84 Results for : virtuosi
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Orchestersuiten/Violinkonzerte
Vladimir Spivakov (Vl, Dir), Moscow Virtuosi- Shop: odax
- Price: 11.39 EUR excl. shipping
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Virtuosi
Die Fortsetzung der gefeierten Aufnahme-Reihe mit dem Thüringer Bach Collegium liefert bemerkenswerte Einblicke in Bachs Adaption des italienischen Concerto-Stils: Die Konzerte für ein bis drei Solo-Instrumente des jungen Bach sind funkensprühende Auseinandersetzungen um das beste musikalische Argument - musikalische Debattenkultur auf höchstem Niveau. Dem Sog dieses packenden Wettstreits der Virtuosen kann sich niemand entziehen.- Shop: odax
- Price: 16.39 EUR excl. shipping
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Octet/L'Histoire Du Soldat
Jan Opalach (Sprecher), Eastman Wind Ensemble, Eastman Virtuosi, Mark Scatterday (Dir)- Shop: odax
- Price: 16.15 EUR excl. shipping
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Nada-Ananda
Simon Thacker and The Nava Rasa Ensemble is a nine piece virtuoso ensemble innovating on the meeting of Asian and Western cultures. Nada Ananda features the world première recordings of major guitar led works by Shirish Korde, an Indian composer who has forged a compelling and distinctive voice in the West with his native music as a basis, and Nigel Osborne, a great Western composer profoundly influenced by Indian music, for an all star nine piece instrumental ensemble made up of leading performers from both cultures. Acclaimed as 'a mesmerising melding of old and new, Indian and Western' (The Classical Review) and 'a bold and highly successful project that fuses imaginative improvisation and virtuosity within a compelling sequence' (The List), The Nava Rasa Ensemble's Nada-Ananda album release has been acclaimed across the world and features nine musicians of the highest calibre representing three continents: Simon Thacker on guitar, Carnatic (South Indian) violinist Jyotsna Srikanth, Hindustani (North Indian) tabla master Sarvar Sabri, Scotland's leading string quartet the Edinburgh Quartet, Brazilian bass dynamo Mario Caribé and renowned multi-percussionist Iain Sandilands. Shirish's Nada Ananda ['the joy of sound'] concerto for guitar and chamber ensemble, is in three movements. The first movement is in the style of a North Indian Alap and the guitar writing the explores the expressive possibilities and colours of the instrument, combining the ornamentations and figurations of the sitar with the timbre of the classical guitar. The first and the second movement are based on the raga Lalit which, according to Indian music theory, is generally played at daybreak. The third movement, Joy, sees extended cadenzas for the guitar, Indian violin and tabla lead to an explosive climax for the whole ensemble. Nigel's The Birth of Naciketas for guitar concertante is based on an episode in the Upanishads where Naciketa's mother dies in childbirth and his father makes a bargain with Death to save his son's life. The work is based on the ten thaats, or scale patterns, which are considered by many to have been the forerunners of the raags of Indian classical music. The piece's ten sections correspond to the tenthaats in a 24-hour cycle related to the times of day associated with the scale patterns. These ten sections fall into five main movements. The Birth of Naciketas continues Nigel's search for an Indian classical modernism. What the critics said: Classical Music Sentinel 'The musicianship on this recording is quite remarkable. Guitarist Simon Thacker transcends the instrument and persuades it to produce music loaded with subtle nuances and character... A veritable melting pot of styles and influences that have truly merged into one.' The List 'Shirish Korde's Nada-Ananda concerto allows classical guitarist Simon Thacker ...to show just how invigorating music can be when it draws it's sensibilities from a host of styles, releasing it from the inhibitions of genre pigeon-holing.' Music Web International 'I was deeply impressed by this disc - not just by the undeniably high standard of musicianship throughout, but also by the fascinating, accessible and interesting compositions, which demonstrate that successful collaboration between Eastern and Western music is, indeed, possible.' The Classical Review 'What particularly impresses is the sheer cohesion of the playing, with Thacker proving an acutely stylish and sensitive fulcrum for an often mesmerising melding of old and new, Indian and Western.' Classical Music Magazine 'Here's an east-west inversion: gentle spirituality from Nigel Osborne's work for 'guitar concertante', and jazz with real swing in Shirish Korde's concerto, where the virtuosity of Thacker is matched by sizzling sounds from Jyotsna Srikanth's Indian violin and Sarvar Sabri's tabla playing'. The Guardian 'The third movement, in particular, is an exuberant virtuoso display of rhythmic complexity. Nada Ananda means joy of sound, an idea Korde captured in his music.' Hi-arts 'The extraordinary range of cultural influences, musical forms and emotional states in the selected works were beautifully fluid and seamlessly communicated by Thacker and his fellow musicians.' Gendai Guitar Japan 'An ambitious project which has proven very successful because of the musicianship and devotion of Simon Thacker....Just looking at all these musicians on stage with their instruments one experienced a heightened sense of anticipation, which was fulfilled in performance.' The Scotsman 'Take one eclectically minded classical guitarist from East Lothian, grant him charge of an ensemble comprising two Indian virtuosi on violin and tabla drums, one of Scotland's leading string quartets, a Scottish-based Brazilian jazz bassist and a cross-genre percussionist and... The result is music of sinuous beauty.' Musical Pointers 'This is captivating and highly recommended to our readers. Simon Thacker is a fine guitarist who has been devoting himself to exploring meetings of Indian and Western cultures with an outstanding intercultural ensemble.' Inside World Music 'Simon Thacker, is a stunning, Scottish performer of Western, European, and South Asian musical styles.....The mix of classical and Indian music is brilliant, moving, and creative.' Sunday Herald 'Simon Thacker is a musician who has always seen his instrument as international and his classical training as the portal to expressing a whole world of music. His Camerata Ritmata group explores jazz, Spanish and Brazilian influences, among others, and with the Nava Rasa Ensemble - featuring string quartet alongside Indian masters, bass and percussion - he goes right to the heart of Indian music' Songlines Magazine 'The virtuosity of the musicians on display here is not in question, and their ability to play as an ensemble is most impressive.'- Shop: odax
- Price: 29.45 EUR excl. shipping
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Poema
This CD brings together all my works written for cello, the instrument I simply adore. And my greater joy is to have Leonardo Altino as the performer. Leonardo Altino is an exceptionally gifted cellist, whom I consider to be the greatest discovery in the current cello scene in the whole world. Sensitive artist, fit with perfect technique yet always at the service of music, Leonardo Altino is just that, the ideal interpreter for any composer. Along with Ana Lucia Altino, they make a duo of extraordinary musicianship and superior understanding of these works. The first piece I wrote for the cello was the DESAFIO II at the request of Aldo Parisot, my good friend, the cellist, and teacher for so many generations. It was at the International Competition in Paraíba in 1968 that Aldo suggested the work, initially to be written for a group of six cellists. I went onto writing a total of fifty Desafios, virtually for all the instruments, including chamber and symphony orchestras. This DESAFIO II quickly became one of favorites among cellists, and in 2009 it was performed by all the finalists of the International Competition Carlos Prieto in Mexico. The piece is based on the idea of 'poetic challenges' of the folk singers of the Northeastern Brazil, in which the singers would challenge each other in drawn-out duels by composing poems on the spot, making them more elaborate in each turn. This centuries-old tradition, which originated in the Iberian world, namely Portugal and Spain, was transformed by the Brazilian folk culture. In my DESAFIO II, I begin with a virtuosic cadenza for cello solo followed by a type of toccata or 'challenge' between the piano and cello with a very strong contrapuntal undercurrent. The PARTITA LATINA was written in 2002, by the commission of another dear friend, the great Mexican cellist Carlos Prieto, who made it's world premiere in 2003 in Mexico and recorded it for the Urtext label. The work is based on the eighteenth-century idea of partitas with individual movements, but in this work, the movements interconnect through the initial idea introduced by the cello. I could also say that they are studies of musical character with the first movement (Lento-Estático) presenting the initial idea and developing it in increasingly complex forms. The second movement (Apassionatto) is a deviation from the melodic theme, written in a brief form, in which the cello part dialogues with the left hand of the pianist. The third (Scherzando) is virtuosic and sarcastic, and the fourth (Calmo) explores the variants of the opening theme leading to a type of crazed habanera. The fifth (Profundo) is extremely chromatic for both instruments yet intensely calm. The sixth (Vivo) is of virtuosic character and extreme contrast. The seventh (Grave) begins very slowly and gradually reaches a great sonorous climax. The POEMA III is part of another series that began in 2002, and as with the Desafios, it was written for virtually all the instruments of the orchestra to be performed either with piano or a string orchestra. The idea of Poema came from a love song I wrote for my wife Maria Luiza. At the same time, I was inspired by something Picasso said, 'I am a cubist painter, yes, but able to paint beautiful portraits.' The POEMA III is nothing more than a simple melody, a song of positive and direct nature. The work, TRÊS CANTOS DE IEMANJÁ, is based on my work, 'Beiramar" for baritone and piano, composed in 1968. I always wanted to write this piece for cello, whose particular dramatic and cantabile features would be well displayed. I made this version in 2009 specially for a concert in Rio de Janeiro to celebrate my seventieth birthday, and the debut was given by cellist Bernardo Katz and pianist Maria Luiza Corker. The CANTORIAS are also a case apart. In 2005 my dear friend, the great Brazilian cellist Antonio Meneses came to me with the idea of commissioning several composers to write works based on Bach's suites for solo cello. I immediately chose one of my favorites, the suite in D minor, then wrote my CANTORIA I, which began with the initial idea of Bach and from there entered my personal world. It is as if Bach's idea bore fruit in my mind of a work with it's own ways, finding it's way to the 'Northeastern Cantorias,' hence the title of the work. Antonio Meneses premiered the work with great success in 2005 in Sao Paulo and soon after recorded it on CD. In the same year, Carlos Prieto, commissioned a work for solo cello. I then proposed writing CANTORIA II based on the same idea of the CANTORIA I, except this time on the C major suite. While the CANTORIA I is more melodic, the CANTORIA II is extremely virtuosic and devilish. Carlos premiered it in Mexico in 2006. Then came at last TRÊS CANTILENAS. Carlos Prieto commissioned the first two for the concert he organized in Mexico in honor of my seventy years in 2009, and I dedicated them to Carlos Prieto. And the CANTILENA III I wrote a little later also in 2009, for the concert performed by Leonardo Altino and the pianist Victor Asuncion in the Festival Virtuosi 2009, in which they presented the first world premiere of the work along with the other Cantilenas. The fundamental idea of Cantilenas is simple, it uses the ancient form, the A - A' of the baroque period (to which my music has so much resemblance, not in style, but in technique). In these TRÊS CANTILENAS a simple melodic idea is introduced in all it's extent by the cello, with an elaborate contrapuntal texture in the piano, and then is repeated, always with profound harmonic and contrapuntal variations. MARLOS NOBRE Rio de Janeiro, February 2011.- Shop: odax
- Price: 25.46 EUR excl. shipping
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20th Century Duos
About '20th Century Duos'... 'Bart Feller's inventively programmed CD, '20th-Century Duos,' is an homage to musical friendship. His bright tone, polished technique, and impeccable musicianship are well matched by seven superb colleagues in performances of warmth, wit and virtuosity.' Michael Parloff Principal Flute, Metropolitan Opera Orchestra Faculty, Manhattan School of Music 'This is a wonderful disc! Anyone who hears Bart Feller's liquid, organic playing will realize immediately that he is a complete master of the flute. It is inspiring to hear him play.' Ransom Wilson Flute professor, Yale University Artist-member, Chamber Music Society of Lincoln Center 'Even before the entire set was finished I knew that I was listening to two outstanding professionals. It's great to hear such vibrant and expressive flute playing and Rena Feller's clarinet work is equally impressive. I can't imagine my Duos played better!' Robert Muczynski, composer Bart Feller is Principal Flute of the New York City Opera and the New Jersey Symphony Orchestra. He has also appeared with the New York Philharmonic, Orpheus Chamber Orchestra, Bargemusic and the Chamber Music Society of Lincoln Center. Mr. Feller has appeared as concerto soloist with the Philadelphia Orchestra, St. Paul Chamber Orchestra, and the Jupiter Symphony. He is a graduate of the Curtis Institute of Music, where his teachers included Julius Baker and John Krell, he has also worked extensively with Keith Underwood. Among the summer festivals he has participated in are the Marlboro Music Festival, OK Mozart International Festival, Colorado College Chamber Music Festival, Napa Valley Chamber Music Festival, and the Grand Teton Music Festival. Mr. Feller is Professor of Flute at Rutgers University/Mason Gross School of the Arts, and teaches in the Pre-College Division of The Juilliard School. Artist Biographies ~ '20th Century Duos' Harpist Victoria Drake has been a concerto soloist with numerous orchestras and appears often as a solo recitalist and chamber musician. She performs with many orchestras in the New York area, including the American Symphony Orchestra, New York City Ballet, Orchestra of St. Luke's, Orpheus Chamber Orchestra and Philharmonia Virtuosi. She has participated at the Aspen, Bard, Cabrillo, Fontainebleau and Vermont Mozart festivals and L'Association des Rencontres Culturelles d'Orbec in France. She performed and recorded Die Meistersinger von Nurnberg with the Chicago Symphony Orchestra under Sir Georg Solti and Mozart's Concerto for Flute and Harp on period instruments with the Old Fairfield Academy. Ms. Drake has three solo recordings on the Well-Tempered Productions label: Harping on Bach, Scarlatti's Harp and Spanish Gold. Clarinetist Rena Feller is second clarinet with the Memphis Symphony Orchestra. She has taught at Rhodes College, Memphis and maintains an active private teaching studio. From 1991 to 1999 she was principal clarinetist with the Berkshire Opera. As a solo recitalist and chamber musician, Ms. Feller has premiered and recorded numerous contemporary compositions, including works by Don Freund and Stanley Friedman. A graduate of Oberlin College Conservatory of Music, Ms. Feller holds a master's degree from The Juilliard School. Mezzo-Soprano Theodora Hanslowe performs regularly in leading roles at the Metropolitan Opera, where she most recently appeared in the new production of Handel's Rodelinda. She is best known for her Rossini interpretations, which she has performed for San Francisco Opera, Teatro Colon in Buenos Aires, Washington Opera, Los Angeles Music Center, Opera de Monte Carlo, Staatsoper Dresden and the Met, among others. She has been a soloist with the symphony orchestras of Boston, San Francisco, Philadelphia, Cincinnati, Dallas and St. Louis, and appears frequently in chamber music festivals here and abroad. The New York Times recently acclaimed her "gorgeous singing with superb control" and the Stuttgarter Zeitung called her voice "a sound from another, more beautiful world." Bassoonist Kim Laskowski is associate principal bassoon with the New York Philharmonic. Before joining the Philharmonic, Ms. Laskowski was second bassoon with the New York City Ballet Orchestra and principal bassoon with the Mostly Mozart Festival Orchestra. She has performed with many New York City ensembles, including the Orchestra of St. Luke's, American Symphony Orchestra and Eos Orchestra. She received a master's degree from The Juilliard School, studied at the Conservatoire National Superieure de Paris on a Fulbright grant, and participated in the Tanglewood and Spoleto festivals. She can be heard on numerous television, radio and film scores, and holds two platinum records for CDs recorded with the rock group 10,000 Maniacs. She has performed and recorded several CDs with the noted chamber music ensemble Music Amici. Pianist Linda Mark is a staff accompanist at The Juilliard School. An active soloist, chamber musician and music coach throughout the United States and Europe, she has concertized with such leading flutists as Jeanne Baxtresser and her mentor Julius Baker, and has appeared at the Casals Festival, the Chateau de Fountainbleu and Weill Recital Hall at Carnegie Hall. Ms. Mark teaches collaborative performing classes for prominent music conferences, including the National Flute Association Convention. She won first prize in the Baldwin Piano Competition and has received two grand prizes in the International Recording Competition. Recently, she was invited by the Richard Tucker Foundation to perform for Luciano Pavarotti. She recorded solo piano works for the soundtrack of the film, Letter Without Words, and is the staff accompanist at The Julliard School. Flutist Kathleen Nester is second flute and piccolo with the New Jersey Symphony Orchestra. She also serves as acting assistant principal of the NJSO and is a member of the Stamford Symphony Orchestra, and plays with the Orchestra of St. Luke's and other New York area ensembles. Ms. Nester has been a featured concerto soloist with the New Jersey Symphony, Solisti New York and Bargemusic. She has had a long association with the new music ensemble Musicians' Accord. Ms. Nester attended the Manhattan School of Music and is on the faculty of New York University. She has recorded with a variety of artists, including Kathleen Battle, Claire Bloom, Brian Stokes Mitchell and Aaron Jay Kernis. Percussionist She-e Wu is assistant professor of music at Rutgers University. Ms. Wu has appeared as a solo artist at percussion festivals and conventions around the world. She has performed recitals and offered master classes at universities, colleges and conservatories, including the Curtis Institute of Music and the Manhattan School of Music. Ms. Wu's compositions K-PAX and Blue Identity were commissioned by the percussion ensemble of the Paris Conservatory-CNR and the Taipei International Percussion Convention, and have been performed in Japan, France, Taiwan and the United States. Her recording of the Eric Ewazen marimba concerto has been released on Resonator Records. Her solo marimba CD was released in the fall of 2005.- Shop: odax
- Price: 25.19 EUR excl. shipping
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Virtuosi Tasmania in Concert with Annalisa Kerriga
No description.- Shop: odax
- Price: 18.98 EUR excl. shipping
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Enrique Graf Live
Nternationally acclaimed pianist Enrique Graf is one the world's premiere virtuosos equally sought after as a soloist, chamber musician and teacher. He has been variously described as an "assured and technically complete pianist" (The Washington Post) and "one of the best interpreters of his generation" (El Pais), who plays with "fiery virtuosity" (The New York Times). "If you ever have the opportunity to hear Graf, do yourself a favor and go" (Newark Star Ledger). Born in Montevideo, Uruguay, Graf began studying piano at the age of four with his mother. After winning all of the national competitions in Uruguay, he was offered a full scholarship from the Peabody Conservatory of the Johns Hopkins University and the Organization of American States to study with Leon Fleisher. Graf won First Prize in the William Kapell International Piano Competition, the National Ensemble Piano Competition and the East and West International Competition in New York. He has given recitals all over the world and has been featured as soloist with such orchestras as the Baltimore, Indianapolis, New Jersey, Nashville, Pittsburgh, Richmond, Florida, West Virginia, Illinois, Flagstaff, Macon, Augusta, Greenville, Charleston, New York City and Jupiter Symphonies, the Symphony of the Americas, the National Chamber Orchestra, the Illinois Chamber Orchestra, the American Chamber Orchestra, the Hudson Valley Philharmonic, Sinfonia da Camara, South Carolina Philharmonic, Florida Virtuosi Orchestra, the Puerto Rico Symphony, the Montevideo Philharmonic, the Lviv Philharmonic, the Moscow Philharmonic, the Janacek Philharmonic in the Czech Republic, and the national orchestras of Ukraine, Chile, Uruguay, Peru and Colombia. Equally convincing in all periods of music, Graf has performed concertos by Bach, Haydn, Mozart, all five by Beethoven, Brahms, Liszt, Grieg, Mendelssohn, Tchaikovsky, Rachmaninoff, De Falla, Ravel, Gershwin, Turina, Shostakovich, Poulenc, Edward Hart, Florencia Di Concilio, Lee Hoiby and Leonardo Balada. Additionally, he has appeared at Lincoln Center, Kennedy Center, Krannert Center, Carnegie Recital Hall, Cultural Center of Manila, Teatro Opera in Buenos Aires, Broward Center for the Performing Arts in Florida, South Bay Center for the Arts in Los Angeles, Chautauqua Festival, Young Keyboard Artists International Festival in Ann Arbor, San Miguel de Allende Chamber Music Festival in Mexico, University of Maryland and University of Houston International Piano Festivals, Spoleto International Piano Festival in Italy, "Contrasts" Festival in Lviv and Kiev Music Fest in the Ukraine. As a chamber musician he has toured with Cuarteto Latinoamericano, the Baltimore Wind Ensemble, the American Chamber Players, the Prague Wind Quintet, the Ives Quartet, the Apollo String Quartet, pianists Ilana Vered, Nibya Mariño, Katherine Jacobson and violinists Andres Cárdenes and Lee Chin. An all Poulenc CD with the Charleston Symphony was a pick of the month by the Sunday London Times and was awarded five stars in Classic CD. His debut recording Enrique Graf plays Bach was called "An end to the discussion of whether or not Bach should be played on the piano" by Paul Hume of the Washington Post. Other recordings of Mozart and Beethoven Sonatas, Mendelssohn and Bach Variations, Mussorgsky's Pictures at an Exhibition, solo works by Chopin, Rachmaninoff and Gershwin, the Liszt Sonata, the Grieg Concerto, Edward Hart's Tidal Concerto, Gershwin's Concerto in F and two Beethoven Concertos have received such praise as "ideal performances" (Fanfare). Graf taught for sixteen years at the Peabody Preparatory, became chairman of the piano department and received the Directors' Recognition Award for Outstanding Teaching. He created an outstanding piano program at the College of Charleston where he was awarded the Distinguished Research Award and named University Artist in Residence. Graf also was Artist Lecturer at Carnegie Mellon University. His students have won many national and international competitions. He has been a member of the jury in competitions all over the world and has given master classes at Yale University, Oberlin and Eastman Conservatories, the Shanghai and Kiev Conservatories and the Hong Kong Academy for the Performing Arts and many others schools throughout the world. Graf is Founder and Artistic Director of the International Piano Series in Charleston and the Young Artist Series in the Piccolo Spoleto Festival and is co-director of Music Fest Perugia in Italy. He has been awarded a Fellowship from the Aspen Institute Executive Seminar, the Music Fellowship from the South Carolina Arts Commission, Career Grants from the Charles Del Mar and Astral Foundations, and the Immigrant Achievement Award from the American Immigration Law Foundation.- Shop: odax
- Price: 28.91 EUR excl. shipping
