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).

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

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

This new compilation 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.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

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.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

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.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

New CD/Download from Camerata Romeu “La Bella Habana”

New CD/Download – Information for Press and Media

Catalogue Number: CLL003 Barcode: 4038912426805
Physical Distribution: Proper (UK); Pool Music (Germany); Naxos (RoW)
Release Date 24 April 2020
Single CD/Standard jewel-case/Card Slipcase
Full Price

Tracklisting

José White: La Bella Cubana (arr. Zenaida Romeu); Moisés Simons: Chivo Que Rompe Tambo (arr. Zenaida Romeu); Publio Medina: Cuan Hermosa Naturaleza (arr. Yadira Cobo); Astor Piazzolla: Libertango (arr. Yadira Cobo); Eduardo Gamboa: Canambu; Guido Lopez-Gavilán: Camerata En Guaguanco; Carlos Fariñas: Final Obligado; Ricardo Herz: Gil Y Hamilton; José White/Guido Lopez-Gavilán/M. Romeu: La Bella Habana

Composer Information

Composer José White (1836-1918), born in Cuba, was a noted virtuoso violinist.  He was a close friend of Louis Gottschalk. White soloed with the New York Philharmonic in 1875, and, according to Dominique-Rene de Lerma, was superior to such famous violinists of that day. “La Bella Cubana” was the most popular Cuban composition in the late 19th Century.

Moisés Simons (1889-1945) was born in Havana and  was a leading composer, pianist and orchestra leader. He was the composer of El Manisero (The Peanut Vendor) considered by many to be one of the  most famous pieces of music created by a Cuban musician and has since been recorded by other musicians from around the world hundreds of times.

Cuban guitarist, bassist and composer, Publio Medina (b1944), has developed his professional career as part of various Cuban music groups and as part of different jazz bands. In 1980 he began his work accompanying on guitar various singers. In his work as an orchestral musician he has participated in multiple shows in cabarets and musical shows, as well as radio and television programs. His composition featured on this CD, Cuan Hermosa Naturaleza, originally composed for guitar, was orchestrated for the Camerata Romeu by Yadira Cobo who was a member of the Camerata.

Argentinian musician, Astor Piazzolla (1921-1992) is probably one of the best-known Latin American composers, who revolutionised the Tango genre – Libertango composed in 1974 is probably his most recorded piece.

Mexican composer Eduardo Gamboa (b1960) Graduated from Trinity College of Music in London, Gamboa has been entirely dedicated to composition since 1985. His work includes concert music, both chamber and symphonic, as well as a vast production of music for cinema and theatre.

The Cuban composer and conductor Guido LópezGavilán (b1944) graduated in 1966 from the choral conducting program at the Amadeo Roldan Conservatory in Havana and in 1973 from the Orchestral Conducting program at the Tchaikovsky Conservatory in Moscow.

Carlos Fariñas (1934-2002) was a Cuban composer. He was one of the most important masters of the Cuban avant-garde in the 1960s along with Leo Brouwer and others.  In 1956 he attended to the courses taught by Aaron Copeland at Tanglewood Music Center  in the United States. Between 1961 and 1963 he studied at the Tchaikovsky Conservatory in Moscow. Fariñas also composed in several styles from traditional symphonic music to computer music. In 1989 he created the Electroacoustic and Computer Music Laboratory at the Art Superior Institute in La Habana, Cuba.

Ricardo Herz (born 1978) is a violinist from São Paulo, Brazil. He is a classically trained musician, and additionally received training in jazz at Berklee College of Music in Boston. Herz’s repertoire is extremely rich in instrumental Brazilian melodies and ranges from North-eastern rhythms to choro, samba and its multiple variations.

Artist Information

Camerata Romeu are unique.

They are a young, all-female, 18-piece string orchestra from Cuba. Formed by the renowned conductor Zenaida Romeu in 1993, Camerata Romeu specialise in the performance of chamber works from across Latin America – but especially from Cuba. Over the years, Camerata Romeu has had a huge number of members – for many it was their first experience of being a member of a professional chamber orchestra. In addition, every concert is performed from memory, without the score.

Belonging to the third generation of a family of remarkable Cuban musicians Zenaida Romeu received piano lessons from her mother Zenaida Romeu, as well as Choral Direction with the Hungarian teacher Agnes Kralovszky and Orchestral Conducting with Gonzalo Romeu, becoming the first woman to graduate with Orchestral Direction at the Higher Institute of Art of Cuba in 1983. She received master classes with professors Olaf Koch and Gert Frishmuth, in Cuba and Germany.

She has combined her artistic activities with her teaching skills at the Higher Institute of Art of Havana and has given master classes in Choral and Orchestral Conducting, as well as lectures on Cuban music in Spain, Mexico and the US. She has also presented the “Other Times” program about music on Cuban TV for more than a decade.

In 1990 and 1992 she resided in Spain giving master classes of Choral Direction in Vigo. She then returned and founded a Chamber orchestra with the name of her maternal family, Romeu, in 1993 to pay tribute to the two generations of musicians before her of great prestige on the island,  under the sponsorship of the Pablo Milanés Foundation, and dedicating itself to the recognition and promotion of Cuban and Latin American music. She has directed all the Cuban orchestras and has been guest director of the National Philharmonic of Cuba, at the head of which she made several National Tours. Founder of the Orchestra of the Higher Institute of Art, she has also directed the Bard University orchestra and the Winston Salem Youth Orchestra in North Carolina. As a conductor she has conducted symphony orchestras not only in Cuba but also in the US, Nicaragua, the Dominican Republic and Canada.

In January 2020, it was announced that Zenaida Romeu has been awarded “The Golden Baton”  by the Institute of Latin Music (the Batuta Award is effectively the Latin equivalent of the Grammy’s) for services to music. Only two Cubans have received this accolade previously.

For more detail please visit http://www.camerataromeu.com

Cugate Classicos Latinos are pleased to announce that Camerata Romeu will be one of the featured showcases at Classical:NEXT http://www.classicalnext.com in Rotterdam in May 2020. Other concerts are being arranged in Europe and further dates are in preparation for 2021.

Classical:NEXT is the key annual international gathering for professionals engaged in the classical music business – including record labels, music publishers, artist managers, tour promoters, festivals, concert venues, educational establishments, composers, ensembles and performers from all over the world.

For Future Release

In January 2020, Camerata Romeu gave an open-air night-time concert from the rooftop of the Gran Hotel Manzana Kempinski in Havana, against the backdrop of the newly renovated and illuminated Capitolio Building and the Museo Nacional de Bellas Artes de Cuba, in front of a specially invited audience – among them ambassadors from France, Turkey, Norway, Kuwait, Qatar, Belgium and Switzerland – and many other notable dignitaries.

This concert has been filmed by Cugate Classicos Latinos and will be available for HD Broadcast and commercial release in due course.

Further Information

For more information about Cugate Classics please visit http://www.cugate-classics.com

Note for Editors & Journalists

“La Bella Habana” will be fully serviced to key press/media. Please request a physical review copy or a link for digital files if preferred via email to john@musicandmediaconsulting.com – likewise for interview requests with Zenaida Romeu.

 

An Introduction

.

 

An Interview with Maestra Zenaida Romeu
 

Concert at the 500th birthday of Havana

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

Eleanor Meynell “Piano Music from Leipzig” – In Concert

Eleanor Meynell will launch her new CD with a concert at Burgh House in London on Wednesday 27th November 2019. Press  tickets  are available from john@musicandmediaconsulting.com
The original press release for the CD is included below and review copies are still available.

Book tickets via:
https://www.eventbrite.co.uk/e/piano-music-from-leipzig-a-piano-soiree-with-music-by-bach-mendelssohn-tickets-73791938675

CD & Download – Information for Press and Media

Composers: J. S. Bach, Felix Mendelssohn, Niels Gade & Johannes Brahms
Title: Piano Music from Leipzig
Artist: Eleanor Meynell
Catalogue No.: MMC125 Bar Code: 5065001668258
Release Date:   Available Now
UK Distribution: Naxos (UK) and Naxos (RoW)
Format: Single CD/Standard Jewel Case Price Point: Full

Tracklisting

J. S. Bach: Chromatic Fantasy and Fugue in D minor; Felix Mendelssohn: Songs Without Words (selection) Op. 19 No. 1 in E major; Op. 19 No. 3 in A major; Op. 19 No. 6 in G minor; Op. 67 No. 2 F# minor; Op. 102 No. 5 in A major: Edvard Grieg: Lyric Pieces Op. 38 Berceuse; Op. 38 Folk Song; Op. 38 Melody; Op. 38 Halling; Op. 38 Spring Dance; Op. 38 Elegy; Op. 38 Waltz; Op. 38 Canon; Niels Gade: 4 Folk Dances Op. 31 No. 1 Moderato; Op.31 No. 2 Allegretto vivo; Op. 31 No. 3 Molto vivace; Op. 31. No. 4 Allegro non troppo; Johannes Brahms: Scherzo Op. 4 in E flat minor

Project Concept Information

 

Situated on the intersection between two major medieval trade routes, Leipzig became one of the most important cultural cities in Europe, famous for its music and publishing houses. Many great composers flourished writing for its churches, publishers and musical amateurs, and this piano recital illustrates what a rich diversity of music was born here.

Leipzig’s most famous resident, J. S. Bach,  settled here in 1723 having accepted the job that Telemann turned down, the Kantor at St. Thomas’ where his duties were to compose music for  the four churches of Leipzig and rehearse and train the choirboys. The Chromatic Fantasy and Fugue probably dates from 1726 and is exceptionally daring and surprising in its use of chromaticism.

Felix Mendelssohn was an all-round musician – pianist, conductor, composer, educationalist, philanthropist and even an impressive watercolourist. An extremely active member of the community and a family man, he not only founded and organised funding for a new conservatoire in Leipzig but was also responsible for spearheading the movement that rediscovered the works of Bach, the composer whose music he made it his personal  mission to revive. His musical achievements left an enduring mark on the city, as had those of Bach before him. He directed the  Gewandhaus Orchestra, toured as a brilliant concert pianist and was of course a child prodigy composer.

Edvard Grieg’s formal musical education was at the Conservatoire in Leipzig where he studied with Niels Gade whom he greatly admired. It was Gade who encouraged him to write his first symphony and who enthused about his first steps in chamber music.

Niels Gade was an internationally renowned composer, violinist, educator and administrator in his day, although today he is barely recognised. He started composing in his teens and wrote many chamber works and piano pieces, including his first Symphony which he sent to Mendelssohn, who was at the time the conductor of the Leipzig Gewandhaus Orchestra. Mendelssohn was so impressed  that in 1843 he invited Gade to come to Leipzig to be his assistant conductor and to teach at his newly founded conservatoire. After Mendelssohn’s death in 1847, Gade had become well established and took over as the principal conductor of the Gewandhaus orchestra.

Although Johannes Brahms spent much of his professional life in Vienna, he was introduced to the musical scene in Leipzig by a friend of Robert Schumann and began to give piano recitals in the city. Schumann helped promote the young Brahms by writing him a glowing reference in the press, and so he succeeded in getting his first piano compositions published there.

Eleanor Meynell recorded these pieces using a Feurich piano which dates from 1909 (Nr. 201426) from Leipzig. Researches indicate that it must have come over from Germany shortly after the Second World  War as it was bought by Joy Bennett, Eleanor’s late mother-in-law in 1954. Perhaps the piano arrived in  Hampstead as the instrument of an exiled Jewish family? We can only guess. What we do know is that it was refurbished in 1954/55 when it was bought and then again in 2013 by Hilary Martin.

Julius Feurich started his piano manufacturing company in 1851 in Leipzig. He came from a family of harpsichord and specialist  piano makers building up a huge business empire supplying grand and upright pianos  all over Europe and to Chile and  Brazil. By the 1940’s their position in  the market took a downturn, grand pianos simply becoming too expensive to make during and after the war.

Artist Information

Eleanor Meynell won a scholarship to Chetham’s School of Music at the age of  11 where she studied with Heather Slade Lipkin and Ryzsard Bakst. During her time there she was a prize-winner in several national and international competitions and won Bromsgrove Young Musician of the  Year aged 15. She also was awarded both ARCM and LGSM diplomas while still at school.

Eleanor has broadcast as a soloist and chamber musician on BBC Radio 3, Classic fM and Radio Belfast, and is currently on the staff at Trinity Laban College of Music and Goldsmiths College where she accompanies and coaches. As well as  singing in the Monteverdi Choir, she also  plays for auditions and masterclasses for  John Eliot Gardiner and is a mentor on  the apprenticeship scheme. She made her Wigmore Hall debut in 2015 playing with several members of the Monteverdi Choir in music by Schubert and Brahms which received critical acclaim in The Times.

She has recently performed Beethoven 4th  and Grieg Piano concertos, and future plans  include performances with her piano quartet  as well as Saint-Saëns’ Carnival of the Animals with the London Mozart Players.

She plays for many young aspiring singers  and instrumentalists and recently formed the  St Bart’s Piano Quartet with players  from the LSO with whom she has begun to build a chamber music series where she  lives in Sydenham.

http://www.eleanormeynell.com

Marketing/Press Activity

“Piano Music from Leipzig” will receive a full service to relevant press/media.

For review copies and any further information, please contact John Cronin at Music & Media/MMC Recordings (via john@musicandmediaconsulting.com), which is a division of Music and Media Consulting Limited.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

New CD/Download from OUR Recordings – Bach Flute Sonatas – Performed by Petri, Perl & Esfahani – PRESS RELEASE

PRESS INFORMATION

Bach Flute Sonatas BWV 1030 – 1035
Performed by Michala Petri (recorder), Hille Perl (viola da gamba),
Mahan Esfahani (harpsichord)

Catalogue No.: 6.220673  Bar Code: 747313167364
Super Audio/Single CD/Digipak/Full Price
Release Date 8th November 2019
(UK Physical Distribution via Select/RoW via Naxos)

Tracklisting

J. S. Bach: Sonata in B Minor BWV 1030 for alto recorder, concertato harpsichord and viola da gamba; Sonata in E flat major BWV 1031 for tenor recorder, concertato harpsichord and viola da gamba; Sonata in G major BWV 1032; Sonata in C major BWV 1033 for tenor recorder and basso continuo; Sonata in G minor BWV 1034 for alto recorder and basso continuo (original key E minor);Sonata in F major BWV 1035 for alto recorder, and basso continuo (original key E major)

Concept Overview

Unlike the other landmark collections that came from Bach’s pen, the six flute sonatas all appear to have been “one offs” with no particular plan for publication as a set. Further, in contrast to the collections for solo strings, Bach’s chamber music for flute was written comparatively late in his career, the earliest, the Sonata in E minor BWV1034, probably a product of Bach’s early Leipzig years (mid-1720s) and the latest, the Sonata in E major for flute and continuo BWV1035, is believed to have been written during the last decade of composer’s life for Frederick the Great.

In honour of OUR Recordings’ 40th Release, Michala Petri could scarcely choose a more exciting program than a return visit to Bach’s Flute Sonatas; Michala’s famous 1992 recording with Keith Jarrett has long since attained legendary status.  Just as her collaboration with Jarrett unveiled a ‘new-born’ approach to Bach, this new recording is likewise revelatory and… transcendent. Joining Michala on this journey is an early music dream team: harpsichordist Mahan Esfahani, rightly regarded as one of the fiercest of the younger generation of clavecinistes, playing his new Jukka Ollikka harpsichord, and Hille Perl, one of the world’s leading and most beloved viola da gambists rounding out the continuo unit.

As we’ve come to expect from OUR Recordings, the sonics and packaging are extraordinary, thanks to the producer Preben Iwan and booklet notes by Mahan Esfahani. This new recording of the Bach “Flute” Sonatas is destined to become a reference edition of this famous works

Artist Biography

For 50 years, Michala Petri has been one of the most universally recognized and beloved recorder players in the world. She has performed almost 5.000 concerts and has a discography of more than 70 critically acclaimed and award-winning recordings. Michala Petri was born in Copenhagen, Denmark, on July 7, 1958 to musical parents. A child prodigy, she first picked up a recorder at the age of three and by the time she was ten, she made her concerto debut in Tivoli Concert Hall and began her formal studies at the Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad.

Her repertoire spans the Baroque, Classical, and Romantic eras and extends into contemporary and improvised music and multi-media. This versatility, together with a flawless technique, an insatiable curiosity, and the ability to make an emotional connection with her audiences has contributed to her special appeal as an artist. Her list of collaborators reads like a ‘Who’s Who’ of late 20th century classical music, including such legendary artists as Sir Neville Marriner, Claudio Abbado, Sir James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukerman, Maurice Andre, Joshua Bell, Mahan Esfahani, Hille Perl and Keith Jarrett.

From her youth, Petri was fascinated with the musical potential of her chosen instrument, however, at the time of her studies the recorder was considered mainly an instrument for Early Music. But gradually, contemporary composers began taking interest and through Petri’s prompting – and virtuosity – started composing works for her. The first work dedicated to her when she was just 6 years old, was “To Play for a Child” by the multi-faceted Danish Fluxus artist Henning Christiansen. Petri has constantly sought new ways to expand her musical horizons and explore creative musical dialogues with other genres and cultures, often performing with musicians outside the Baroque and Classical music scene such as her longstanding relationship with many of the finest members of the Scandinavian jazz and improvised music scene. Her innovative collaboration with famed composer/trumpet player Palle Mikkelborg, “Going to Pieces – without falling Apart” for recorder, harp (Helen Davies) and strings was a major statement as a Crossover/World Music/Indie album.

Hille Perl is widely regarded as one of the leading exponents of the seductive arts of viola da gamba performance. Born in Bremen Germany into a musical family already predisposed to early music, her decision to  play the gamba after attending a Wieland Kuijken concert when she was 5 years old is hardly surprising. She studied with Niklas Trüstedt (Berlin) and with Pere Ros and Ingrid Stampa (Hamburg), earning her degree in 1990 at Bremen’s Academy for Early Music, where she studied with Sarah Cunningham and Jaap ter Linden.

Following her graduation, Perl steadily built her career and reputation throughout Europe, and soon began appearing on recordings. Among the earliest was a 1997 Deutsche Harmonia Mundi CD, “Retrouvé & Changé”, a program of works by the mysterious Sieur de Sainte-Colombe. Perl’s rich, warm tone and attention to “rhythmic interest on an instrument whose deep sonorous voice can result in rather monochromatic listening” set her apart from many of her gifted colleagues. Around this time Perl and Lee Santana (who plays the lute, theorbo, chitarrone, and Baroque guitar) released several projects as part of harpist Andrew Lawrence-King’s Harp Consort, including the classic “Spanish Dances.” Inspired by the opportunity to explore Latin aspects of early music performance, Hille and Santana formed their own performing unit “Los Otros” (The Others) in 2001. Their first recording, “Tinto”, a collection of works by Kapsberger, Corbetta, and others, appeared on RCA Special Imports in 2003. In 2004 Perl released one of her most acclaimed recordings, “Marais’ Pour La Violle”, with Santana, on Deutsche Harmonia Mundi (DHM). Perl and Santana also formed another ensemble, the Age of Passions with violinist/conductor Petra Müllejans and flutist Karl Kaiser joining them.  She has made two recordings of gamba concertos with the Freiburger Barockorchester and recorded two solo CDs of the Sonatas by Johann Sebastian Bach. The adventurous Perl has also recorded on an electric viol featured on the 2014 album “Born To Be Mild” in 2014 and two CDs of ancient and contemporary music about the “Elements” in 2015 and “The Four Season” in 2016 with her daughter Marthe, a talented gambist in her own right.

Hille Perl’s busy concert schedule includes appearances at many of Europe’s major Music festivals. Her recordings for DHM Sony have earned wide critical acclaim and many prizes, including 4 German ECHO Klassik Awards and a Deutsche Schallplattenpreis. In 2017, Perl had her on-screen acting debut in Academy Award-winning Austrian director’s grim family drama/social commentary film, “Happy End.”

Since 2002, Hille Perl has taught viola da gamba at the Hochschule für Künste in Bremen. When  not on tour Perl lives on a farm in northern Germany with her family and some sheep, geese, chickens, three cats and two dogs, lots of trees and grows vegetables.

Harpsichordist, organist, scholar and musical gadfly Mahan Esfahani stands in the vanguard of the new generation of performers liberating instruments previously regarded as the provenance of the early music specialists and bringing them into 21st century concert halls with music to match.

Esfahani was born in Teheran in 1984 and raised in the United States. His first exposure to the sound of the harpsichord came from a bunch of cassettes an uncle had given him. Esfahani remembers: “One was of Karl Richter [the German conductor and harpsichordist] playing Bach. Well, I listened to it, and I thought: ‘This is what I’ve got to do.’ True to his word, he studied musicology and history at Stanford University and later, travelled to Boston where he studied harpsichord with Peter Watchorn before completing his artistic apprenticeship under the celebrated Czech harpsichordist Zuzana Růžičková.

Following his tutelage, Esfahani travelled to London to perform at a private event. This performance would be the first in a series of fortunate events moments for the young artist, for as it would happen, a staffer from the BBC was there and was impressed enough with Mahan to set the wheels in motion. In 2008 Esfahani became the first harpsichordist to be named a BBC Radio 3 New Generation Artist (2008-2010). Following a three-year stint as Artist-in-Residence at New College, Oxford, Esfahani continued to cultivate his academic associations, becoming an honorary member at Keble College, Oxford, and receiving a professorship at the Guildhall School of Music and Drama in London, but it is Esfahani’s work as performing artist and commentator that propelled him to the forefront of the classical music world. His creative programming and advocacy of new works have drawn the attention of critics and audiences across Europe, Asia, and North America, earning him numerous accolades including the Borletti-Buitoni prize (2009), and thrice a nominee for Gramophone’s Artist of the Year (2014, 2015, and 2017).

Esfahani has performed solo recitals in most of the world’s major series and concert halls, amongst them London’s Wigmore Hall and Barbican Centre, Oji Hall in Tokyo, the Forbidden City Concert Hall in Beijing, Shanghai Concert Hall, Sydney Opera House, Melbourne Recital Centre, Lincoln Center’s Mostly Mozart Festival, Berlin Konzerthaus, Zurich Tonhalle, Wiener Konzerthaus, San Francisco Performances, the Edinburgh, Aspen and Aldeburgh Festivals, and the Leipzig Bach Festival. As satisfying as solo performances are, Esfahani takes particular pride in showcasing his instrument in the concerto repertoire and has appeared as soloist with the Chicago Symphony, Seattle Symphony, Orpheus Chamber Orchestra, BBC Symphony, Royal Liverpool Philharmonic, Melbourne Symphony, Auckland Philharmonia, Czech Radio Symphony, Orquesta de Navarra, Malta Philharmonic, Aarhus Symphony Orchestra, Hamburg Symphony, Munich Chamber Orchestra, Britten Sinfonia, the Royal Northern Sinfonia, and Los Angeles Chamber Orchestra, with whom he was an artistic partner for 2016-2018.

His richly-varied discography includes three critically-acclaimed recordings for Hyperion – the C.P.E. Bach Württemberg Sonatas, a 2014 Gramophone Award winner, and the Complete Pièces de Clavecin of Rameau which was both nominated for a Gramophone Award and included on the New York Times Critics’ List of Top Recordings of 2014. His first album for DG, Time Present and Time Past, earned a ‘Choc de Classica’ in France, while his 2016 release of Bach’s Goldberg Variations was named to the long list for the Preis der Deutschen Schallplattenkritik and won the BBC Music Magazine 2017 Instrumental Award. Esfahani’s work as a chamber music partner have proven equally magical, his 2016 recording of Corelli’s Op. 5 Sonatas in period arrangements for recorder with the legendary Michala Petri –  a particularly important duo to his own heart – was awarded an ICMA Award in 2016.

The Instruments

The many ongoing developments of the recorder as an instrument (also) of today for modern music gives the performer equally many choices. One option when playing Bach is of course to use exact copies of Baroque instruments, another is, with the Baroque sound in mind, to use instruments developed for doing bigger dynamic changes, adaptive for the larger concert halls, contemporary music and the generally louder level of life today.

For this recording Michala chose the following instruments – Tenor recorders Moeck Ehlert tenor, developed by Ralf Ehlert, in Grenadill or Maple. Mostly for the slow movements with wish for variations in tone-colourings and dynamic changes. Two different Moeck Rottenburgh in Grenadill (the first tenor recorders she bought as a young student) for the fast and more light running movements. Alto recorders Moeck Ehlert in Boxwood and Grenadill Mollenhauer Modern Recorder in Ebony and Palisander.

The Viola da Gamba, Matthias Alban 1686  was discovered in 1952 in an Austrian Convent. It came into the hands of an amateur viola da gambist who had it restored by Ingo Muthesius, a well-known luthier specializing in old viols. While not catastrophically damaged, Muthesius replaced the neck, retaining the original lion’s head scroll and peg box. The body is completely original, even though the original apple-wood back and sides have acquired a few minor cracks over the centuries. The instrument is unique in that to date, no sister instrument has been found, unusual since viols were often produced in consorts or multiples, but research has found the top-wood corresponds with surviving violins from the Alban workshop in Bozen, where he had his workshop together with his two sons until the year 1712. The instrument was bequeathed to Hille in 2004 by the owner. The instrument currently has a new bridge and fingerboard, made by Claus Derenbach in Cologne.

The harpsichord has been designed and constructed by Jukka Ollikka in Prague 20172018. Compass: EE-f3. Disposition: 2 x 8’+ 4’+ 16’. Buff stops on lower manual 8’ and 16’. Inspired by the Michael Mietke instrument signed ‘Berlin 1710’, this harpsichord has a carbon fibre composite soundboard which increases the tuning stability and makes it louder than an instrument made with traditional materials, and thus more suitable for modern concert halls.

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 can be quickly arranged if required.

Advertising will include BBC Music and others.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

Juan Martín Update – BBC R3 “In Tune” and new Concert Dates Announced

Juan Martín Update
Juan Martin was a guest on BBC R3 “In Tune” on Tuesday 30th July 2019 – interviewed by Katie Derham. The programme is available on BBC Sounds for 30 days from broadcast date – scroll to 1:23:00 to listen.

https://www.bbc.co.uk/programmes/m00075wk

Just announced are additional concert dates for Juan Martín’s Flamenco Dance Trio (Juan with Luisa Chicano – dancer – and singer Amparo Heredia ‘La Repompilla’).

Review copies of Juan’s “Guitar Maestro”  CD Collection are still available. The original press release can be viewed here:

https://mailchi.mp/musicandmediaconsulting/juan-martn-guitar-maestro-cddownload-press-release-2943361

4* Review from Songlines.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*

Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

News of Another Richard Blackford Première

In addition to the 2019 performances of “Pietá” – Richard’s setting of the Stabat Mater – already announced, we thought you would like to know that 2019 will see the première of another new piece from composer Richard Blackford.

Prom 35 – 13th August 2019

Elgar’s ‘Enigma’ Variations is the inspiration for a new work commissioned from 14 living composers as a special birthday tribute to conductor Martyn Brabbins, who turns 60 on the day of the concert. The featured composers are Kalevi Aho, Sally Beamish, Sir Harrison Birtwistle, Richard Blackford, Gavin Bryars, Brett Dean, Dai Fujikura, Wim Henderickx, Colin Matthews, Anthony Payne, John Pickard, David Sawer, Iris ter Schiphorst & Judith Weir

Elgar’s original set also features, as do Vaughan Williams’s exquisite Serenade to Music and Brahms’s ‘Little Requiem’, the Song of Destiny.

https://www.bbc.co.uk/events/e6wxp6

The concert will be broadcast live on BBC Radio 3 – and televised on BBC Four on Sunday 8 September 2019.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.


 

Richard Blackford’s “Pietà” – Press Release June 2019

PRESS RELEASE

 

The Bournemouth Symphony Chorus is proud to announce the world première of Pietà, a new work commissioned from the composer Richard Blackford, which will take place at the Lighthouse, Poole on Saturday 22 June 2019. This is the third major work he has composed for the Chorus, following the critically successful Voices of Exile (2001) and Not in Our Time (2011). Pietà has been jointly commissioned by the Bournemouth Symphony Chorus and St Alban’s Choral Society.

Pietà is a setting of the Stabat Mater, with additional poems by the Russian poet Anna Akhmatova. It is for mezzo and baritone soloists, SATB chorus, children’s chorus, strings and solo saxophone.  The performance will be given by the Bournemouth Symphony Chorus and Youth Chorus, the Bournemouth Symphony Orchestra, internationally renowned soloists Jennifer Johnston and Stephen Gadd, and the brilliant young saxophonist Amy Dickson. The conductor will be Gavin Carr, to whom the work is dedicated.  A brief presentation from Amy Dixon can be viewed here:

 

The work will be recorded for Nimbus Records shortly after the first performance and released in October 2019. The London première will be on Saturday 19 October 2019 at the Cadogan Hall. The St Alban’s Choral Society will perform it in the Cathedral and Abbey Church of St Alban, Hertfordshire on Saturday 25 April 2020 with Orchestra Nova under Georg Vass to celebrate the Chorus’s 75thanniversary.

 

The Story Behind The Music

At the core of Richard Blackford’s Pietà is a setting of the Stabat Mater; but it also includes two poignant poems by the celebrated Russian Anna Akhmatova from Requiem. The poems echo the words in Stabat Mater reflecting the grief of a mother for her son Lev, a student at Leningrad University, who, in 1938, at the height of Stalin’s terror, is arrested in his dormitory room and shipped to an Arctic labour camp.  For 17 months his mother waited in queues and wrote letters to police officials beseeching them to tell her the fate of her son. Her struggle is immortalised in “Requiem”, her most famous work. Alternating between elegy, lamentation and witness, it culminates in its most famous stanza:

 

For seventeen months I’ve been crying out,
Calling you home.
I flung myself at the hangman’s feet,
For you my son, my horror.

 

The music embraces the passion of these words. After a recent workshop when the Bournemouth Symphony Chorus studied the work for the first time, conductor Gavin Carr wrote: “It is so compact, and so powerful: the intensity is incredible, and the release at the end is remarkable.”

A presentation from Richard Blackford about Pietà can be viewed here:

 

The Score

NMP1066 Pietà Vocal Score. Orchestral Parts and Study Score available on request from publishing@wyastone.co.uk

About Richard Blackford

Richard Blackford was born in 1954 and studied composition with John Lambert at the Royal College of Music, then with Hans Werner Henze in Rome. Early awards include the Tagore Gold Medal, the Ricordi Prize and the Mendelssohn Scholarship. He was first Composer-in-Residence at Balliol College Oxford, and later Composer-in-Residence to the Brno Philharmonic in the Czech Republic. His works were performed in the major music festivals of the world, including Adelaide, Berlin, Brighton, Montepulciano, Cheltenham, Long Island. He has composed in virtually every medium, including opera, choral, orchestral, theatre, film and ballet, with his most recent ballet Biophony (2015) in collaboration with Bernie Krause and Alonzo King, winning ‘Best Contemporary Performance 2016’ in the Italian dance magazine Danza&Danza. As a media composer Richard was nominated for an Emmy Award for Outstanding Achievement in Music for his 4-hour score for the CNN/BBC series Millennium, and in 2015 was awarded Die Goldene Deutschland for services to music in Germany. His literary collaborators include; Ted Hughes, Maya Angelou and Tony Harrison. He is a Director of the charity Music For Youth, President of the Bournemouth Symphony Chorus and a Trustee of the Aberystwyth MusicFest. Richard Blackford’s music is published by Novello and Nimbus Music Publishing.

www.blackford.co.uk

Further Information for Press/Media

Press tickets for the première on 22nd June may still be possible. Press tickets 19th October at Cadogan Hall are certainly possible. – please request via  john@musicandmediaconsulting.com

Further Information for Festivals, Choral Directors and Choral Ensembles

We are very happy to try to organise invitation tickets for either performance for Festival Directors, Choral Directors and Choral Ensembles genuinely looking to present their own performance of Pietà. Please request via john@musicandmediaconsulting.com

Sample scores can also be arranged on request.

Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved.
*|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|*Our mailing address is:
*|HTML:LIST_ADDRESS_HTML|* *|END:IF|*

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.