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Piano, page 46

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Prize winners of the Scriabin Piano Competition in Moscow, 2004

Prize winners of the Scriabin Piano Competition in Moscow, 2004
ID: CR044
CDs: 1
Type: CD
Subcollection: Piano

1 - 3 Yumi Sato, piano
4 - 7 Maria Dubrovkina, piano
8 - 13 Alexander Kulikov, piano
14 - Galina Chistiakova, piano
15 - 17 Stanislav Hegay, piano
18 - 20 Andrei Korobeinikov, piano
Moscow Symphony orchestra conducted by Vladimir Ziva


The Third International Scriabin piano competition was held on 20 - 30 of June, 2004 in Moscow, the city where Alexander Scriabin was born in 1972 on Christmas Day and where he died in 1915 on Easter. The competition was held in the Great Hall and Maly Hall of the Moscow Conservatoire, where Alexander Scriabin studied in the class of Vassili Safonov and where he worked afterwards. The Honorary Chairman of the Organizing Committee was the composer Tikhon Khrennikov, People's Artist of the USSR. The Organizing Committee was headed by the Minister of Culture and Mass Communications Alexander Sokolov. The members of the jury were Mikhail Voskressensky (President, Russia), Dmitri Bashkirov (Russia), Arnulf von Arnim (Germany), Pascal Devoyon and Marian Rybicki (France), Einar Steen-Nokleberg (Norway), Vitali Margulis (USA), Andrea Bonatta (Italy), Balazs Sokolay (Hungary). Executive secretary was Alexander S. Scriabin (Russia). All prizes were granted by gold-mining company POLUS.
1st prize Andrei Korobeinikov Russia Born on July 10, 1986. À 3rd year student at the Moscow State Tchaikovsky Conservatoire in the class of A.Diev.
2nd prize Stanislav HEGAY Kazakhstan Born on July 7, 1985. À 2nd year student of the Moscow State Tchaikovsky Conservatoire in the class of professor L. Naumov.
3rd prize Galina Chistriakova Russia Born on April 27, 1987. À 2nd year student of the Central Music School under Moscow State Tchaikovsky Conservatoire in the class of A. Ryabov. 4th prize Alexander KULIKOV Born on November 29, 1983. Student of the Moscow State Tchaikovsky Conservatoire in the class of professor A. Nasedkin.
5th prize Yumi SATO Japan Born on August 5, 1979. Graduated from Tokyo National University of arts and Music in the class of professor Kharukhi Khata.
6th prize Maria Dubrovkina Russia Born on December 6, 1980. 5th year student of the Moscow State Tchaikovsky Conservatoire in the class of professor Yu. Slesarev.
13.00 eur Buy

Muzio Clementi - W.A. Mozart:Sinfonie KV. 550, 551

Muzio Clementi - W.A. Mozart:Sinfonie KV. 550, 551
ID: CNT2063
CDs: 1
Type: CD
Subcollection: Piano

13.00 eur Temporarily out of stock

BRAHMS PIANO TRIOS - VOLUME ONE - Gould Piano Trio

BRAHMS PIANO TRIOS - VOLUME ONE - Gould Piano Trio
ID: QTZ2011
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

The first volume in the Gould Piano Trio's series of the complete Piano Trios by Johannes Brahms.
The Gould Trio is one of the most acclaimed young chamber ensembles to emerge from the UK in recent years and have toured many of the great international concert halls and festivals.

Brahms Piano Trios - Volume One

Of all the great composers, Brahms is probably the one we know least about. A passionately private man, he left few clues to the workings of his musical mind - unlike, say, Beethoven, there are no sketch books showing how his musical ideas evolved, just the final finished products. Anything that did not meet his exacting standards was destroyed; here is a composer who destroyed more string quartets and symphonies than he left behind. There is just a single exception, and that is the B major Piano Trio, written in 1853-4, at the height of his worship of Schumann when Brahms was twenty-one, and then revised in 1889, just before he started to withdraw into a semi-retirement from composing. By the time of the later version, the old version had a wide currency and was a popular piece. The revised version is undoubtedly finer, combining that youthful fire with the experience that the intervening years had brought him, and it is this version that is recorded here.
The opening retains its noble, sweeping idea from the original, a long singing melody, full of potential and implications, the unusual choice of key adding a warm glow. This immediately announces the scale of the piece as something equal to, say, Schubert?s final piano sonatas. After working this material to a focal point, Brahms then writes a contrasting idea. In the first version of the piece, the continuity breaks down, with a rather four-square idea, but in the revised version the continuity is such that the new theme - still retaining its own identity - grows naturally and seamlessly out of the first idea. The next section, after the themes have been stated is very different between the two versions, the first including an amazing if rather strenuous fugal passage, while the second has a density that Brahms found in old age. The piano figuration here is also far removed from the virtuoso of his youth, with clarity of texture of paramount importance. The restatement of all the material after this has a complete sense of maturity in the final version, a fusion of the two ideas and at the end, a sense of stasis, of recollection and of summing up. Listeners who know the late collections of piano pieces will recognise the fingerprints of the composer at his best here.

In all, Brahms pruned the first movement from 494 bars to 290, all in the interests of concision. The Scherzo has no such changes: mere details are changed along the way and a new coda is added, more successful and effective in preparing a slowing down of pace before the slow movement than the original, with its Mendelssohnian pizzicato version of the main theme. Listening to his Op 4 Scherzo for piano, we can sense how the youthful Brahms found such music more straight-forward than in old age, although in the overall context of this work, the Scherzo does not sound out of place. In later life, Brahms generally preferred to compose intermezzo type movements instead of scherzos - for example, only the last of the four symphonies has a Scherzo, and that of a more "symphonic" definition. The slow movement is again quite different in the two versions, the opening chorale-like idea is allowed to expand in a way that Brahms restricts in the later version and the faster section, which provided contrast, is replaced by a passionate, rather sad theme, first given to the cello. Brahms once told his pupil Jenner that a long Adagio was "the most difficult" to sustain, hence, maybe, his original solution. The mood of the revised is much more restrained and where, in the original, the audience had to be content with a brief reminiscence of the opening theme, Brahms provides a fuller restatement, with musing improvisatory figures for the piano when the strings give out their answering phrase. A harmonic shift provides tension in this closing section and, though resolved quickly, the after-effects can be felt at the start of the last movement, the only serious attempt to dislodge the key of B - major or minor - in the whole of the work. The shadowy figures eventually give way to a carefree contrasting idea, which was an addition in the revision. Clara Schumann had not been uncritical of the first version but the theme that this replaced was special to her. In Schumann's music there is an element of quotation which appealed to the young Brahms, and the theme originally at this point was a direct quotation from Beethoven's An die ferne Geliebte. The symbolic significance of this quotation would not have been lost on Clara, at a time when her husband was desperately ill and it was the only part of the revision she disliked, telling Brahms that the new idea was "repellent." The restatement is varied, but structurally similar to the opening of the movement and the coda, based on the first theme, dispels any lingering doubts. Again a swathe of material was removed in this movement: almost two hundred bars are cut.

Brahms said of his new version of the piece, "I did not provide it with a wig, but merely combed and arranged its hair a little." The opportunity had come to revise the Trio as a result of a new publisher taking over his works and offering a reprint of any revisions of slight weaknesses in the early works. He must have been surprised by the extent of Brahms? touching up of this Trio and yet the miracle is how the old thematic material sits side by side with a new leaner structure, without a hint of inconsistency. Still Brahms could not make up his mind, when he finally got around to sending the publisher his revised Trio. "I must state that the old one is bad, but do not maintain that they new one is good!" That the new version speaks so directly to audiences, with none of the complexity of the older work is what has secured its place in the repertory.

The C major Trio was finished in 1882, twenty-eight years after the B major though the opening Allegro was composed in 1880. Both Summers were spent in Ischl, a spot which seems to have opened the floodgates of inspiration for Brahms (the last three movements were written in the space of a single month). The most withdrawn of his Symphonies, the Third, dates from just after this time, and its reflective mood is predicted here in this Trio. The piano's had developed enormously during the middle of the nineteenth century and in chamber works where it is partnered by strings, its power had sometimes proved quite a tour de force for the strings; Brahms on the other hand provides a most effective balance between the strings and piano with the sort of writing which was to distinguish itself again the Double Concerto (here pitted against the orchestra) written at the end of the same decade.

The rich flow and invention of the opening movement is the equal of the finest of the Classical period. one of its especial beauties is the heart of the movement where the opening theme takes on a lyrical guise, which returns in the lively coda. The slow movement is a set of five variations on a wistful folk-like melody. An important motif source is the syncopation which runs throughout the theme, deliberately holding back the inherent liquidity until the final variation.

The Scherzo is a threatening affair, with diminished sevenths running though the harmonic fabric of the movement, a harsh contrast to the open diatonicism of the central section. The Finale is, like the first movement, in a tightly constructed sonata form. Brahms is in assertive mood and his pride in the works is fully evident in every small detail.

Copyright: Mike George

Gould Piano Trio:

The Gould Piano Trio have established a reputation as one of the most stylish and versatile ensembles performing today. Highly regarded in the field of chamber music, they enjoy a career that takes them to major venues in the UK and overseas. Chosen as British Rising Stars for the 1998-9 season, the Trio has performed in such prestigious venues as New York's Carnegie Hall, Amsterdam Concertgebouw, Brussels Palais des Beaux-Arts, Birmingham Symphony Hall and major halls in Paris, Cologne, Athens and Vienna.
Festival appearances have included Edinburgh, Cheltenham, Bath, Spoleto and the BBC Proms, whilst overseas travels have taken them to New Zealand, South Korea and Taiwan, South America and most European countries. They regularly tour to the USA, performing in the Lincoln Center, Weil Hall and at the Frick Collection. In the UK they appear at the Wigmore Hall, Bridgewater Hall, Purcell Room, LSO St. Luke's, Queen's Hall Edinburgh, and they will be giving one of the first chamber concerts at The Sage, Gateshead as part of an Arts Council-sponsored "Around the Country" national tour. Both the BBC Symphony Orchestra and BBC Philharmonic have invited the Trio to perform James MacMillan's chamber works at their forthcoming festivals. Frequent broadcasts from these venues have made the Goulds a familiar ensemble to listeners of BBC Radio 3. The Trio have recorded CDs of trios by Mendelssohn, Beethoven, Smetana and Bax, as well as a cover disc for the BBC Music Magazine. This CD, the first in a series for Quartz, will be followed by a further volume of Brahms Trios, the premiere recordings of the trios of Robert Fuchs and the Tchaikovsky Trio. In 1999 the Trio started its own annual chamber music festival in Corbridge.

The Gould Piano Trio have been the recipients of many national and international awards; First Prize at the Charles Hennen Competition in Holland was followed by joint First Prize in the inaugural Melbourne International Chamber Music Competition in Australia. At the 1993 Premio Vittorio Gui Competition in Florence they were awarded the audience prize in addition to the overall First Prize. In the UK the Trio have won awards from the Tillett and John Tunnell Trusts. As part of their commitment to extending the piano trio repertoire, the Goulds have commissioned works and performed many contemporary pieces. They enjoy coaching young ensembles and giving workshops in schools.
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W. A. Mozart - Hyekyung Lee, piano

W. A. Mozart - Hyekyung Lee, piano
ID: CR082
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Piano

Hyekyung Lee, born in Wonju, Korea in 1959 began to play piano at the age of 6. After winning several national music competitions, she had her first public concert with Seoul Sinfonietta Orchestra in 1970, and 4 years later became the soloist for the foundation concert of Korea Jeunesse Musicale Orchestra. Entering Folkwang Music College in Essen, Germany in 1975, she subsequently won the DAAD German government scholarship, the Folkwang Prize Competition and the nationwide German Music College Union Competition. Transferring to Muenchen Music College, she graduated with top marks in 1981. During 2 years of graduate school, she gave recitals, performed for various radio programs and earned the Bach Prize at Vianna da Motta International Competition in Lisbon. In 1984, Miss Lee returned home to teach at Chung-Ang University as a professor. Today, Hyekyung Lee is recognized as one of Korea’s outstanding musicians with her wide concert repertoires from baroque to contemporary. In 1984 she received the “Critic's Prize” from the Korea Music Pen Club. In 1988 she was selected as “Musician of the Year” by Dong-A music magazine. In 1993 she received the “Korea Music Award” from the Korea Music Society. In 2004 she received the “Seoul Music Prize” from the Korea Music Critic Association. Hyekyung Lee has performed at Kennedy Center and Lincoln Center in USA, in Sydney, Vienna, Moscow, Tokyo, Manila and with the Ulster Orchestra in Northern Ireland. In Korea she plays regularly with the Korea Philharmonic Orchestra and the Seoul Philharmonic Orchestra. She has also performed chamber music with the Colorado String Quartet, the New Budapest String Quartet, flautist Patrick Galloy and Maxence Larrieu, trumpeter Stephen Burns, Korea’s top violinist Dong-Suk Kang and the Korean traditional drum quartet Samulnori, among many others. Miss Lee's career has also brought her in contact with many fine conductors, including Vakhtang Jordania, Bernhard Gueller, Barry Wordsworth, Sandro Suturello and Yan Pascal Tortelier.
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GERSHWIN - NEW YORK CONNECTIONS - Elizabeth Hayes, piano

GERSHWIN - NEW YORK CONNECTIONS - Elizabeth Hayes, piano
ID: QTZ2005
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

A fascinating exploration of piano works by American composers whose lives, in some way, have been touched by New York. "These pieces seemed tied inextricably with the American personality and culture", says Elizabeth Hayes of this programme, "at times warm and intimate, at others dazzling and extroverted, capturing an essence of blue-grass, jazz, hoe-downs and a cool, lyrical modernity".


Gershwin: New York Connections
I was performing Maple Leaf Rag, The Entertainer and some of the Gershwin Songbook as part of a recital programme. An American friend asked if I played Joplin's Solace, and so later that month I sat down with a couple of scores of Joplin's rags and found them exhilarating. I wanted to explore the American piano repertoire more fully.
I had performed Rhapsody in Blue several times with orchestras, but never properly explored the solo piano version. I was already familiar with Samuel Barber's works, but had yet to include any in my programmes.

I had the chance later that year of visiting New York for the first time, and loved it. I began to connect together a programme of American composers whose lives had touched New York. These pieces seemed tied inextricably with the American personality and culture - at times warm and intimate, at others dazzling and extroverted, capturing an essence of blue-grass, jazz, hoe-downs and a cool, lyrical modernity.

So gradually this recording took shape; I hope it shows the colour and immediacy that I found.

George Gershwin was born in Brooklyn in 1898, and lived in New York for most of his life. In all of his music there is a vibrancy and colour: the bright lights of Broadway, the glamour of Hollywood. The Preludes were published in 1926. Nos. 1 and 3 are energetic, with moments of schmaltz. No.2 is essentially a blues piece - warm and tender with a simple melody over a strummed bass line.

Gershwin's success was born of the many songs from the shows he wrote with his brother Ira. He arranged several for solo piano, loving to sit and improvise at the many after-show parties. Who Cares? comes from the Pulitzer Prize-winning Of Thee I Sing, written in 1931, and has a modern feel. Fascinating Rhythm and The Man I Love came earlier, in 1924, the year of Rhapsody in Blue. I Got Rhythm was written in 1930 and is a larger-scale arrangement, with a change of key and style in the middle.

The piece that perhaps epitomises Gershwin's style more than any other is Rhapsody in Blue. Written in haste in 1924 when a mooted idea for a concert at the Aeolian Hall in New York became a reality, it is romantic, heart-on-sleeve music. A simple melodic and rhythmic idea forms the basis for the piece, which falls loosely into three sections, and he draws on many different influences in its composition: moments of ragtime, jazz and blues, as well as the work of more established composers such as Rachmaninov and Stravinsky.

Gershwin arranged the piece for solo piano in 1927, managing to keep the sense of a large-scale orchestral work while making some cuts to the original.

Aaron Copland's Four Piano Blues were written in 1949. More than any other composer he seems able to portray the sense of America's landscape and the cultural roots of its music. He was born in Brooklyn in 1900, living most of his life in New York City until his death in 1990.

Though he was known more widely for his large-scale orchestral works, Copland writes with intimacy and a very personal voice in these short pieces. Each has a descriptive performance direction: 1. Freely poetic; 2. Soft and languid; 3. Muted and sensuous; 4. With bounce.

Leonard Bernstein's Anniversaries are again intimate portraits, snap-shots of people in his life. He wrote several sets - these four are from 1948.

1. Dedicated to his wife, Felicia Montealegre - it shows sadness, beauty, a complex character, implicit tenderness. 2. For Johnny Mehegan, is sexy and dangerous - a foretaste perhaps of the music of West Side Story. Mehegan was a successful jazz pianist and close friend of Bernstein.

3. Written for the composer David Diamond - there is a seriousness here, but also a sensitivity. 4. For Helen Coates - a whirlwind of a piece, describing his assistant - a woman central to his career. It shows a brittle, pointed character, buzzing with energy and with a fiery temper.

Leonard Bernstein became connected with New York through his work with the New York Philharmonic Orchestra, from 1958, and was a friend and colleague of Copland, dying there the same year, 1990.

Samuel Barber wrote the four Excursions from 1942 to 1944, describing them as "excursions in small classical forms into regional American idioms...Their regional characteristics, as well as their sources in folk material and their scoring, reminiscent of local instruments, are easily recognised." Though sometimes labelled as "neo-Romantic", Barber's writing refuses to be pigeon-holed into one particular style, and these pieces show that diversity well.

The first is the only piece to show sophistication and dryness in its boogie-woogie bass line and rhythmic patterning. More dissonant than the others, it may reflect the city of New York where he lived for some years, dying there in 1981. No.2 has a feel of the deep south, a plaintive blues melody. The third is opulent and lush, with a vaguely Latin-American style. The cross-rhythms are complex, though the overall effect is very free and improvisatory. Finally there is a hoe-down; the fourth piece is exuberant and folksy, reminiscent of harmonica and fiddle-playing.

Scott Joplin was born in Texas in 1868, and spent the life of an itinerant ragtime pianist until moving to New York in 1911. He worked in the bars and jazz clubs of St. Louis and Chicago for many years, but was later able to gain an income from the publication of his rags - notably his first success, Maple Leaf Rag - named after the Maple Leaf Club of Sedalia, where he played for some time. The Entertainer has become perhaps his most famous composition - both this and Maple Leaf Rag encapsulate the elegance, subtlety and wit of Joplin's work. Magnetic Rag is an example of the later rags, more experimental in its harmonies, and with one of its sections in a minor key. It has the feel of an accompaniment to a silent movie, with a broader emotional scope than usual. Solace, subtitled A Mexican Serenade, is a much more personal statement, with a gentle melancholy and beautiful lyricism

Programme Notes by Elizabeth Hayes
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NOCTURNES - Junko Kobayashi, piano

NOCTURNES - Junko Kobayashi, piano
ID: QTZ2004
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

A beautiful, tranquil and contemplative collection exploring the Nocturne and other pieces inspired by night and dreams. Including some of the most exquisite Nocturnes of Chopin, but also featuring less familiar works by Granados, Poulenc, Satie and the world-premiere recording of the Three Nocturnes by British composer Graham Williams.

Nocturnes

Piano Speaks Into The Night
The magical atmosphere of night has been an inspiration to generations of composers.

Irish composer and formidable piano virtuoso, John Field (1782-1837) was the first composer to use the title Nocturne - for his lyrical piano pieces (his Nocturnes were composed around 1812 to 1836). Italian operas, which he heard in Russia where he settled in his later years, greatly influenced his "cantabile" style.

Chopin admired Field's compositions and began to write Nocturnes himself. Chopin extended the emotional range and harmonic sophistication in his Nocturnes and created a landmark of this genre, which in turn inspired many later composers, especially French composers like Debussy and Faure to compose their own Nocturnes.

The tradition carries on and I'm happy to be able to include Three Nocturnes in this album, which was written for me by my friend, the composer Graham Williams.

I have also included Clair de Lune by Debussy and Laments, or The Maiden and the Nightingale , by Granados here, as they are beautiful night pieces, although they are not called Nocturne. Junko Kobayashi

Frederic Chopin (1810-1849)
Nocturnes, Op. 9
No. 1 in B flat minor - Larghetto No. 2 in E flat major - Andante No. 3 in B major ? Allegretto

The first set of Nocturnes Op. 9 was written in 1830-31 and published in 1832.

In No. 1, an operatic manner of ornamentation of the right-hand melody makes a striking impression. In No. 2, one can see the strongest influence of John Field. It is very concise and is also probably the most well-known of the Nocturnes. No. 3 is in ternary form; Allegretto in B major - Agitato in B minor - Allegretto in B major. JK.

Claude Debussy (1862-1918)
Clair de Lune
Nocturne

Debussy's early piano works Clair de Lune and Nocturne were both composed in 1890. The beautiful Clair de Lune is perhaps one of the most loved works in the piano repertoire and it belongs to his Suite Bergamasque. Here his writing is already quite impressionistic, whereas his Nocturne is more song-like and romantic. JK.

Gabriel Faure (1845-1924)
Nocturne No. 10 in B minor

Nocturne No.10 in B minor was written in 1908. A simple two-note chromatic motif in the opening bar is repeated throughout the piece, modulating and developing to build a huge arch. The piece ends in a contemplative mood. JK.

Francis Poulenc (1899-1963)
Nocturne No. 1
Nocturne No. 4

Nocturne No.1 in C major was composed in 1929 and Nocturne No.4 in C minor in 1934.

For Nocturne No.4, Poulenc quoted a line from a novel, Le Visionnaire by his friend Julian Green and it describes a scene of a sick man hearing the distant sound of a ball and recollecting his own youth. JK.

Graham Williams
Three Nocturnes

Three Nocturnes were composed in 1999 and are dedicated to Junko Kobayashi. They are inspired by old Japanese poems.

Nocturne 1

Blue night road
The Sky full of stars
The blue night road
Seeming to lead to them
The distance village
Bathed in some blue-green wine
The first five lines of a poem by Tanaka Fuyuji(1894-1980)

Nocturne 2

High in the heavens the light remains unchanged
Over the ruined castle the midnight moon. Two lines from a poem by Tsuchii Bansui (1871-1952)

Nocturne 3

Harvest moon
And mist creeping
Over the water
Hattori Ransetsu (1654-1707)

Translated by Geoffrey Bownas

Graham Williams studied composition with Richard Rodney Bennett. He is a prolific composer and his works have received much critical acclaim both here and abroad as well as winning a number of prestigious awards. His orchestral works have been performed by such orchestras as the English Chamber Orchestra, Scottish National Orchestra, London Sinfonietta and the City of London Sinfonia. He has also composed a wide variety of chamber music for groups such as Lontano, the Lowbury piano Trio, the Brunel Ensemble and the Brindisi and Bingham Quartets. His works have been broadcast on Radio 3 and Classic FM and featured at many festivals.

Franz Liszt (1811-1886)
En Reve - Nocturne

Written in 1885/6, it is one of the Liszt's very late compositions. It is strikingly simple and with its use of chromaticism it looks forward to a world of atonal music to come. JK.

Erik Satie (1866-1925)
from Cinq Nocturnes
Nocturne No. 3 Nocturne No. 5

The Cinq Nocturnes were composed in 1919, just before Satie started to write his Furniture Music. They are in simple ternary (ABA) form and very concise. In both pieces, the graceful and pure right hand melody is accompanied by arpeggiated left hand. JK

Enrique Granados (1867-1916)
Laments or The Maiden and the Nightingale

Granados composed an opera Goyescas in 1911 inspired by the paintings of Goya. Laments, or the Maiden and Nightingale is from his piano suite Goyescas. JK.

Edvard Grieg (1843 -1907)
Notturno

Norwegian composer Grieg composed many Lyric Pieces and this Notturno is from Book 5 Op.54, which was written in 1891. Here one hears night birds singing too. JK.
13.00 eur Temporarily out of stock

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio
ID: QTZ2042
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

13.00 eur Buy

M. Ravel - Hyekyung Lee, piano

M. Ravel - Hyekyung Lee, piano
ID: CR081
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Piano

Hyekyung Lee, born in Wonju, Korea in 1959 began to play piano at the age of 6. After winning several national music competitions, she had her first public concert with Seoul Sinfonietta Orchestra in 1970, and 4 years later became the soloist for the foundation concert of Korea Jeunesse Musicale Orchestra. Entering Folkwang Music College in Essen, Germany in 1975, she subsequently won the DAAD German government scholarship, the Folkwang Prize Competition and the nationwide German Music College Union Competition. Transferring to Muenchen Music College, she graduated with top marks in 1981. During 2 years of graduate school, she gave recitals, performed for various radio programs and earned the Bach Prize at Vianna da Motta International Competition in Lisbon. In 1984, Miss Lee returned home to teach at Chung-Ang University as a professor. Today, Hyekyung Lee is recognized as one of Korea’s outstanding musicians with her wide concert repertoires from baroque to contemporary. In 1984 she received the “Critic's Prize” from the Korea Music Pen Club. In 1988 she was selected as “Musician of the Year” by Dong-A music magazine. In 1993 she received the “Korea Music Award” from the Korea Music Society. In 2004 she received the “Seoul Music Prize” from the Korea Music Critic Association. Hyekyung Lee has performed at Kennedy Center and Lincoln Center in USA, in Sydney, Vienna, Moscow, Tokyo, Manila and with the Ulster Orchestra in Northern Ireland. In Korea she plays regularly with the Korea Philharmonic Orchestra and the Seoul Philharmonic Orchestra. She has also performed chamber music with the Colorado String Quartet, the New Budapest String Quartet, flautist Patrick Galloy and Maxence Larrieu, trumpeter Stephen Burns, Korea’s top violinist Dong-Suk Kang and the Korean traditional drum quartet Samulnori, among many others. Miss Lee's career has also brought her in contact with many fine conductors, including Vakhtang Jordania, Bernhard Gueller, Barry Wordsworth, Sandro Suturello and Yan Pascal Tortelier.
13.00 eur Buy

Jack Liebeck - Works for Violin & Piano

Jack Liebeck - Works for Violin & Piano
ID: QTZ2002
CDs: 1
Type: CD
Subcollection: Piano

The debut disc by one of the most talented and acclaimed young violinists to emerge in recent years. Liebeck has established an international reputation for mature, intense and virtuosic performances and this disc of early 20th Century works demonstrates these characteristics in abundance. Partnered here by the virtuoso, award-winning pianist, Katya Apekisheva, this is duo playing of the highest calibre.

Works for Violin & Piano
In 1943, Sergei Prokofiev (1891-1953) was evacuated, along with many other prominent artists, to Alma-Ata (Almaty) in modern-day Kazakhstan while the Soviet army fought against the Germans in the West. It was here that he wrote his Sonata for Flute and Piano Op 94 which, at the suggestion of David Oistrakh, he transcribed the following year for violin. The amount of revision needed was minimal and indeed the piano part is exactly the same in both versions.
The Sonata is in stark contrast to the huge upheaval that was taking place on the other side of the country and Prokofiev himself described the work as "perhaps inappropriate at the moment, but pleasant". The key of D Major is perhaps a conscious reference to the Classical Symphony and certainly the Sonata follows the classical model closely, even incorporating all elements of the standard first-movement sonata-form structure although the boisterous Russian finale has more in common with later models. Prokofiev was reputedly inspired to compose the Sonata after hearing the French flautist Georges Barrere, one of the great exponents of 19th Century French flute music as well as the dedicatee of Edgar Varese's experimental Density 21.5 and it is perhaps appropriate that he should have been the motivating force behind this work which harks back to earlier forms and yet is very much of its time.

The violinist Eugene Ysaye (1858-1931) was held in high esteem by his Parisian contemporaries as a powerful interpreter of their works. These famous figures included Saint-Saëens, Debussy, Franck and Chausson who all dedicated works to him (indee Chausson's Poeme was written for Ysaye).

As he was primarily a performer, Ysaye not compose a large catalogue of works and almost all of them were violin pieces. Ysaye's six solo violin sonatas were inspired by the young Joseph Szigeti's performance of a Bach solo sonata in 1923. Ysaye is said to have been so inspired that he immediately locked himself away for twenty four hours and emerged with all six in sketch form. Each sonata was dedicated and tailored to a violinist of his time; Szigeti, Thibaud, Enesco, Kreisler, Crickboom and Quiroga. The First and Second Sonatas follow a similar movement structure to Bach's solo Sonatas and Partitas. Ysaye even quoted the E major Partita in his 2nd sonata ("Obsession") symbolising and perhaps teasing Jacques Thibaud about his obsession with its opening.

By the Third Sonata (featured here), Ysaye ideas started to move more into his own unique and personal sound world with more chromaticism and free-flowing movement. The sonata is dominated by a fiery and distinctive main thematic idea that develops right until the very end of the piece. He managed to combine this idea with many different episodes of colour and figuration in a way that only a musician with intimate knowledge of the mechanics and capabilities of the violin could. Technically very demanding though the piece is, it is so well tailored to the nature of the violin that it is very playable and has become one of the staples of the violin repertoire. JL.

Ernest Chausson (1855-1899) came to music relatively late in life and was often considered something of an outsider, partly by virtue of his relatively well-off background which meant that he was financially independent throughout his life but also for purely musical reasons.

His music bears the hallmarks of many of the great influences of his day, including Franck, Massenet and Wagner but also exhibits the outcome of his own personal interests and explorations. Towards the end of his life, Chausson became increasingly interested in Russian literature and the work of the Metaphysical poets and the Poeme is based on a short story by Turgenev. Originally titled "Le chant de l'amour triomphant: Poeme symphonique pour violon et orchestre" it was subsequently reduced to "Poeme pour violon et orchestre" and finally simply "Poeme".

The Poeme was written for and dedicated to the man who gave its premiere, Eugene Ysaye Although the Poeme was written for one of the greatest virtuosos of his day, it is essentially lyrical in style and focuses on emotional intensity rather than technical pyrotechnics, an approach that reflected Ysaye view that virtuosity should never be an end in itself but, rather, a valuable tool in the violinist's overall technique. It is seamlessly constructed in one movement and demonstrates Chausson's ability to combine complete command of form and structure while allowing the music to sound freely rhapsodic and lyrical.

Of Chausson, one contemporary wrote "all his works exhale a dreamy sensitiveness which is peculiar to him. His music is constantly saying the word 'cher"

In common with his younger contemporary Fauré chamber music runs across Camille Saint-Saëns (1835-1921) sizeable (and now neglected) output - from the often bravura ensemble works of the 1860s and '70s to the autumnal sonatas and character pieces of his last years. In 1885, his First Violin Sonata was written for and dedicated to Martin Marsick - teacher of, among others, Thibaud, Enescu and Flesch. The influence of Liszt is evident in the thematic transformation which operates throughout the piece, as also in the linking of the movements into two complementary pairs - a procedure which Saint-Saëns repeated only in his 'Organ Symphony', written in memory of Liszt the following year.

The darkly sensuous idea which opens the first movement has a fluid, rhythmic profile - in marked contrast with the wistful second theme, which retains its formal outline throughout. There is no development as such, but a modified reprise of the two themes, followed by a sombre coda which tapers away in a poetic transition to the Adagio. The main melody, a beautifully-judged dialogue, treads a fine line between sentimentality and pathos typical of Saint-Saëns. It twice alternates with a more impulsive (though related) idea, and closes in a mood of tranquil tenderness.

The Mendelssohnian scherzo evolves almost entirely from the tripping five-bar phrase with which it begins. Note how, in the brief trio section, the piano continues the underlying rhythm while the violin derives from it a more songful melody. A curtailed reprise, then a passage of pensive anticipation - leading into the finale. The main theme is a brilliant moto perpetuo, culminating in a high-flown melodic gesture. As in the opening movement, these ideas are modified rather than developed as such - working up to a coda which effectively integrates the two and rounds off the whole work in a stream of exhilarating passagework.

Copyright: Richard Whitehouse, 2003
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R. Schumann - Hyekyung Lee, piano

R. Schumann - Hyekyung Lee, piano
ID: CR086
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

Kreisleriana, one of Schumann's most famous and beautiful works, was composed in 1838. The name of the work comes from conductor Johannes Kreisler, a character from the works of E.T.A. Hoffmann. Schumann was greatly attracted by Kreisler's brilliant though paradoxical personality. In the eight pieces of this grand cycle with their dramatic contrasts (sometimes recalling characters of Florestan and Eusebius), like in many other works, Schumann is like a novelist, embodying the subtle nuances and shades of the man's mood, human passions and dreams. Kreisleriana is dedicated to Frederic Chopin. Dramatic contrasts are also characteristic for Fantasiestucke, op. 12 (1837). Des Abends (Evening), full of dreaminess, an embodiment of the languid side of Schumann's personality is followed by the agitated Aufschwung (Soaring) - Florestan appears on stage. Warum? (Why?) is a kind of philosophic meditation filled with tenderness - Eusebius comes into light again. Grillen (Whims) is full of humor. In der Nacht (In the night) is a mysterious and dramatic picture of the night, with a beautiful lyrical theme in the middle section. The piece was inspired by the legend about Hero and Leander. It is followed by a colorful Fabel (Fable), full of humor and bright contrasts. Traumeswirren (Dreamtwine) resembles a fantastic dance, gracious and elegant. Ende vom Lied (The end of the song) starts like a majestic march; a beautiful coda, profound and meditative yet emotional, becomes a kind of a "summing up" and concludes the whole cycle. Hyekyung Lee, born in Wonju, Korea in 1959 began to play piano at the age of 6. After winning several national music competitions, she had her first public concert with Seoul Sinfonietta Orchestra in 1970, and 4 years later became the soloist for the foundation concert of Korea Jeunesse Musicale Orchestra. Entering Folkwang Music College in Essen, Germany in 1975, she subsequently won the DAAD German government scholarship, the Folkwang Prize Competition and the nationwide German Music College Union Competition. Transferring to Muenchen Music College, she graduated with top marks in 1981. During 2 years of graduate school, she gave recitals, performed for various radio programs and earned the Bach Prize at Vianna da Motta International Competition in Lisbon. In 1984, Miss Lee returned home to teach at Chung-Ang University as a professor. Today, Hyekyung Lee is recognized as one of Korea’s outstanding musicians with her wide concert repertoires from baroque to contemporary. In 1984 she received the 'Critic's Prize' from the Korea Music Pen Club. In 1988 she was selected as 'Musician of the Year' by Dong-A music magazine. In 1993 she received the 'Korea Music Award' from the Korea Music Society. In 2004 she received the 'Seoul Music Prize' from the Korea Music Critic Association. Hyekyung Lee has performed at Kennedy Center and Lincoln Center in USA, in Sydney, Vienna, Moscow, Tokyo, Manila and with the Ulster Orchestra in Northern Ireland. In Korea she plays regularly with the Korea Philharmonic Orchestra and the Seoul Philharmonic Orchestra. She has also performed chamber music with the Colorado String Quartet, the New Budapest String Quartet, flautists Patrick Galloy and Maxence Larrieu, trumpeter Stephen Burns, Korea’s top violinist Dong-Suk Kang and the Korean traditional drum quartet Samulnori, among many others. Miss Lee's career has also brought her in contact with many fine conductors, including Vakhtang Jordania, Bernhard Gueller, Barry Wordsworth, Sandro Suturello and Yan Pascal Tortelier.
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