CD/Download Information from Melism Records – MLSCD013 Patrick Hemmerlé plays the piano music of Jean Roger-Ducasse – PRESS RELEASE

PRESS INFORMATION

French Music Rarities
The Piano Music of Jean Roger-Ducasse (1873-1954)

Performed by Patrick Hemmerlé
Catalogue Number: MELISM MLSCD013 Bar Code: 3770004972326
Physical Distribution: Proper (UK)*; Socadisc (France)*;
Tokyo M-Plus (Japan)*; Opera CD (Greece)*: RoW: Naxos
Release Date: 31st July 2020 (*Already released in these markets)
Single CD/Digipak/Full Price

Tracklisting

Barcarolle No. 1 (1906); Etude No. 12 (1914); Etude No. 2 (1916); Etude (No. 3) en sixtes (1916); Arabesque No. 1 (1917); Arabesque No. 2 (1919); Rythmes (1917); Sonorités (1918); Barcarolle No. 2 (1920); Barcarolle No. 3 (1921)

Concept Overview

When a composer seems to have faded so completely out of our musical life, the assumption, true in some cases, is that history makes its choice and that if a composer has fallen out of favour this simply means his music wasn’t meant to last. But history does occasionally make mistakes: the case of Bach, eclipsed by his own sons after his death and known for some decades to only a handful of musicians until he was reinstated by Mendelssohn, is probably the most famous. Mahler was neglected until he was gradually rediscovered and is now a pillar of our musical tradition. There are other composers like Frank Martin or Zemlinsky who, it seems, are only gradually beginning to receive the recognition they deserve, and many other fine composers are still struggling to be heard today. In the case of Jean Roger-Ducasse, although most of his music is available on CD, one never hears him in concert halls and his name is unknown to the vast majority of musicians.

Jean Roger-Ducasse studied at the Paris Conservatoire and was the star pupil and close friend of Gabriel Fauré. He succeeded Fauré as professor of composition, and in 1935 he succeeded Paul Dukas as professor of orchestration. His personal style was firmly rooted in the French school of orchestration, in an unbroken tradition from Berlioz through Saint-Saëns.

Roger-Ducasse wrote music in nearly all classical forms and was particularly known for his operatic stage works and orchestral compositions.

Artist Biography

Acclaimed for the originality of his concert programmes and the depth of his interpretations, Patrick Hemmerlé is a French pianist living in England. He can often be heard performing such works as the 24 Chopin Etudes, the 48 Bach Prelude and Fugues, or  lesser-known composers such as Roger-Ducasse, whose public recognition is not equal to their worth. Patrick was trained in Paris at the Conservatoire.

Recent engagements have taken him to New York, Los Angeles, Berlin, Paris, Vienna, and Prague, as well as many festivals and music societies in England.

Patrick has published 3 CDs, which have been well received by the international press, and have led to an invitation to give the inaugural concert of the Novak Society, where he played Novak’s masterpiece, Pan, which had not been heard in Prague for 50 years.

His latest recording project, to be issued in 2020 is a pairing of Bach’s Well Tempered Clavier and Fischer’s Ariadne Musica.

His vast musicological knowledge, and his capacity to clarify complex musical concepts means he is in demand as a lecturer. He has given talks for the Cambridge University, as well as a cycle of concert-lectures on French music, presenting composers little known to the general public, their environment, their influence, and their music. This led to the recordings of the piano music of Jean Roger-Ducasse and Maurice Emmanuel.

Marketing and Press

This recording had limited exposure to the press and media when first released and is now being re-presented in order that these fascinating discoveries reach the wider audience that they deserve, so  will be fully serviced to all Press and Media.
Review copies (or digital files) can be requested from john@musicandmediaconsulting.com – interviews with Patrick Hemmerlé can be quickly arranged if required.

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CD/Download Release Information from MELISM Records – The Lost Works of Samuil Feinberg & Hanuš Winterberg – PRESS RELEASE

PRESS INFORMATION

The Lost Works  of Samuil Feinberg and Hanuš Winterberg
Performed by Nina Pissareva Zymbalist & Christophe Sirodeau
Catalogue Number: MELISM MLSCD011 Bar Code: 3770004972333
Physical Distribution: Proper (UK)*; Socadisc (France)*;
Tokyo M-Plus (Japan)*; Opera CD (Greece)*: RoW: Naxos
Release Date: 31st July 2020 (*Already released in these markets)
Single CD/Digipak/Full Price

Tracklisting

Feinberg (1890-1962): Sonata for violin & piano [No. 1], Op. 12 [posth.] (1912) Manuscript – World première recording in July 2001; Fantasia for piano No. 1, Op. 5 (original version – 1917) Muzgiz Moscow – World première recording in October 2018;  Suite No. 1 for piano, Op. 11 “4 pièces en forme d’études” (1919): Hanuš (Hans) Winterberg (1901-1991): Sonata for piano No. 1 (1936) Manuscript – World première recording in October 2018; Suite 1945 (Theresienstadt) for piano Manuscript – World première recording in March 2018

Concept Overview

The recordings on this disc are all world premieres, apart from the Op. 11 Suite by Feinberg, which was recorded by the composer himself in 1929. There is no direct connection between the two twentieth-century composers, Samuil Feinberg and Hans (Hanuš) Winterberg, one a citizen of Russia and the Soviet Union; the other, a decade his junior, of Czechoslovakia and Bavarian Germany. However, they are both among those composers abandoned by history despite the intrinsic merits of their work. The oblivion to which Winterberg was consigned was effectively total, held hostage to a posthumous embargo to which part of his family acceded, until his grandson initiated his rediscovery in 2015. By contrast, Feinberg had at least garnered admiration during his lifetime, and since, for his prowess as pianist and teacher. Both composed in their own very individual idioms, though sometimes making little concession to the listener or to the technical demands placed on the performer. As things have turned out, Christophe Sirodeau has been able to contribute to the salvaging of two works of these composers by editing and preparing their “lost and found” manuscripts for publication (with minimal editorial revisions required for performance), in addition to actually playing and recording them, of course! This sense of discovery of a lost world of music, and of revealing the character of its creators is the impetus behind the programme of this disc.

The booklet contains an informative essay by Christophe Sirodeau about all the pieces on this recording.

Artist Biography

Christophe Sirodeau was born  in 1970 in Paris. As a pianist, he studied with at the Tchaikovsky Moscow Conservatory under Evgeny Malinin. Since making his performing debut in 1982, he has performed a broad variety of repertoire in concert, recordings, and broadcasts, specialising somewhat in the presentation of rarely heard music (Ullmann, Feinberg, Skalkottas, Kapralova for example). In the 1990s he undertook significant scholarly and performing work concerning Samuil Feinberg which resulted in the composer’s 1st Piano Concerto and a number of unpublished songs and piano works coming to light and receiving their first performances and recordings since the 1930s, and in some cases, their world premieres.

Nina Pissareva-Zymbalist studied at the Tchaikovsky Conservatory in Moscow.  in the classes of Masters Andrei Korsakov, Yuri Tortchinsky and Zoria Shikmourzayeva. She was the interpreter of the world premiere of the First Violin Sonata by the famous pianist and composer Samuil Feinberg (1890-1962). Alongside the violinist Eichii Chijiiwa, she recorded for the Scandinavian label BIS Records “the Concerto for two violins” by Skalkottas. She is involved with numerous chamber ensembles and works regularly in various orchestras such as the Paris Opera orchestra, the Ile-de-France national orchestra, the Rouen Opera. Since 2006, she has held a position as a tutti violin with the Marseille Philharmonic Orchestra.

Marketing and Press

This recording had limited exposure to the press and media when first released and is now being re-presented in order that these fascinating discoveries reach the wider audience that they deserve, so  will be fully serviced to all Press and Media.

Review copies can be requested from john@musicandmediaconsulting.com – interviews with Christophe Sirodeau can be quickly arranged if required.

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Digital Only Release – Alexandra Matvievskaya plays Fauré – ARTALINNA Records – PRES RELEASE

PRESS INFORMATION – DIGITAL ONLY RELEASE

Alexandra Matvievskaya plays Fauré
ATL024 (Digital Only Release) Bar Code 3770004972418
Full Price
Available Now

Tracklisting

Gabriel Fauré: Ballade, Op. 19 (1877-1879); Nocturne No. 2, Op. 33 No. 2 (1881); Nocturne no. 13, Op. 119 (1922); Nocturne No. 6, Op. 63 (1894); Thème et variations, Op. 73 (1895); Nocturne No. 4, Op. 36 (1884)

Concept Overview

A pupil of  Jean-Marc Luisada at the Ecole Normale de Musique de Paris, the Russian pianist Alexandra Matvievskaya  immersed herself in the work of Gabriel Fauré, and quickly became fascinated. With incomparable intensity, she expresses the tragic power of the music as well as  harmonic and polyphonic depth. One of the great Fauré recitals of the last twenty years.

Artist Biography

Alexandra Matvievskaya was born in Perm, Russia. She began playing piano at the age of 4 – although her parents were not musicians.

During her studies at the Moscow Conservatory, she often played with cellists and worked as an accompanist in the class of Professor Natalia Shakhovskaya. She met Mstislav Rostropovich and participated in master classes.  She also worked as an assistant to her piano professor at the Conservatory, Yuri Airapetyan.

She was unanimously awarded her Piano Performance diploma from the Ecole Normale de Musique in Paris, in the class of Jean-Marc Luisada, focusing on the traditions of the French piano school, quite different from the Russian tradition.

Today she is continuing her studies at the upper/graduate level, pursuing a Concert Pianist degree, again with Jean-Marc Luisada at the Ecole Normale.

She has given concerts and participated in competitions as a soloist and a chamber musician in Russia, Ukraine, Italy, Spain, Sweden, Croatia, Serbia, China, the United States of America, and Republic of South Africa.

Marketing and Press

This new recording will be fully serviced to all UK press and Media. For review copies, links to the digital files should be requested from john@musicandmediaconsulting.com – (a small number of physical copies have been made and are available for reviewers not able to accept digital files).

Interviews with Alexandra Matvievskaya can be quickly arranged if required.

Advertising is yet to be finalised.

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Digital Only Release – Vestard Shimkus “A Concert in Paris” – New Recording on ARTALINNA Records – PRESS RELEASE

PRESS INFORMATION

Vestard ShimkusA Concert in Paris (Preludes & Fugues)
ATL023 (Digital Only Release) Bar Code 3770004972401
Full Price
Available Now

Tracklisting

Chopin: Prelude on C-sharp minor, Op. 45 (1841); Scriabin: 5 Preludes, Op. 74 (1914); Debussy: Prèludes, Book II, L. 131 (1912-1913) – (V. Bruyéres; XII. Feux d’artifice); Gershwin: Prelude “Novelette in Fourths” (1919); Prelude “Melody No. 17” (1925); Prelude “Fragment” (1925); Prelude “Rubato” (1923); 3 Preludes (1927); Shimkus: North Wind. The Gothic Prelude and Fugue (2004); J. S. Bach: Prelude and Fugue No. 8 BWV 853; Prelude and Fugue No. 9 BWV 854; Shostakovich: Prelude and Fugue No. 14, Op, 87; Prelude and Fugue No. 15 Op. 87

Concept Overview

For this recital in Paris, in April 2019, the Latvian pianist Vestard Shimkus imagined a program focused on preludes and fugues. A first part devoted to preludes confirmed his affinity with Scriabin (Preludes Op. 74) and his performance in Debussy also displayed a bewildering art of suggestion. In the second part, introduced with a majestic composition by the pianist, two excerpts from J. S. Bach’s Well-Tempered Clavier, which preceded two of Shostakovich’s Preludes and Fugues, performed with an impressive dramatic force. A very original journey, spanning three centuries of musical creation, by one of the most fascinating personalities of the classical scene.

Artist Biography

Described as “a phenomenon” (conductor Paavo Jarvi), “superb” (American Record Guide) and “inspired” (BBC), pianist Vestard Shimkus (born 1984, Latvia) has also been called “one of the greatest pianists of the young generation” (Piano News).

Being a 1st-prize-winner of Maria Canals International Piano Competition (2009) and having been awarded with “Lotto-Förderpreis des Rheingau Musik Festivals” (2014) as well as nominated for the “International Classical Music Award” (2013), he began to gain an international recognition after performances with BBC Philharmonic, City of Birmingham Symphony Orchestra and Orchestre National de France as well as after performing at Lucerne, Schleswig-Holstein, Rheingau, Kissinger Sommer, Bergen and Lockenhaus festivals.

Shimkus began his piano studies at age of five in Riga and subsequently studied in Los Angeles, Madrid and Munich with Dmitri Bashkirov, Claudio Martinez Mehner, Daniel Pollack and Vadim Suchanov as well as composition with Peteris Vasks.

Vestard Shimkus has composed two piano concertos and several solo piano and chamber music works some of which have been published by “SCHOTT”. He has released eight CD albums and has given several completely improvised solo concerts.

Marketing and Press

This new recording will be fully serviced to all UK press and Media. For review copies, links to the digital files should be requested from john@musicandmediaconsulting.com – (a small number of physical copies have been made and are available for reviewers not able to accept digital files).

Interviews with Vestard Shimkus can be quickly arranged if required.

Advertising is yet to be finalised.

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New CD & Download from MELISM Records – Christophe Sirodeau plays Brahms Intermezzi

PRESS INFORMATION

Christophe Sirodeau plays Bramhs Intermezzi
Catalogue Number: MLSCD022 Barcode: 3770004972470
Physical Distribution: Proper (UK); Socadisc (France); Tokyo M-Plus (Japan);
Opera CD (Greece) RoW: Naxos
Full Price – Digipak Release Date: 31st July 2020

Tracklisting

4 Klavierstück, Op.119 (I. Intermezzo, Adagio; II.Intermezzo, Andantino un poco agitato): 7 Fantasien, Op. 116 (IV. Intermezzo, Adagio; V. Intermezzo, Andante con grazia ed intimissimo sentimento; VI. Intermezzoi, Andantino teneramente; II. Intermezzo, Andante): 8 Klavierstücke, Op. 76 (III. Intermezzo, Grazioso; IV. Intermezzo. Allegretto grazioso): 3 Intermezzi, Op. 117 (I. Intermezzo, Andante moderato; II. Intermezzo, Andante non troppo e con molto espressione; III. Intermezzo, Andante con moto): 8 Klavierstücke, Op. 76 (VI. Intermezzo, Andante con moto; VII; Intermezzo, Moderato semplice): 6 Klavierstücke, Op. 118 (II. Intermezzo, Andante teneramente)

Concept Overview

Following his internationally acclaimed recordings of rare works by Samuil Feinberg, Viktor Ullmann and Hans Winterberg (among them several world premiere recordings), pianist Christophe Sirodeau now turns to Johannes Brahms, and presents here a selection of 14 Intermezzi, a journey both poetic and mesmerising.

Artist Biography

Christophe Sirodeau was born  in 1970 in Paris. As a pianist, he studied with at the Tchaikovsky Moscow Conservatory under Evgeny Malinin. Since making his performing debut in 1982, he has performed a broad variety of repertoire in concert, recordings and broadcasts, specialising somewhat in the presentation of rarely heard music (Ullmann, Feinberg, Skalkottas, Kapralova for example). In the 1990s he undertook significant scholarly and performing work concerning Samuil Feinberg which resulted in the composer’s 1st Piano Concerto and a number of unpublished songs and piano works coming to light and receiving their first performances and recordings since the 1930s, and in some cases, their world premieres.

Christophe Sirodeau writes in the CD booklet:

My first contact with Brahms at the piano took place a little before my thirteenth birthday, when I studied in detail the first two Intermezzi of Op. 119 that open this recording with the renowned Michelangeli pupil Alberto Neuman. It was also in that year that I discovered Julius Katchen’s legendary complete recording of Brahms’ piano works, and I had already encountered Pollini’s revelatory account of the Op. 34 Quintet with the Quartetto Italiano. Shortly thereafter, during my semi-annual consultations with my teacher Evgeny Malinin (who had been overseeing my piano studies since I was eleven and a half, and continued to do so until I entered his class at the Moscow Tchaikovsky Conservatory), I wanted to play these two Intermezzi to him. He refused to hear them, arguing that “music written by the composer on his deathbed” was not appropriate for an adolescent. This was immensely frustrating, as at that time I had decided that Brahms was my “best friend” at the piano. To my fascination with Brahms may also be attributed the opening of the door to other musical discoveries including Mahler and the Second Viennese School – central to my orientation as a young composer, which had previously been dominated by Chopin, Schumann and Debussy. 

But in fact, Brahms was far from his deathbed when he wrote these sublime pieces. After the disappointing episode with Malinin, my father gave me a comprehensive biography of the composer. This made it clear that the Klavierstücke Op. 116 to 119 date from 1892 and 1893 – not only five years before the composer’s death but also before that of the love of his life and recipient of the most intimate dedication of much of his music, Clara Schumann, who died in 1896. And the Op. 76 pieces date from 1871-78. Certainly, there is so much autumnal melancholy and a sense of gazing back over life in these pages that my teacher’s reaction is perfectly understandable. But here also is an abundance of light, calm, and serenity.

Previous Releases

MLSCD011        The Lost Works of Samuil Feinberg & Hans Winterberg
BIS 1413 CD     Samuil Feinberg Piano Sonatas 1 – 6
BIS 1414 CD     Samuil Feinberg Piano Sonatas 7 – 12

Marketing and Press

This new recording  will be fully serviced to all UK press and Media. Advertising will include appropriate publications.Christophe Sirodeau is available for interview.Review copies and inquiries about interviews can be requested from john@musicandmediaconsulting.com

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New CD & Download from pianist Mami Shikimori with the Wihan Quartet – Frank & Fauré Quintets – on Nimbus Alliance

NEW RELEASE INFORMATION FOR PRESS/MEDIA

Mami Shikimori (pno) & Wihan Quartet
Frank & Fauré Piano Quintets
Catalogue Number: NI6397 Bar Code: 0710357639722
Single CD/Standard Jewel Case
Release Date: 3rd July 2020  Physical Distribution: Naxos

Tracklisting

Franck: Piano Quintet in F Minor; Fauré: Piano Quintet No 1 in D minor, Op.89

Repertoire Information

Composed in 1879, the Piano Quintet in F minor by César Franck (1822-1890) belongs to the fruitful final period of his creative life.  It heralded the start of an impressive sequence of late orchestral and chamber pieces, including the Variations Symphoniques (1885), Violin Sonata (1886), D minor Symphony (1886-8), and String Quartet (1889), which set the seal upon his career.  The Piano Quintet was premiered in Paris on 17 January 1880 by the Marsick Quartet with Saint-Saëns at the piano at a promotion of the Societé Nationale, for whom Franck wrote several of his finest works.  The Quintet is conceived in cyclical form, a structural device favoured by the composer whereby a motif introduced in the first movement recurs in each of its successors.

During the last quarter of the 19th century and into the 1920s, it was Gabriel Fauré (1845-1924) who made the most substantial and lasting contribution to French chamber music.  Concentrating almost exclusively on works for piano and strings, he provided between 1876 and 1921 two examples each of the violin sonata, the cello sonata, the piano quartet, and the piano quintet; and during the remaining years to his death in 1924, a single piano trio and a single string quartet.

The genesis of Fauré’s Piano Quintet no.1 in D minor, Op.89 is rather convoluted.  His first idea for the work appeared in a sketchbook entry of 1887, where an outline of the finale’s main theme, in F major and in 2/4 time, was included among drafts of the ‘Pie Jesu’ from the Requiem. At this stage the composer was intending to write a third piano quartet and it was not until four years later that he resolved to expand the instrumental forces to a quintet.  Subsequently, progress on the score was painstaking and slotted in between work on other compositions.  Parts of two movements were sketched and then set aside.  He returned to the work in 1903 and finally completed the last of the three movements towards the end of 1905, ready for Eugène Ysaȳe, to whom the piece is dedicated.  The first performance took place in Brussels with the Ysaȳe Quartet and the composer as pianist in March 1906.

The booklet contains informative notes by Paul Conway – sections of which are included in this press release.

Artist Information

Described by the BBC Music Magazine, “strong and sensitive” and “dazzling”, Japanese pianist Mami Shikimori  has  performed at world-renowned concert venues including New York’s Carnegie Hall, Weill Recital Hall, London’s Wigmore Hall, Queen Elizabeth Hall, Cadogan Hall, St. John’s, Smith Square,  Bridgewater Hall and Tokyo’s Suntory Hall. Her third album “Tchaikovsky Piano Music” was recently released by Naxos in and it has received critical acclaim in the UK, Japan, France, Spain and the USA. Her recording is frequently broadcast on radio stations such as BBC Radio 3 and Classic FM and it has recently been featured in the Canadian radio programme “Women in music” on the Grand 101 as well as on Classic FM’s programme “Rarely heard gems”. Mami Shikimori was trained at the Royal College of Music in London.

Since winning the London International String Quartet Competition in 1991 the Wihan Quartet have developed an impressive international career, which includes visits to major festivals in Europe and the Far East. The Quartet celebrated its 30th anniversary in 2015 and its outstanding reputation for the interpretation of its native Czech heritage and of the many classical, romantic and modern masterpieces of the string quartet repertoire is widely acknowledged. The Wihan Quartet gave the first ever cycle of Beethoven Quartets in Prague, which was recorded and released on Nimbus Alliance, attracting excellent reviews from the press. Their recordings have been chosen as Recording of the Year by MusicWeb International and BBC Music magazine said their Dvořák Op. 61 recording was one of the finest encountered to date. The Wihan Quartet is a great supporter of the work of the CAVATINA Chamber Music Trust, which gives inspirational concerts and masterclasses to young people in many parts of the country.

For more information please visit www.mamishikimori.com and www.wihanquartet.co.uk

CD Launch Event

Mami and Wihan Quartet will mark the release of this recording with a launch concert provisionally on Friday 20th November 2020 (rescheduled from Saturday 4th July) at “The Warehouse”, 13 Theed Street, London SE1 8ST. Full details will be circulated as and when Covid-19 restrictions are improved.

Video Footage

A video recording of the third movement of the Franck Quintet (albeit with the previous cellist of the Wihan Quartet) can be viewed here:

 

Further Information for Editors

This new recording will be fully serviced to press/media – review copy requests should be directed to john@musicandmediaconsulting.com . Interviews with Mami Shikimori can be arranged quickly on request.

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New CD & Download from DANACORD – “Moszkowski Piano Works” performed by Etsuko Hirose

PRESS INFORMATION.

Moszkowski – Piano Works – Performed by Etsuko Hirose
Catalogue No.: DACOCD866  Bar Code: 5709499866009
Single CD/Standard Jewel Case/Full Price
Available Now – released March 6th, 2020
(UK Physical Distribution via Naxos)

Tracklisting

Valse op. 34-1; Barcarole aus Hoffmans Erzählungen (Offenbach – arr. Moszkowski); Zephyr op. 57-4; Liebeswalzer op 57-5; Isoldens Tod – Schluß Szene aus Tristan und Isolde (Wagner arr. Moszkowski); Étude op. 72-13; Zweigesang (Duo) op. 52-3; Die Jongleurin op. 52-4; En Automne op. 36-4;  Etincelles op. 36-6; Polonaise op. 17-1; Guitare op. 45-2; Caprice espagnole op. 37; Carmen – Chanson bohème (Bizet arr. Moszkowski)

Concept Overview

The great pianist Paderewski said: “After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique.” Presented here on this album, Etsuko Hirose showcases the wide range of the piano music by an extraordinary composer who was a star in his lifetime, but now in need of a romantic revival.

The CD booklet contains informative notes by Etsuko Hirose.

Composer Information

Moritz Moszkowski was born in Breslau (now Wroclaw, Poland) on 23 August 1854 in a well-off Jewish family. In 1865, the family moved to Dresden where Moritz showed his precocious talent for music. In 1869 he went to Berlin to study in the Stern Conservatory, then subsequently at Theodor Kullak Neue Akademie der Tonkunst, where he taught for over 25 years. A brilliant pianist, he began his career in Berlin in 1873 with great success and his reputation led to numerous tours all over Europe. His playing was not acrobatic, but he was a musician possessed of skills of incomparable delicacy, technical polish and a high sense of perfection of detail. Two years later, he played his concerto No.1 on two pianos with Franz Liszt who admired his talent. Although he won the warmest recognition from the Hungarian legend, he seems not to have been fully satisfied, and never published it (the manuscript was found 140 years later in an archive at the Bibliothèque Nationale de France). Later, when he had been asked to send the score of this concerto, he declined with humour for two reasons. “First, it is worthless; second, it is most convenient (the score being 400 pages long) for making my piano stool higher when I am engaged in studying better works.”

As a pretty good violinist, he often took the role of first violin in the Kullak Academy orchestra and had an honourable career as a conductor as well. An excellent teacher with a reputation for being extremely demanding, he had among his pupils Josef Hofmann, Wanda Landowska, Gaby Casadesus, Joaquin Turina and Vlado Perlemuter.

Although Moszkowski is more or less forgotten today, he was known as a highly respected and popular pianist-composer in the late 19th and early 20th centuries. Later, legendary pianists such as Josef Hofmann, Ignaz Friedman, Sergei Rachmaninov and Vladimir Horowitz frequently played Moszkowski’s works in their repertoire. Moszkowski kept his ideal and traditional aesthetic of the Belle Epoque throughout his life; his polished salon music, both for its glittering brilliance and its subtle expressiveness, reflects the grace and spirit of that period which offers enchanting moments that are life-enhancing.

Artist Biography

Born in Nagoya in Japan, Etsuko Hirose began studying the piano at the age of three. When she was only six, she performed Mozart’s Piano Concerto no.26 with orchestra. After pursuing her studies at the Ecole Normale de Musique de Paris and at the Conservatoire National Superieur de Musique et de Danse she has received the guidance of Alfred Brendel and other notables.

A prize-winner at prestigious international contests such as the Frederic Chopin Competition for young pianists (Moscow), the G. B. Viotti and the Munich ARD Competition, she won First Prize at the Martha Argerich Competition in 1999, which launched her solo career.

She is a guest at renowned venues in Germany, US, Argentina and Japan, and has been accompanied by numerous leading orchestras with distinguished conductors. Etsuko has also been invited to appear at many festivals in Europe and Asia). Her performances are regularly broadcast, notably on Arte, France 3, France Musique, Radio Classique, and the NHK.

She has recorded numerous discs for Denon, Mirare, Warner and Piano21. Her two most recent recordings were devoted to Lyapunov, with 12 Etudes d’exécution transcendante, and an album of piano duets with Cyprien Katsaris.

Her touch is quite magical, and her chords are always luminous. She plays with passion and clarity at the same time, always cognizant of where she is in a piece. Her Chopin is the work of a pianist with taste, technique, power, and perceptiveness. Dave Saemann, Fanfare Magazine

Marketing and Press

This new recording will be fully serviced to all UK press and Media. Review copies can be requested from john@musicandmediaconsulting.com – interviews with Etsuko can be quickly arranged if required.Due to the current situation, physical copies of the CD are not readily available, but digital files can be provided via a DropBox link on request.

Advertising will be in appropriate publications – initially BBC Music (May 2020).

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New CD/Download from OUR Recordings – Music for Violin & Guitar by Pablo de Sarasate & Niccolo Paganini – performed by Kim Sjøgren & Lars Hannibal

PRESS INFORMATION

Pablo de Sarasate & Niccolo Paganini – Works for Violin & Guitar
Performed by Kim Sjøgren (violin) & Lars Hannibal (guitar)
Catalogue No.: 8.226913  Bar Code: 636943691328
Single CD/Digipak/Full Price
Release Date 1st May 2020 (UK Physical Distribution via Naxos)

Tracklisting

Pablo de Sarasate: Carmen Fantasia op. 25; Zigeunerweisen op. 20; 4 Spanish Dances (Zapateado op. 23/Romance Andalouse op. 22/Spanish Dance no. 7 op. 26/Malaguena op. 21); Niccolo Paganini: Moses Fantasia on the G string; Cantabile; Centone di sonata no. 1 in A Major; Sonata Concertata in A Major; Romance (guitar solo); Moto Perpetuo op. 11

Concept Overview

The meeting of Violin and Guitar was a marriage made in heaven, but it took a virtuoso master on BOTH instruments to turn it into a continental craze! And who was that master? Niccolo Paganini. Surprised? While known as a mysterious fiddler of near-supernatural abilities, it was said he was an even better guitarist! All told, Paganini penned dozens of sonatas, Grand Duos and extravagant sets of variations for the combination, not to mention trios and quartets. Four years after Paganini’s death in 1840, the Spanish virtuoso Martín Melitón Pablo de Sarasate y Navascués was born. Even though Sarasate composed no original works for guitar, the instrument’s sound, and the rhythms and melodies of Spain inspired every page of Sarasate’s music. Listening to Lars Hannibal’s arrangements, you quickly forget the composer originally wrote the part for piano or orchestra!

Artist Biography

Violinist Kim Sjøgren and guitarist Lars Hannibal formed Duo Concertante in 1980. During the following 15 years the Duo played more than 1.000 concerts throughout Denmark and Europe. Duo Concertante’s 10th anniversary concert was held in Wigmore Hall in London. In addition to programming a rich variety of music, Sjøgren and Hannibal took a fresh approach to the standard classical concert format at the time, and casually engaged with their audiences with anecdotes and humour. Many established Danish composers wrote works for Duo Concertante, like Vagn Holmboe, Herman D. Koppel, Jørgen Jersild and Palle Mikkelborg. Altogether Duo Concertante recorded 10 CD’s, including 7 albums for EMI featuring music ranging from the contemporary works composed for the Duo as well as popular classics  and cross-over projects with artists from other genres. This openness towards genres inspired the duo to form the Birth of a Quartet in 1988 together with trumpet player and composer Palle Mikkeborg and double bass player Niels Henning Ørsted Pedersen, and a Trio with jazz violin player Svend Asmussen. Duo Concertante also recorded and toured with Danish pop singer Birthe Kjær.

KIM SJØGREN was born in 1955 and started playing violin at the age of 3. When he was only 12 years old, he was accepted as a student by The Royal Academy of Music in Århus, Denmark, where he had his debut appearance at the age of 17. After studying abroad for 3 years he joined the Royal Danish Orchestra, and at the age of 22 he became its concert master, the youngest ever in the history of the orchestra. Kim Sjøgren has recorded extensively on many labels, including his own But of Course label, both as a chamber musician with various ensembles, and as soloist with orchestra in the violin concertos by Carl Nielsen, Mozart, Beethoven, Max Bruch, Vivaldi’s The Four Seasons and his own violin concerto: Saxo Concerto. In addition to his violin concerto and other works for violin he has composed  music for film, TV and theatre. In 2004 Kim Sjøgren was appointed Professor of violin and chamber music at The Royal Academy of Music in Århus. Kim Sjøgren performs frequently throughout the world as a classical violin soloist and as a musical stand-up entertainer, combining humour and music.

LARS HANNIBAL was born in 1951 and began playing the guitar at the age of 15 as many others of his generation. He studied at The Royal Academy of Music in Århus from 1972-1980, which also included 3 years of lute studies with Toyohiko Satoh in The Hague. For seven years Lars Hannibal was also a teacher at The Royal Academy of Music in Århus. In 1991 he formed a duo with recorder virtuoso Michala Petri, with whom he still tours, and together they have recorded 7 albums. In 2004 Lars Hannibal launched an intercultural project with Chinese musicians under the name: Dialogue – East meets West. In 2006 he founded his own label OUR Recordings with Michala Petri. Lars Hannibal works as a chamber musician as well as an accompanist and performance partner with the famed Danish actress Ghita Nørby.

From 1980 to 1995, Kim and Hannibal, released ten CD’s. The track-list on this CD  features newly remastered selections from two of those legendary albums!

Marketing and Press

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Beethoven – A Chronological Odyssey – performed by Cyprien Katsaris on PIANO21 Records

Information for Press & Media – New CD and Download

Beethoven – A Chronological Odyssey –
Performed by Cyprien Katsaris

Catalogue No.: P21-060  Bar Code: 3770004972388
6 CD/Individual Card Sleeves in a box/Special Low Price
Release Date 1st May 2020 (UK Physical Distribution via Naxos)

Tracklisting

CD1: 9 Variations on a March by Dressler, WoO 63 (1782); Keyboard Sonata in E-Flat Major, WoO 47/1 (1782-83); 2 Preludes Through All the Major Keys, for Piano or Organ, Op. 39 (1789); Musik zu einem Ritterballet, WoO 1 – trans. Beethoven (1791); Piano Sonata No. 1 in F Minor Op. 2 No. 1 (1794); Alla Ingharese quasi un Capriccio (Rondo a Capriccio) Op. 129 (1795);CD2: Grande Sonate pour le Piano after String Trio in E-Flat Major Op. 3 – trans. Beethoven and/or Diabelli 1815 – (1796); Cello Sonata No. 2 in G Minor Op. 5 No 2 (1796) – trans Louis Winkler; Sonatina and Adagio (1796) for Mandolin and Harpsichord (1796) trans. Vladimir Mikhailovich Blok; Piano Sonata No. 5 in C Minor, Op. 10 No 1 (1795-1798); CD3: Piano Sonata No. 10 in G Major, Op. 14 No. 2 (1799); Septet in E-Flat Major for Violin, Viola, Clarinet, Horn, Bassoon, Violincello & Double Bass Op. 20 (1799) trans. Liszt; String Quartet No. 6 in B-Flat Major, Op 18 No. 6 (1799-1800) trans. Saint-Saëns; String Quartet No. 4 in C Minor, Op. 18 No. 4 (1799-1800) trans. Gustav Rösler; Violin Sonata No. 5 in F Major, Op. 24, “Spring” (1800-1801) trans. Winkler; Serenade in D Major for Flute, Violin and Alto Op. 25 (1801) – trans. Winkler; CD4: Piano Sonata No. 14 in C-sharp Minor, Op. 27 No. 2, “Moonlight” (1801); Violin Sonata No. 7 in C Minor, Op. 30 No. 2 (1802) – trans. Winkler; 7 Bagatelles, Op. 33 (1801-1802); 12 Contredanses for Orchestra WoO 14 (1802) trans. Ludwig or Kasper Karl von Beethoven; Piano Sonata No. 17 in D minor, Op. 31 No. 2, “The Tempest” (1802-1803); CD5: Violin Sonata No. 9 in A Major, Op. 47, “Kreutzer” (1803) – trans Czerny; Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata” (1804); Violin Concerto in D Major Op. 61 (1806) trans Franz Kullak/cadenza by Beethoven from Op. 61 a/111; CD6: 32 Variations on an Original Theme in C Minor WoO 80 (1806-1807); Fantasia for Piano Op. 77 (1809); March in F Major, WoO 18 (1st Version 1809); Piano Sonata No. 24 in F-Sharp Major, Op. 78 “A Thérèse” (1809); Piano Sonata No. 32 in C Minor Op. 111 (1821-1822); Symphony No. 9 in D Minor Op. 125 (1823-1824) trans. Wagner; String Quartet No 16 in F Major, Op. 135 (1826) trans. Mussorgsky; String Quintet in C Major (Sketch). WoO 62, Hess 41 (1826-1827) trans. Diabelli; Musikalischer Scherz, “Wir irren allesamt”, WoO 198 “Rätselkanon” (3 December 1826)

Concept Overview

In the 1980s, Cyprien Katsaris lit up the recorded music landscape with his recording for Teldec of the complete nine symphonies of Beethoven in the superlative transcriptions of Franz Liszt, a landmark undertaking. As a contribution marking the 250th anniversary of Beethoven’s birth, the Franco-Cypriot pianist is offering us another bold project, a six-disc box set dedicated entirely to the Master of Bonn. This chronological “Beethovenian Odyssey” is comprised of particularly rare original works and transcriptions. It begins and ends with his very first and last works, enabling us to steep ourselves in the world of Beethoven and, by virtue of the solo piano, to wander through forty years of a creative life that left a deep impression on the history of music.

The journey begins with the Variations on a Theme of Dressler, composed by a twelve-year-old adolescent, heavily influenced by Mozart and Haydn, followed by the very first sonata composed by Beethoven a few months later, not the Sonata in D Minor, Op. 2, No. 1,  written more than ten years later (also in this box set, further on), cited as the first in the catalogue of the composer’s works, but another, fairly short piece, in E-Flat Major, that of the future “Emperor”, the first of three “sonatas” composed between 1782 and 1783 and dedicated to the Prince-Elector of Cologne, Maximilian Francis of Austria. Then follows an almost unknown work, the Two Preludes Op. 39, surprisingly experimental. Throughout this box-set journey, Cyprien Katsaris has no qualms about visiting works that are seldom played, in keeping with the watchword for his Piano 21 label: he plays what he loves, with an ever-fresh sense of sharing and curiosity. Thus, he unveils for us a solo piano arrangement for the “Spring” and “Kreutzer” sonatas for piano and violin, the slow movements of the Sixth and Sixteenth Quartets of Saint-Saëns and Mussorgsky, and the slow movement of Ninth Symphony in Wagner’s arrangement.

These transcriptions also shed light on a number of major figures of the musical world of the 19th Century in Europe, sometimes forgotten (Louis Winkler, Gustav Rösler), sometimes neglected (Carl Czerny, Anton Diabelli) and attest to the radiant, irresistible aura of Beethoven’s genius for at least a century.

Cyprien Katsaris certainly shares quantities of unpublished material here, but he does not neglect the more renowned side of Beethoven’s works, including in this programme eight of the thirty-eight sonatas (not least the most famous “Clair de Lune”, “The Tempest” and “Appassionata”). Everything you ever wanted to know about the greatness of Beethoven but never dared to ask can truly be found here.

Extensive booklet notes are written by Cyprien Katsaris.

Artist Biography

Cyprien Katsaris, the French-Cypriot pianist and composer, was born on May 5th, 1951 in Marseilles. He first began to play the piano at the age of four, in Cameroon where he spent his childhood. He is a graduate of the Paris Conservatoire where he studied piano as well as chamber music. He gave his first public concert in Paris, at the Théâtre des Champs-Elysées on 8 May 1966.

His major international career includes performances with the world’s greatest orchestras.  He has collaborated with conductors such as Leonard Bernstein, Mstislav Rostropovich, Sir Neville Marriner, Sir Simon Rattle, Myung Whun Chung, Christoph von Dohnányi, Charles Dutoit, Antal Doráti, Ivan Fischer, and Nikolaus Harnoncourt to name just a few. In addition to his activities as a soloist he founded the “Katsaris Piano Quintet”. This has received a very enthusiastic response from both the press and audiences in the Americas, Europe and Japan.

Mr. Katsaris has recorded extensively for Teldec, Sony Classical, EMI, Deutsche Grammophon, BMG-RCA, Decca, Pavane, and now on his own label, PIANO 21. His discography consists of solo works by most of the greatest masters as well as works for piano and orchestra. In addition to the standard repertory, Cyprien Katsaris has recorded, as world premières, long lost works such as the Liszt/Tchaikovsky Concerto in the Hungarian style with Eugene Ormandy and the Philadelphia Orchestra, Beethoven’s own piano arrangement of his ballet The Creatures of Prometheus and Gustav Mahler’s original piano version of Das Lied von der Erde with Mezzo Brigitte Fassbaender and Tenor Thomas Moser.

Mr. Katsaris has been a member of the jury of numerous International Competitions.

He has also conducted many masterclasses all over the world.

For full details please visit www.cyprienkatsaris.net

Marketing and Press

This new collection will be fully serviced to all UK press and Media. Review copies can be requested from john@musicandmediaconsulting.com – interviews can be quickly arranged if required.

Advertising will include appropriate publications.

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New CD/Download from MELISM Records ” Nikos Skalkottas World Premiere Recordings 1949-2019″

New CD/Download – Press Release

Nikos Skalkottas – World Premiere Recordings 1949-209
Performed by Little Symphony Orchestra of San Francisco cond. Gregory Miller; Angelica Cathariou; Tota Economos; Nina Pissareva-Zymbalist; Nikolaos Samaltanos; Christophe Sirodeau
Catalogue Number: MLSCD025 Barcode: 3770004972371
Physical Distribution: Proper (UK); Socadisc (France); Tokyo M-Plus (Japan); Opera CD (Greece) RoW: Naxos
Release Date: Available Now in UK, France, Greece, Japan and May 1st everywhere else

Tracklisting
Suite (1929) for violin and piano AK 23 [version for violin and piano by the composer] – Nina Pissareva-Zymbalist (vln) and Nikolaos Samaltanos (pno) Recorded 2019; Three Songs for Mezzo Soprano and Piano: On The Beach (1946) AK 89a/The Music (1946) AK 89/Once Upon a Time (1938) AK 81 – Angelica Cathariou (mezzo) and Nikolaos Samaltanos (pno) – Recorded 2017; The Return of Odysseus (1944-45, 1949) AK 5a Overture for Great Orchestra [original adaptation for two pianos by the composer] – Nikolaos Samaltanos & Christophe Sirodeau – Recorded 1994/Re-edited & mastered 2018; Twelve Greek Dances (1931-1949) AK 11 for orchestra [from the 36 cycle of dances] – Little Symphony Orchestra of San Francisco conducted by Gregory Miller – Recorded in 1957 – 1st release in real stereophonic sound; Sifneikos I (1946-47) (AK 11b) AK 76; Ipirotikos I (1946-47) (AK 11b) AK 76 [original adaptation for piano solo buy the composer] – Tota Economos (pno) – Recorded 1949 and is the first know recording of a Skalkottas work

Concept Overview

This album presents a selection of world premiere recordings of music by Nikos Skalkottas, the most important Greek composer of the first half of the 20th century. Skalkottas was described by the famous critic and musicologist, Hans Keller, as one of the four “S” of modern music, together with Schoenberg, Stravinsky and Shostakovich.

Presented on this CD is the first ever recording of a work by Skalkottas, the two Greek Dances recorded in 1949 in Paris by the pianist Tota Economos in the French Radio studios. The famous recording of the Twelve Greek Dances (from the 36 Dances cycle) was made in 1957 – until now only available as a monophonic recording and now released here in real stereophonic sound.  The Suite for Orchestra was composed in 1929 in Berlin – but the original score was lost in the composer’s hasty departure from Berlin in 1933. This version is using a recently found score in America and now published by the Hellenic Music Center in Athens (which possesses the totality of Skalkottas’s manuscripts). The Return of Odysseus, for two pianos was recorded in 1994 in the Great Hall of the Moscow Conservatory – the version here uses a revised score from 1995.

These recordings feature Angelica Cathariou, Nina Pissareva-Zymbalist, Nikolaos Samaltanos and Christophe Sirodeau have all taken an important part in the first complete recording of Skalkottas’s music, which has been universally acclaimed.

Artist Biographies

Nina Pissareva-Zymbalist studied at the Tchaikovsky Conservatory in Moscow.  in the classes of Masters Andrei Korsakov, Yuri Tortchinsky and Zoria Shikmourzayeva. She was the interpreter of the world premiere of the First Violin Sonata by the famous pianist and composer Samuil Feinberg (1890-1962). Alongside the violinist Eichii Chijiiwa, she recorded for the Scandinavian label BIS Records “the Concerto for two violins” by Skalkottas. She is involved with numerous chamber ensembles and works regularly in various orchestras such as the Paris Opera orchestra, the Ile-de-France national orchestra, the Rouen Opera. Since 2006, she has held a position as a tutti violin with the Marseille Philharmonic Orchestra.

Nikolaos Samaltanos was born in Athens and studied the piano under Ivi Deligianni, Aliki Vatikioti, Evgeni Malinin and György Sebök. His name is associated with the presentation of the music of Nikos Skalkottas in concert; his recordings on BIS include critically acclaimed accounts Skalkottas’s solo piano works and a disc of Skalkottas songs that won the Gerald Moore Prize of the Académie Française du Disque Lyrique.

Athens-born mezzo soprano Angelica Cathariou received her piano soloist diploma and singing diploma with Honours, awarded unanimously, from the Athenaeum-Maria Callas Conservatory. With a scholarship from the Onassis Foundation she pursued further studies in Italy, under the guidance of Arrigo Pola and Renata Scotto, and in the United Kingdom.

She sings a wide range of operatic and symphonic repertoire and has appeared at prestigious venues around the world with many world class orchestras and conductors. She also performs extensively in numerous concerts of contemporary music. Her recordings include the world premiere of N. Skalkottas’s 16 melodies (BIS), De Falla’s El Amor Brujo (Naïve), Schubert’s Messe Es-Dur, works by M. Adamis (Naxos) and Clotilde Rosa as well as the music of Alexandre Desplat for the film 11’09″01 New York September 11.

Christophe Sirodeau (born 1970 in Paris) is a French pianist and composer. As a pianist, he studied with at the Tchaikovsky Moscow Conservatory. Since making his performing debut in 1982, he has performed a broad variety of repertoire in concert, recordings and broadcasts, specialising somewhat in the presentation of rarely heard music (Ullmann, Feinberg, Skalkottas, Kapralova for example). In the 1990s he undertook significant scholarly and performing work concerning Samuil Feinberg which resulted in the composer’s 1st Piano Concerto and a number of unpublished songs and piano works coming to light and receiving their first performances and recordings since the 1930s, and in some cases, their world premieres.

Gregory Millar (1925-2002) came to real prominence when hired by the Kalamazoo Symphony as Conductor and Music Director in 1961. He was already known in California and New York music circles as a conductor, an operatic tenor, and a violinist. He had been a musical polyglot all his life, taking up the violin at age 5.  Gregory supported himself through school and college by playing sax, clarinet, trumpet and bass in various bands. Born and raised in Prince Albert, Saskatchewan, Canada, Gregory was the son of a Greek immigrant  father, and a French-Canadian mother who was a pianist, and Millar’s first teacher. A land mine incident ended Gregory’s World War II service in the Canadian army, he returned to school, and his first love – music. At the University of British Columbia in Vancouver, Millar organized the university’s first symphony orchestra.

It was in 1945 that conducting superstar Leonard Bernstein was in Vancouver and saw him conduct. He encouraged Millar to go into music as a career.   Bernstein later remarked in a TIME Magazine article in 1960, that he could “smell a conductor” when asked about his meeting Millar for the first time.  After a post as assistant conductor in St. Louis, he went to San Francisco in the early 1950s, and started the San Francisco Little Symphony.  Gregory Millar’s next career move was to New York City to become one of three assistant conductors to Leonard Bernstein and the New York Philharmonic in 1960.  Millar was in the audience in Carnegie Hall one evening when Maestro Bernstein became ill.  Millar was summoned backstage to be handed the baton from Bernstein, requesting that he conduct Schumann’s Symphony No. 4, the final piece on the program.

Marketing and Press

This new collection will be fully serviced to all UK press and Media. Review copies can be requested from john@musicandmediaconsulting.com

Advertising will include appropriate publications.

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