Amongst the operas, the orchestral works and the songs, for which he is very well known, Jules Émile Frédéric Massenet (1842-1912) also wrote a piano concerto and various piano pieces. These include a cycle of Improvisations, Ten pieces “de genre” (Op. 10), 2 Valses, 2 Impressions, and some other separated pieces. It can be identified with relative ease the Melodie, alas ‘Elégie’, the famous song. The CD also include the recording of two transcriptions derived from famous Massenet’s melodies: the Meditation from ‘Thais’, and the ‘Aragonaise’ from ‘Le Cid’. The character of Massenet’s music here is mostly cantabile with some virtuoso and fast pieces which give a great variety to the series. Maurizio Zaccaria is a young talenet from Bari with a great technical ease and interpretive ability. Aldo Ciccolini wrote about him: “This evening I’ve had the great joy to play with young Maurizio Zaccaria performing Rachmaninoff’s Third piano concerto, which is really very difficult. I think that Maurizio Zaccaria is a pianist endowed with rare technical and musical means. His interpretation was moving! I wish him a brilliant carrier. He’s worth of it”. The recordings has been captured in the wonderful theatre of Atri, Teramo, using 6 microphones (Neumann and Sennheiser) and Prism Sound top-class equipment.
What if you did not know anything about this artist, who has devoted her second CD to Franz Liszt’s unbelievable “Études d’exécution transcendante”? Would that make any difference when you hear this new GENUIN CD? Young pianist Dinara Klinton’s playing sweeps over us like a force of nature, amazes her listeners and inspires them with enthusiasm. It seems that jury members from over a dozen international competitions have felt the same way, otherwise Dinara Klinton would not have won them all… Go ahead and hear for yourself – but make sure you hold onto your seat!
The recording focusses on the music for violin and piano written by Dmitri Shostakovich (1906-1975), himself a pianist of no mean ability who chose to restrict public performances to those of his own works, and who also made recordings of his concertos and solo pieces.
Until Ukraine’s independence in 1991, the result of the dissolution of the Soviet Union, many of the composers on this CD were presented in Europe, Asia and the Americas as Russians. This has now ended. The recent tragic events in Ukraine have further cemented Ukraine as a historical nation still defending its integrity and survival. Journey to Freedom is a reflection of this struggle and the first compendium of works for violin and piano on CD written exclusively by Ukrainian composers over the course of a century. The program features violinist Solomiya Ivakhiv and pianist Angelina Gadeliya in stunning performances full of passion and commitment. The music on this CD represents many of the styles and currents that dominated in the years 1919 to 2014: from Kosenko’s unabashed late romanticism and Lyatoshynsky’s expressionistic masterpiece – his Violin Sonata, Op. 19 – to the 1960’s neo-folklorism of Myroslav Skoryk; Yevhen Stankovych’s romantic blending of lyric expressionism and ethnographic sources; the cool neoclassicism of Ivan Karabits; and the expressive structuralism of Alexander Shchetynsky’s current music. The program includes the Post scriptum sonata (in the composer’s words “a post script to Mozart, and more generally, to classicism”) by Ukraine’s most celebrated composer Valentyn Silvestrov described by Arvo Pärt as “one of the greatest composers of our time.” The dynamic Ivakhiv-Gadeliya Duo has performed in venues and festivals across the US to high critical acclaim, including the MATI Series at the Ukrainian Institute of America in New York City, the Institute of Modern Art in Chicago, the Bach Festival of Philadelphia, and Merkin Concert Hall in NYC. Comprised of violinist Solomiya Ivakhiv and pianist Angelina Gadeliya, the duo has been hailed for its “contemplative and sophisticated” playing. Collaborations have included artists such as members of the Emerson Quartet, members of the New York Philharmonic, pianist Gilbert Kalish, and violinists Ani Kavafian and Pamela Frank.
Two of Vaughan Williams’ most popular works, Wasps Overture and Tallis Fantasia, are coupled with arguably his greatest and most original Symphony and a delightful multiple setting of a folk-song that enchanted the composer throughout his life.
The Wasps Overture, from the Suite which Vaughan Williams extracted from the 1908-09 score of his incidental music to an ancient Greek play by Aristophanes, has become one of the composer’s most popular works. From the opening orchestral buzzing of a swarm of wasps, culminating in a fortissimo sting, through a jolly folk-like tune, a brisk march and a broad stately melody which sweeps in on the strings and emerges as one of English music’s great tunes, this work is a showcase for the vivid orchestral colours of Vaughan Williams’ writing. Fantasia on a Theme by Thomas Tallis has become one of Vaughan Williams’s most frequently played works and is acknowledged as one of the greatest examples of writing for strings. Although the treatment of Tallis’s theme is mainly contemplative, there are dramatic and passionate moments in the Fantasia, which is scored for two string orchestras (the second orchestra comprising only nine players) with solo quartet.
The ‘Pastoral’ Symphony is characterised with a mood that is gently elegiac and dark and that reflects the work’s true genesis. Although the title mistakenly led audiences and critics to associate the work entirely with rural landscapes and English folk-song, it is in fact directly related to the First World War. Vaughan Williams, although forty one when war was declared, enlisted as a private in the Royal Army Medical Corps and served as a wagon orderly in France. Like many others, he never spoke afterwards of the horrors he had witnessed there, but they left their mark. Echoes are heard throughout the work, including the second movement’s use of natural notes (inspired by the wartime memory of a bugler) and the cadenza for E flat trumpet which creates the effect of an ethereal Last Post, provoking an anguished heart cry before it returns on the horn. The addition of a wordless solo voice above a quiet drum roll at the start of the fourth movement is further evidence of the dark and solemn inspiration of this most evocative of symphonies.
Five Variants of ‘Dives and Lazarus’, for strings and harps, was written for the New York World Fair in 1939, when Sir Adrian Boult conducted the first performance in Carnegie Hall. Vaughan Williams first encountered the folk-song Dives and Lazarus in 1893, when he was 21, later collecting several versions, and in this mature work he displays his affection for the melody in variants which are reminiscences of various versions in several folk-song collections, including his own.
Pianist Boris Giltburg sees Rachmaninov’s Études-tableaux, Op. 39 as cinematic short stories or colourful tone paintings. In contrast, the unashamedly beautiful Moments musicaux are concentrated explorations of a single idea or mood, from struggle and pain towards light and genuine joy. In these collections, which contain some of the composer’s most affecting music, Rachmaninov shows himself to be a master of the meticulously crafted short-form genre.
The Rhine hymned by women’s voices :: A major source of inspiration for writers and painters (Hugo, Nerval, Heine, Eichendorff, Turner) and above all composers throughout Romantic Europe, the legends of the Rhine still enthral our imaginations even today. The Ensemble Pygmalion and Raphaël Pichon invite us on a fantastic voyage through famous works (including Wagner) and others, much more rarely recorded, that are absolute gems of the repertory for female voices.
Daniel Harding follows his first CD recording on the BR-KLASSIK label (Schumann’s Faust Scenes, BR-KLASSIK, 900122) with this live recording of Gustav Mahler’s Sixth Symphony. Counting Sir Simon Rattle and Claudio Abbado among his teachers, since 2005 he has constantly made a name for himself with spectacular concerts with the Symphonieorchester des Bayerischen Rundfunks as a guest conductor. In this live recording of 2014 from Munich’s Philharmonie im Gasteig, BR-KLASSIK presents one of Mahler’s most unusual symphonies. Its dark and complex score contrasts starkly with what appeared on the surface to be a happy and carefree phase of the composer’s life when he wrote it. The world-class conductor Daniel Harding demonstrates great artistic flexibility here; and with the Symphonieorchester des Bayerischen Rundfunks, he encounters an ensemble that has been among the pioneers of Mahler performance ever since the Kubelík era of the 1960s.
The music of Gustav Mahler, the Late Romantic composer on the threshold of modernity, has been a firm part of the repertoire of the Symphonieorchester des Bayerischen Rundfunks ever since the early 1960s, when the orchestra’s Mahler tradition was established by its former chief conductor Rafael Kubelik. BR-KLASSIK has already released Mahler’s First (as part of an audiobook CD) and Seventh Symphonies with Mariss Jansons, as well as the Ninth with Bernard Haitink. The young Canadian conductor Yannick Nézet-Séguin is making his debut here on the BR-KLASSIK label with Mahler’s First Symphony. He is one of the most important representatives of a younger generation of conductors and, since his European debut in 2004, has already conducted such renowned orchestras as the Berlin and Vienna Philharmonic. Yannick Nézet-Séguin is currently chief conductor of the Rotterdam Philharmonic Orchestra and the Philadelphia Orchestra.
Aikuisten satuja on suomalaisartisti Petran 1. huhtikuuta 2016 julkaistu kolmas sooloalbumi. Albumin on tuottanut Erno Laitinen. Artisti on kertonut albumin kappaleiden kertovan rakkaudesta, yksinäisyydestä, ikävästä ja ihastumisesta. Albumi ei ole sijoittunut Suomen viralliselle albumilistalle. Albumin ensimmäinen single ”Ketun silmät” julkaistiin 30. lokakuuta 2015 ja siitä on julkaistu Herra Ylpön ohjaama musiikkivideo. Toinen single ”Kiitos kaikesta” julkaistiin 22. tammikuuta 2016.