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Piano, page 51

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Grieg: Lyric Pieces - Kiyotaka Izumi, piano

Grieg: Lyric Pieces - Kiyotaka Izumi, piano
ID: CR137
CDs: 1
Type: CD
Collection:
Chamber Music
Subcollection: Piano

Booklet text: English Language, Russian Language, Nederlandse Language

Kiyotaka IZUMI was born in Tokyo, Japan. In 1995 he graduated from "The Music High School attached to the Faculty of Music, Tokyo National University of Fine Arts and Music". In 1997 he left his country for Belgium and studied at the "Royal Flemish Conservatoire of Music" in Antwerp, under the supervision of Professor Levente Kende and Heidi Hendrickx. Simultaneously he took improvisation lessons from Rene Arons.

He performed at concerts such as the "International Chopin Festival" in Ghent and the "Royal Gala Concert" for the Prince and Princess of Belgium. He played with orchestras such as the "National Orchestra of Belgium"(Prokofiev), "Hermes Ensemble"(Stravinsky), "Concert festival Orchestre"(Grieg) and the "Orchestra of the Royal Conservatory of Antwerp" (Beethovan). Afterwards he gave concerts and recitals in Belgium, the Netherlands, Luxemburg, Germany, Italy, Japan. His last "live concert" in Japan, recorded by the Japanese radio, has been broadcast a few times.

Kiyotaka IZUMI became laureate of several international piano competitions: the "Benelux Young Virtuoso Competition 1998", the "International EPTA Competition for Piano Duo 1999" where he also received the "SABAM Prize", the "International Emmanuel Durlet Piano Competition 2002" (Belgium) where he was awarded the special prize for the "Best performance of the work of Emmanuel Durlet", the "International Maria Yudina Competition for Piano Duo" in St.-Petersburg 2005 (Russia), and the special prize for the "Best performance of music by a Balearic Island Composer" at the "International Piano Competition Vila de Capdepera", "Island of Majorca 2005" (Spain), the "International Competition - Un Ricetto in Musica for piano-duo" 2008 (Italy).

In 2002 he received the "Master of Music" degree from the Royal Flemish Conservatoire in Antwerp, with highest honours for piano. Afterwards he studied at the Royal Conservatoire of Music in Brussels under the supervision of Professor Boyan Vodenitcharov. In 2004 he recorded a CD with works of F. Chopin and the Belgian composer Emmanuel Durlet. These pieces are often broadcast by Radio VRT/KLARA. In 2005 he completed his education at the Royal Conservatoire of Brussels and received the degree "Specialization Instrument - Chamber Music" and a degree in Piano magna cum laude.

Kiyotaka received several scholarships, a.o. from the "Rotary Club", the "Oranjebeurs" (Holland) and the "Stichting Conservatorium Antwerpen". He took master classes given by Murray Perahia, Conrad Hansen, Jan Wijn, Jozef De Beenhouwer, Hans Leygraf. In 2008 he received his "Postgraduate Concert Soloist" degree with the highest honours at the Royal Flemish Conservatoire of Music in Antwerp. In 2009 he recorded his second CD with "Lyric pieces" of E. Grieg.

Kiyotaka IZUMI is piano professor at the Municipal Academy of Music and Word in Borgerhout and Willebroek. He is also piano accompanist at the Royal Flemish Conservatoire of Music in Antwerp.


"This promising Japanese pianist was instantly popular with the audience. His qualities showed most in his performance of the works by Emmanuel Durlet. In this music he stood out through his graceful touch and his sensitive expressiveness, especially in the delicate Fra Angelico's Garden. Gabriel Faure's music requires great clarity and smooth legato playing. Izumi is capable of meeting both requirements with great accuracy. This recital was crowned with the young musician's performance of Chopin's Sonata Nr. 3, which was played with light touches, with beautifully sonorous passages and in a clear, fluent tempo."
La Semaine, april 2004
13.00 eur Buy

Mozart: Piano concertos No. 2, 8, 22 Vol. 7 - Mikhail Voskresensky

Mozart: Piano concertos No. 2, 8, 22  Vol. 7 - Mikhail Voskresensky
ID: CR139
CDs: 1
Type: CD
Subcollection: Piano

Cadenzas:
M. Voskresensky (1, 3),
W. A. Mozart (4, 5),
J. Gummel (7, 9)

Mikhail Voskresensky is one of Russia's leading pianists. He is the winner of four international piano competitions (Schumann in Berlin, in Rio de Janeiro, George Enescu in Bucharest, and Van Cliburn in Fort Worth, Texas). In 1966 he was honoured with the Merited Artist of Russia award and in 1989, the People's Artist of Russia. Mikhail Voskresensky has extensive concert experience. His performances has been recorded and issued on more than 50 CDs. His performing art is well known and favored by the audiences worldwide. He is the only pianist in Russia to perform all of Chopin's piano compositions during one concert season (in 1982-83, in nine recitals in the Maly Hall of the Moscow Conservatoire). Mikhail Voskresensky graduated from the Moscow Conservatoire where he studied under Ilia Klyachko, Boris Zemliansky, Yakob Milstein, Lev Oborin (piano) and Leonid Roizman (organ). As student of the famous Lev Oborin, the winner of the First Chopin's Competition in 1927, Voskresensky adopted his teacher's refined romanticism, and perfect taste in harmony with the piano's splendid sound. The images evoked by his playing suggest contrasting musical colours, never out of harmony, with a charming legato inducing the instrument to sing. "His playing fascinates audiences with its artistry, cordiality and ingeniousness. Mikhail Voskresensky is a very talented and intelligent musician", Oborin wrote about his pupil. Voskresensky's repertoire includes Beethoven's 32 sonatas, all works of Chopin, and 64 piano concertos. He has performed with orchestras under the direction of more than 150 conductors, among them - Charles Dutoit, John Pritchard, Franz Konwitschny, Kurt Masur, Eugeny Svetlanov, Kirill Kondrashin etc. Since 2007, he is involved in a project of recording all Mozart piano concerti with Pavel Slobodkin Centre Symphony orchestra in cooperation with the conductor Leonid Nikolaev. After Mr. Nikolaev's death, the project was taken up by the conductor Konstantin Masliuk. On this CD, the seventh in this cycle, Concerti no.2, 8, and 22 are represented (recorded live from a concert in Maly Hall of the Moscow Conservatory). Mikhail Voskresensky began his pedagogical activities at the Moscow Conservatoire in 1959. For 8 years, he was an assistant to Professor Lev Oborin; since 1963 he has his own class. At present, Professor Voskresensky is the Head of piano chair at the Moscow Conservatoire. His pupils have won 112 prizes in international competitions, among them 49 gold medals. He has participated as juror for many major international competitions. He continues to be Chairman of the Jury for the Scriabin International Competition in Moscow. Mikhail Voskresensky is the President of the Scriabin International Society, and Guest Professor in the Toho Gakuen School in Tokyo. Professor Voskresensky gives numerous master classes in Russia and abroad.
13.00 eur Buy

The Great Spanish Pianists: Granados, Segovia, Falla - The Original Piano Roll recordings

The Great Spanish Pianists: Granados, Segovia, Falla - The Original Piano Roll recordings
ID: DSPRCD037
CDs: 1
Type: CD
Subcollection: The Great Pianists

These unique fascinating disis bring you originál performance from originál piano rolls in full digital sound. These are not acoustic or electric recordings re-mastered, but actual performance recorded for mechanical reproducing pianos (Ampico, Duo-Art and Welte Mignon) by the great composers and interpreters between 1904 and 1935. The recordings were made recently on a new concert-grand piano.

1, 7, 8, 9 - Paquita Madriguera Segovia, piano
2-6, 10, 13 - Enrique Granados, piano
11 - Guiomar Novaes, piano
14 - Manuel de Falla, piano
15 - Rudolf Ganz, piano
13.00 eur Buy

Masters of the Piano Roll: The Great Female Pianists Vol.11 - Cherkassy and Godowsky

Masters of the Piano Roll: The Great Female Pianists Vol.11 - Cherkassy and Godowsky
ID: DSPRCD051
CDs: 1
Type: CD
Subcollection: Piano

New digital recording

1 - 6 Shura Cherkassy, piano
7 - 14 Leopold Godowsky, piano
13.00 eur Buy

G. C. Menotti - Chamber Works - RTÉ Vanbrugh Quartet

G. C. Menotti - Chamber Works - RTÉ Vanbrugh Quartet
ID: CHRCD006
CDs: 1
Type: CD
Subcollection: Piano

Gian Carlo Menotti passed away recently - in 2007 - and had been a force in musical life for over half a century. Born in Italy, he became a friend of Samuel Barber while studying, and it was largely this friendship which encouraged him to move to the USA. Though his home was in the USA, he always considered himself to be an Italian composer.

Menotti had great success with several operas, establishing himself as a leading opera composer of the post-war period. There is a natural, innate lyricism to his musical language; an unabashed deployment of attractive melodies, which allows him to communicate directly to a large audience who, in general, share his musical taste, loving the things he loved.

Menotti's instrumental and vocal concert music has not attracted as much attention as his stage works, but his cantatas, concertos, song-cycles and other works all share the same musical virtues and attractiveness, creating vivid and compelling musical images, and benefitting from his instinctive sense of drama.

RTÉ Vanbrugh Quartet:
Winner of the 1988 London International String Quartet Competition and now in its twenty-third concert season, the RTÉ Vanbrugh Quartet is one of Europe’s most successful quartets, internationally recognised for its beauty of sound, clarity of texture and integrity of interpretation within an unusually wide and varied range of repertoire. Appointed Resident Quartet to RTÉ in 1986 and with almost 700 performances in Ireland to date, the group has dedicated itself to bringing the wonders of the string-quartet repertoire to audiences throughout the country. At the same time they have built a thriving international career, with regular tours taking them throughout Europe and the USA.

RTÉ Vanbrugh Quartet:(Gregory Ellis, Keith Pascoe - violins; Simon Aspell - viola; Christopher Marwood - cello)
13.00 eur Buy

Rachmaninov & Tchaikovsky Piano Trios - Gould Piano Trio

Rachmaninov & Tchaikovsky Piano Trios - Gould Piano Trio
ID: CHRCD012
CDs: 1
Type: CD
Subcollection: Piano

Tchaikovsky wrote comparatively little chamber music, yet his Piano Trio in A minor, Op. 50, with its kaleidoscopic succession of moods, is probably the first important piano trio by a Russian composer; and it proved very influential. Up to his forties Tchaikovsky had felt an antipathy to the piano trio-combination, and had refused to write one for his patroness, Nadezhda von Meck (whose resident piano trio included, as pianist, a French teenager called Claude Debussy). The occasion that caused Tchaikovsky to change his attitude was the death in March 1881 of the pianist and pedagogue Nikolai Rubinstein, founder of the Moscow Conservatoire, who had not only been a friend but one of Tchaikovsky's sternest critics and most faithful supporters. Deeply affected by losing this significant figure in his life, for a while Tchaikovsky seemed quite unable to compose. He planned a new opera, but then found himself composing the Piano Trio as a tribute to Rubinstein's memory - the dedication actually reads ‘in memory of a great artist'. Tchaikovsky told Countess von Meck that he selected the genre as a means of ‘testing himself', perhaps in order to assure himself that he was still fulfilling Rubinstein's exacting standards. The Trio was composed in Rome during the winter of 1881-2; Tchaikovsky wrote to his brother Anatoli that he was ‘completely engrossed in my new trio, and attracted by this new form of music which I have not tried before and is quite new to me'. After he had finished it he wrote again that ‘it pleases me greatly. Later, maybe, I shall renounce it, and hate it as much as I hate most of my works. At the moment, however, I am proud of it, it satisfies me, and raises me in my own esteem. Lately I felt sure I should not be able to compose any more and life without creative work is pretty pointless.'
Certainly the Trio is a big, ambitious piece in which the composer sets himself a multitude of challenges in what was for him a new medium. After a private performance in April 1882 Tchaikovsky made some revisions before the public premiere, which took place at the Moscow Conservatoire on 18 October with Taneyev playing the taxing piano part. The work was not well received by the press, but did not take long to make its way into the repertoire, where it stands to this day as one of the supreme examples of the piano trio in the Romantic era. Tchaikovsky later sanctioned substantial cuts in its formidable length. The expansive and passionate first movement brims with melodic ideas; it begins with a lyrical tune entrusted to the cello which produces many offshoots in the course of a lengthy exposition. Contrasting with this is a heroic, even martial theme distinguished by massive chordal writing in the piano - indeed the piano part throughout this Trio often resembles the solo part in a concerto. The development section includes a substantial dialogue between cello and piano, and in the coda the opening theme turns elegiac, with a tender duet for violin and cello before the movement finds its calm, sad close. The slow movement is a Theme and Variations, a form of which Tchaikovsky was already an established master. This E major movement is perhaps the most personal and unusual in inspiration of all his variation-sets. He associated the poised and almost classical theme - first stated by the piano - with Rubinstein himself, and the ensuing eleven variations chronicle incidents in Rubinstein's life and memories of times he and Tchaikovsky spent together. As the composer wrote to his halfbrother Modest, ‘one variation is a memory of a trip to an Amusement Park out of town, another of a ball to which we both went and so on'. The Amusement Park is probably to be heard in the quicksilver scherzo of the third variation, the ball in the sixth variation's sumptuous waltz - which also refers to Tchaikovsky's opera Eugene Onegin. But it is better not to look for particular ‘programmatic' connotations in the others. The brief fifth variation, with its high piano writing, is clearly a brilliant evocation of a musical box, according to some commentators - but a ‘troika' or
sleigh-ride, according to others. The eighth is a robust fugue, followed by a lamenting ninth variation marked flebile (mourning, plaintive) with Aeolian-harp figuration in the piano, and a tenth in lively mazurka rhythm. The eleventh variation closes the movement with an enriched restatement of the original theme. Though the second movement is over, the variation process is not. Tchaikovsky's third movement opens with what is, in effect, the twelfth variation in the sequence - a splendidly exciting and vivacious one, large and bold enough to initiate a full-scale finale in A major. It enacts a more or less complete sonata design before its triumphal elation is interrupted by the return of the soulful lyric theme that began the ‘Pezzo elegiaco' first movement, in drastically afflicted unison on the strings against a turbulently emotional piano part. This sudden outpouring of grief issues in a doom-laden coda marked lugubre, where the opening theme is heard for the last time against a Chopinesque funeral-march rhythm in the piano, ebbing away into silence. Tchaikovsky's Trio, with its function as a memorial for Nikolai Rubinstein, seems to have initiated a Russian tradition of ‘elegiac' piano trios - Arensky, for instance, wrote a trio inspired by the death of his (and Tchaikovsky's) friend, the cellist Davidoff. The young Sergei Rachmaninov actually entitled both his early piano trios, composed in quick succession in 1892 and 1893, Trio élégiaque; and the second of those was written under the shock of hearing of the sudden death of Tchaikovsky, who had encouraged him while Rachmaninov was still a student. That three-movement Trio in D minor is by far the better known of the two. Its predecessor, the Trio élégiaque No. 1 in G minor, was written at white-hot speed between 18 and 21 January 1892 and premiered in a recital that the 18-year-old Rachmaninov gave at Moscow Conservatory, where he was still a student, on 30 January. Rachmaninov naturally took the piano part, with his friends the violinist
David Krein and the cellist Anatoly Brandukov (for whom he would later compose a celebrated Cello Sonata.) As far as is known this was its first and last hearing in Rachmaninov's lifetime, and the work was not published until 1947. The fact that it was so speedily written, for performance by the composer himself, probably accounts for the large number of errors in the manuscript and almost complete lack of dynamics in the manuscript, which had to be heavily edited before it was printed. If the later D minor Trio is an elegy for Tchaikovsky, there is no evidence to suggest who might be the subject of the G minor. Its ‘elegiac' nature quite possibly arose from Rachmaninov's own current emotional state. The previous August he had caught a fever as a result of swimming in the chilly waters of the River Matir; his health had deteriorated throughout the Autumn and, though he gradually recovered, he had spent much of the winter in a state of depression. This would seem an adequate explanation for the mood of the Trio, which despite a fine show of activity in its central section seems to end in darkness and despair. The work is in a single movement in a broad sonata-form, with room for some contrasting episodes. Not surprisingly, Rachmaninov assigns pride of place to the piano, making the Trio almost a miniature piano concerto (it was in fact composed shortly after his Piano Concerto No. 1). It opens (with the characteristic expressionmark Lento lugubre) with murmuring, wind-blown string figures that create an evocative background to the dolorous - and already highly charcteristic - main theme, enunciated by the piano. After the strings have had a chance with this melody the music moves to a more active contrasting subject in story-telling style. The development section, marked Apassionato, is principally based on the opening theme and, after a climax and a silence, leads to a full-scale recapitulation of the opening materials. The work concludes with an impressively gloomy coda in the style of a funeral march.
Notes (c) 2010, Malcolm MacDonald
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Berceuses - Lullabies - Various Composers, A. Alberti, piano

Berceuses - Lullabies - Various Composers, A. Alberti, piano
ID: CNT2027
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

Piano (Kawai gran coda)

DDD 32 bit recording, 64 bit remastering
6 pages booklet Italian/English


In French they're called Berceuse, in German, Wiegenlied, in English Lullaby, in Italian Ninnananna.
The oldest example included in this recording "Le Dodo ou L'amour au berceau" is a piece which could easily belong to the prehistory of the genre and it's taken from the Fifteenth Ordre for harpsichord by François Couperin. Published in 1722, this piece uses the same lullaby melody that lies at the heart of Debussy's "Jardin sous la pluie" almost two hundred years later. The CD explores the history of the berceuse genre: proceeding in chronological order, we encounter the beautiful pieces by Chopin (who, by writing his Berceuse in 1844, did, in fact, invent a genre), Schumann, von Henselt, Liszt, Raff, Alkan, Brahms/Cortot, Grieg, Cˇajkovskij/Rachmaninov, Feruccio Busoni, Sibelius, Balakirev, Debussy. The collection of berceuses presented in this CD ( of course incomplete) is concluding with the Vingt regards sur l'Enfant-Jésus by Olivier Messiaen.

Iconography: Henry de Toulouse Lautrec, Berceuse
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Allegro Danzante - One Century of Italian Music - R. Parisi, clarinet / G. Rota, piano

Allegro Danzante - One Century of Italian Music - R. Parisi, clarinet / G. Rota, piano
ID: CNT2005
CDs: 1
Type: CD
Subcollection: Piano

Towards the end of the 19th century, instrumental music re-emerged in Italy ending melodrama's centuries-long stranglehold, thanks to a generation of composers who dragged Italian musical culture from the backwards state of isolation that it had gradually fallen into to complete integration in the European scene. Along with it came enough precise objectives and successful implementations that make it possible to talk of an Italian school (much as in the past) or at the very least, an Italian approach to music in the modern world and the ramifications of which continue, to a certain extent, exert influence today.
This recording, dedicated to M° Giuseppe Garbarino, intends to provide a special perspective of this very rich instrumental flowering which, if not complete, is, at any rate, indicative of the various tendencies that have been transmitted to us.
(from the booklet by Gabriele Rota)

View Also: Ennio Morricone, Ferruccio Busoni, Mario Castelnuovo-Tedesco, Michele Dall'Ongaro, Nino Rota, Raffaele Cacciola, Vittorio Fellegara

Iconography: Marzio Tamer, Cavalluccio marino, 2006, oil on wood
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Ignacio Cervantes - Danzas Cubanas (complete) -Ciudad de la Habana 1847 - 1905

Ignacio Cervantes - Danzas Cubanas (complete) -Ciudad de la Habana 1847 - 1905
ID: CNT2054
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

2005 Van Cliburn Piano Competition Finalist

Ignacio Cervantes Kawanagh (Havana, 1847-1905) is not quite known outside the American continent. Only occasionally a Dance of his will show up in a concert program or within a recording, though he was a significant figure of his times - times of change and inspired by revolutionary ideals in politics and art. From the point of view of the history of music, his importance is justly attributed to the "creole-ization" of Cuban music - or rather a fusion of styles, that show the local patrimony at its best by melding it with external influences, in constant tension by searching for a new identity (we could call it a type world music ante litteram). However destiny would have him be more than just an enfant prodige. It also led him to be twenty years old in '68 - a date that has the power of overturning the status quo even in other centuries and at other latitudes. Encouraged by the American composer Louis Moreau Gottschalk (from whom a second surname) to study at the Paris Conservatory, one of the best at that time. There he worked with highly respected musicians such as Antoine François Marmontel and Charles-Valentin Alkan, studying composition and harmony and graduating with brilliant results. In his career he played with many artists, but especially two merit mentioning: the Swedish Christina Nilsson and our own Adelina Patti, both famous singers, and rivals. As concert musician and virtuoso he travelled around the world, even for a noble cause: raising funds for the war for independence from Spain that began in '68 with the War de los Diez Años (1868-1878), the first of three wars for independence.
The Danzas surely represent his masterpiece. They are presented here for the first time as complete recording, splendidly performed by Davide Cabassi.
The introduction on the booklet has been written by the well-known Cuban musicologist José Ruiz Elcoro. For the first time a pianist of international projection , not a native Cuban, assumes such an undertaking by doing it brilliantly and with high interpretative sensibility and extraordinary technique. This book Cervantes 40 Danzas Cubanas by Publications De Blanck even revealed various unknown works.
A climatic moment in this CD production is the participation of the Russian pianist Tatiana Larionova, joining Cabassi. Together they solve with absolute cohesiveness, all the rhythmic labyrinths, seemingly simple, of the Three dances for four hands: (*) Los Delirios de Rosita, La Camagüeyana y Muñecos.
13.00 eur Buy

F. J. Haydn - Sonatas for Violin and Fortepiano Hob. XVa - XV 31, 32 - Alberto Bologni, violino - Giuseppe Fausto Modugno, fortepiano

F. J. Haydn - Sonatas for Violin and Fortepiano Hob. XVa - XV 31, 32 - Alberto Bologni, violino - Giuseppe Fausto Modugno, fortepiano
ID: CNT2048
CDs: 1
Type: CD
Subcollection: Violin

World Premiere Recording
DDD 32 bit recording - mastered at 64 bit
12 pages booklet I/E

Alberto Bologni, violin, Santo Serafino 1734
Giuseppe Fausto Modugno, fortepiano, Johann Schantz 1815

It's known that in the Hoboken catalogue, except for Hob:32 - which has been for a long time considered as the sole authentic Sonata for violin and piano by Haydn and published in Vienna in 1794 by Artaria - there isn't any further Sonata for these instruments; surely a bit surprising since we are talking about the composer who has been from everyone acknowledged as the father of string quartet. However Alberto Bologni and Giuseppe Modugno have discovered within the archives of the Civico Museo Bibliografico in Bologna, the copy of a printed edition dating to the early 1800's which are supposedly including other three Sonatas, i.e. XVa. Among these at least the entire Sonata in C major had been performed by the well-known Italian violinist Sandro Materassi together with his friend Luigi Dallapiccola. Remarkable the fact that both of the last concerts he performed in his career opened with the Sonata in C. Let's leave to the musicologists any discussion to this regard, we should just enjoy this delightful music which is enhanced by the extraordinary instruments which have been used for this recording: an original fortepiano Johann Schantz dated from 1815 (which was considered as the "Stradivari" among fortepianos in Vienna during the 19th century and even Franz Joseph Haydn was fond of such precious instrument) and a beautiful violin Santo Serafino dated from 1734. The recording is well performed by two excellent artists as Giuseppe Modugno and Alberto Bologni who give us moments of real good music.
13.00 eur Buy
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