entspannung pur- jedes Album wurde zusammengestellt und ausgewählt von Klassik Radio Chefmoderator Holger Wemhoff und mit einem von ihm verfassten Einführungstext ergänzt

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  Gilels,Kogan & Rostropowitsch: Trios

  Emil Gilels (Pno), Leonid Kogan (Vl), Mstislav Rostropovich (Vc) 1950-1959

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  Works By Brahms Bridge Mozart & Faure

  Frank Graves studied violin in Vienna, Austria under Guenter Pichler, the former concertmaster of the Vienna Philharmonic, Harry Farbman and Jean Piguet. He was a member of the National Symphony Orchestra in 1976-77 under Mstislav Rostropovich. He has appeared in recitals at the Longy School of Music and the Gardner Museum and is an active freelance player in the Boston area. Colleen Katsuki has delighted audiences throughout New England and New York as a collaborative pianist. She has performed with violinists Frank Graves and Lucy Chapman Stoltzman, pianist Jennifer Elowsky-Fox, and soprano Joanna Porackova as well as with the New England Philharmonic and the Wellesley Symphony Orchestra. A student of Mary Sauer, pianist of the Chicago Symphony Orchestra, she also studied with the renowned Hungarian coach, Dusi Mura and with Anthony di Bonaventura at Boston University.

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  Music for Solo Cello

  Cassado: Suite for solo cello I. Preludio - Fantasia II. Sardana (Danza) III. Intermezzo e danza finale Ysaye: Sonate Op. 28 for solo cello I. Lento e sempre sostenuto II. Poco allegretto e grazioso III. Adagio IV. Allegro Tempo fermo Ligeti: Sonate for solo cello I Dialogo II Capriccio Kodaly: Suite Op. 8 for solo cello I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace ---------------- When Johann Sebastian Bach composed his six cello suites around the year 1720, they were labeled "6 Suites a Violoncello Solo senza Basso." This curious title can be explained by the fact that it was a novelty at the time to write for cello alone, an example that would not be followed any time soon: not counting the various solo cello studies, capriccios, and other pieces composed by cellists for educational purposes, one needs to wait nearly two centuries before finding important repertoire in the medium. The famous Catalan cellist Pau Casals (1876-1973) was partially responsible for the rebirth of the solo cello repertoire: his "discovery" of Bach's cello suites at the beginning of his career and his subsequent efforts to propagate them helped convince the younger generation of composers to write for solo cello. The four works presented on this CD illustrate the rise of the modern solo cello repertoire. Common characteristics of this collection include a powerful rhetorical discourse, a rhapsodic character, and a complete technical mastery in writing for the instrument. That the four composers represented here had an excellent knowledge of the cello came from their own practical experience: Zoltán Kodály and György Ligeti had studied cello before becoming composers, the famous Belgian violinist Eugène Ysaÿe was competent enough to play the cello part in private chamber music evenings, and Gaspar Cassadó, Casals's student, was a celebrated cello virtuoso. Kodály's Sonata for Solo Cello, Op. 8 (1915) and Cassadó's Suite for Cello Solo (1925) are colored with regional flavor. As early as 1905, Zoltán Kodály (1882-1967) had traveled with Bartók to record the peasant and popular music of Central Europe. Reminiscences of these ethnomusicological travels are present in Kodály's sonata, not only in the imitation of traditional instruments (violin, percussion, cimbalom, etc.) and their modes of playing, but also in the poetic description of the landscapes in which the music was born. Perhaps in a more folkloric way but still with much panache and poetry, Gaspar Cassadó (1897-1966), in his Suite for Solo Cello, imitates flamenco singing and guitar playing. He also quotes the Catalan sardana dance with it's introduction for flabiol (Catalan piccolo recorder), it's grotesque cobla (traditional Catalan ensemble), and indispensable nostalgic solos played by the tible (Catalan shawm). Like Fritz Kreisler, Cassadó was accused of musicological crimes: he attributed some of his own compositions to famous composers of the past such as Frescobaldi, Couperin, Boccherini, and Schubert, calling them "transcriptions." A good example of Cassadó's skill in pastiche can be found in the second movement, Sardana, at the expression marking burlesco: here he literally forces the cellist to imitate the approximate intonation of a traditional village ensemble by writing a series of unisons in such wide fingering spans that no cellist can play them in tune. We should not forget to mention that the first theme of Cassadó's suite is an embellishment of the opening of Kodály's sonata, a nod to the older Hungarian composer. György Ligeti (1923-2006) wrote the two movements of his Sonata for Solo Cello at a five-year interval. The first part, composed in 1948 for a young cellist with whom he was secretly in love, consists of a musical dialogue between a woman and a man. The composer's gift was not reciprocated, however, and the work was left unperformed until Ligeti added a second movement in 1953 in response to a famous female cellist (with whom he was not in love, as the composer tells us), who commissioned a full sonata from him. During the communist period, the Hungarian Composer's Union refused to allow the work to be published or performed on the grounds that the second movement was too modern. This might amuse us today, because the work - composed under the influence of Kodály and Bartók - is much more traditional than Ligeti's later compositions. Like Cassadó and Casals, the violinist Eugène Ysaÿe (1858-1931) was a great admirer of Bach's solo works and among the first to include them on his concert programs. Ysaÿe shows his devotion to Bach in his Violin Sonata No. 2 "Obsession," where he quotes the opening of the Partita for Solo Violin in E-major. Although there are no direct quotations from Bach's solo violin works in Ysaÿe's Sonata for Solo Cello, Op. 28 (1923), we sense nevertheless that the famous violinist was more familiar with Bach's writing for solo violin than solo cello. This can be heard in the many chords and detailed contrapuntal writing, in Bach's solo cello works, chords are less frequent and the polyphonic lines are distributed in a more arpeggiated fashion. Ysaÿe's cello sonata, not as well-known as his six sonatas for violin but sharing many of the same difficulties, includes the composer's own fingerings. The work was dedicated to the Belgian cellist Maurice Dambois, with whom - along with pianist Yves Nat - Ysaÿe had formed a trio. While Pau Casals played a crucial role in the development of the solo cello repertoire at the beginning of the twentieth century, cellists such as Siegfried Palm and Mstislav Rostropovich inspired the following generations of composers. One needs only to reflect on composers such as Dallapiccola, Zimmermann, Henze, Scelsi, Britten, Sessions, Penderecki, Xenakis, Dutilleux, Ginastera, and Berio to understand the richness and diversity of the modern solo cello repertoire, which we hope to present to you in future recordings. NICOLAS DELETAILLE - TRANSLATION THOMAS SVATOS Nicolas Deletaille After having received his musical education in Belgium and in the USA, Nicolas Deletaille has begun his professional life as a concert performer. In the same time, he has recorded the Bach six Cello Suites, the Beethoven five Cello Sonatas, major works from the solo repertoire (Kodály, Cassadó, Ysaÿe, Ligeti) as well as chamber music CDs (Schubert, Dvorák, Franck, Tchaikovsky,...) Nicolas Deletaille has also earned distinction as an arpeggione player by recording the Schubert arpeggione sonata in the rare original arpeggione version with the vienese maestro Paul Badura-Skoda on an original 1820 pianoforte. Nicolas Deletaille has collaborated extensively with composers of our time. He has given approximately 50 world premiere creations, most of which were pieces written for him by composers from Belgium, France, Taiwan, USA, Italy, England, Switzerland, Korea, Norway and Canada. Nicolas Deletaille is currently a faculty member of the Eastern Mediterranean University, TRNC. Français Quand Johann Sebastian Bach composa ses six suites pour violoncelle vers 1720, elles furent baptisées « 6 Suites a Violoncello Solo senza Basso ». Ce titre curieusement redondant s'explique par l'originalité d'écrire à cette époque pour violoncelle seul. Cet exemple ne sera d'ailleurs pas suivi de longtemps : mis à part d'innombrables études, caprices et autres exercices de virtuosité, écrits par les violoncellistes eux-mêmes dans un but purement pédagogique, il faudra attendre que le célèbre violoncelliste catalan Pau Casals se fasse l'ambassadeur des Suites de Bach lors de ses tournées de concerts à l'aube du XXe siècle pour que des compositeurs se montrent peu à peu enclins à écrire des œuvres importantes pour violoncelle seul. Les quatre œuvres reprises sur ce CD, composées au cours de la première moitié du XXe siècle, s'inscrivent dans la cadre de ce développement du répertoire pour violoncelle seul. Elles ont en commun un discours rhétorique puissant, un c

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  Live Recital

  With his "fascinating musical personality and the bewitching beauty of his tone" (Frankfurter Allgemeine Zeitung), cellist Orfeo Mandozzi has captivated audiences throughout Europe, the USA, Canada, Asia and South America. Orfeo Mandozzi, born in Ticino Switzerland, made his debut as soloist as part of the Eurovision Young Musicians Competition. He has won first prizes at several international competitions such as the Johannes Brahms Competition and the UFAM Paris. Orfeo Mandozzi, now enjoying a busy career as a soloist, has worked closely with several leading cellists such as Mstislav Rostropovich, Yo Yo Ma, Paul Tortelier, Maurice Gendron and Harvey Shapiro. Bernard Greenhouse that, "he could be one of the leading cellists of our time". Orfeo Mandozzi's regular performing partners include Nikolaj Znaider, Julian Rachlin, and Yuri Bashmet. As soloist Orfeo Mandozzi performs with conductors such as Fabio Luisi, Kristjan Järvi and Michail Jurowski. Also a prolific recording artist, award panels have described his playing as "so captivating, one has to hold one's breath" (pizzicato). Orfeo Mandozzi has appeared in some of the world's finest concert halls, including the Carnegie Hall, Wigmore Hall, the Musikverein and the Teatro Colón. The cellist is also in demand as a regular guest at festivals such as the Jerusalem Chamber Music Festival, the Salzburg Festival, the Vienna Festwochen and the Lockenhaus Festival. His highly acclaimed recitals are much sought-after and Mstislav Rostropovich said about his performance of the Boccherini Sonata that, "he has the most beautiful Italian cantilena I have ever heard". On this album Orfeo Mandozzi plays on a cello made by Giovanni Grancino in 1710 (Milano), which belonged to the famous cellists Enrico Mainardi and Amedeo Baldovino.

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  American Recital

  After studies with Alain Marion in Paris and James Pappoutsakis at the New England Conservatory of Music, flutist Angela Koregelos made her professional solo debut in London's Wigmore Hall where the Times hailed 'the freshness of her tone and the naturalness of her playing.' She returned to the United States and became one of the youngest principal players of the Oakland Symphony where she was often featured as a soloist. She has performed and recorded with the San Francisco Opera Orchestra and the Skywalker Symphony where she has participated in numerous projects for film and television. She currently teaches flute and chamber music at Mills College, Oakland, and conducts masterclasses both in the U.S. and abroad. Ms. Koregelos currently performs on a flute made for her by her father. Pianist Julie Steinberg is an active soloist and chamber musician, having appeared with the San Francisco, Oakland, and Berekely Symphonies, where she premiered works by Ernst Bacon and Olivier Messiaen. She has been an assisting artist in masterclasses with Jean-Pierre Rampal and Mstislav Rostropovich and has been heard regularly with the San Francisco Contemporary Music Players and Chamber Music West. Together with violinist David Abel and percussionist William Winant, she is a member of the Abel-Steinberg-Winant Trio wich has received critical acclaim throughout the United States, Japan, and Canada. Ms. Steinberg holds a Doctor of Musical Arts degree from Stanford University with a specialty in Twentieth Century Music and is currently on the faculty of the University of California, Berkeley.

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  A Romantic Portrait

  Mstislav Rostropovitch (Vc), Royal Philharmonic Orchestra, Orchestre Symphonique d'URSS, Adrian Boult (Dir)

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  Klaviertrios

  Emil Gilels (Pno), Leonid Kagan (Vl), Mstislav Rostropovich (Vc) 1952 / Emil Gilels (Pno), Leonid Kagan (Vl), Mstislav Rostropovich (Vc) 1953 / Emil Gilels (Pno), Leonid Kagan (Vl), Mstislav Rostropovich (Vc) 1958

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  The Rudolf Serkin Edition

  Rudolf Serkin und Deutsche Grammophon haben spät zueinander gefunden,doch in dieser Zeit sind drei prestigeträchtige Großprojekte entstanden: 15 Klavierkonzerte Mozarts mit Claudio Abbado an der Seite, die letzten 3 Klaviersonaten Beethovens sowie seine einzige Aufnahme der Cellosonaten von Brahms mit dem Cellovirtuosen Mstislav Rostropovich. Diese hochwertige Box vereint die 3 beeindruckenden Aufnahmezyklen nun erstmals."Seine Integrität und Musikalität gehörten zu den Wundern an frischer Kunstfertigkeit und Energie des 20. Jahrhunderts.? Gramophone

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  Solo Cello Suites

  Joining several albums from Signum celebrating 2013's Britten Centenary Year comes a new collection of the three Suites for Solo Cello, performed by star UK cellist Jamie Walton. Recorded in the Britten Studio at Snape Maltings, Aldeburgh, the three suites were dedicated to Mstislav Rostropovich, with the passionate third in particular inspired by Rostropovich's rich and romantic performances of Bach's unaccompanied suites.

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