Podcasts about giltburg

In einem anderen Leben wäre Giltburg vielleicht Übersetzter geworden, denn er spricht sechs Sprachen. Der 1984 in Moskau geborene Israeli ist einer der anerkanntesten Pianisten der Gegenwart. Grit Schulze traf ihn.

Raymond Bisha presents an overview of Boris Giltburg's project to learn and record all of Beethoven's 32 piano sonatas, which are now released in a 9-CD box set edition following their inception as critically acclaimed digital releases. The recordings reflect only one facet of Giltburg's gem of an undertaking, in that performances were also filmed and subsequently fleshed out by his extended and informative notes that accompany the albums. Giltburg's personal exploration and Beethoven's panoply of expression unite in a cycle that runs the full gamut of human emotion.

The pianist Boris Giltburg is recording Beethoven's five piano concertos for Naxos with the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko. The first album is out with the first two piano concertos and the early Rondo, WoO6 from 1793. James Jolly met up with Boris Giltburg after a performance of the First Piano Concerto and the day before the recording sessions.

Boris Giltburg, piano. 1. S. Rachmaninoff - Preludes, op. 23 nrs. 4,5,8,7; 2. D. Sjostakovitsj - Derde strijkkwartet (arr. Giltburg); 3. S. Prokofjev - Derde sonate "d'après des vieux cahiers". Rechtstreeks vanuit de Kleine Zaal van het Concertgebouw te Amsterdam.

Boris Giltburg, piano. 1. S. Rachmaninoff - Preludes, op. 23 nrs. 4,5,8,7; 2. D. Sjostakovitsj - Derde strijkkwartet (arr. Giltburg); 3. S. Prokofjev - Derde sonate "d'après des vieux cahiers". Rechtstreeks vanuit de Kleine Zaal van het Concertgebouw te Amsterdam.

Franz Liszt was one of music history’s first superstars, whose stunning technique and charismatic stage presence facilitated his development of the solo piano concert format. This release puts his 12 Transcendental Studies centre stage, where they share the spotlight with award-winning pianist Boris Giltburg, an emerging superstar in his own right whose pianism clothes Liszt’s music with impeccable artistry. While many series of studies succeed in developing technique, they are rarely very exciting musically. Liszt’s works, however, embody rich, alluring worlds that can be accessed only by a performer with outstanding technical expertise and penetrating musical vision. Raymond Bisha presents Boris Giltburg’s latest Naxos release.

Raymond Bisha helps turn the pages of Rachmaninov’s Third Piano Concerto, following the release of Boris Giltburg’s fine performance of the work with the Royal Scottish National Orchestra and conductor Carlos Miguel Prieto. Noted for its length and technical difficulty, ‘Rach 3’ (its popular moniker) is reckoned to have more notes than all of Mozart’s piano concertos put together. Boris Giltburg shows how Rachmaninov’s gift as a story-teller in music reaches a high point in the work, unfolding a narrative tapestry equal to that of a great novel.

Raymond Bisha introduces Boris Giltburg’s latest album of music by Sergei Rachmaninov that features the Études-tableaux Op. 33 and his ever-popular Piano Concerto No. 2. The latter charts a dramatic course: from the passion, darkness and pain of the first movement, through the dreamy idyll of the second, to the unequivocal victory of the finale. This overview might indeed reflect the path of Rachmaninov’s own life: his depression and inability to continue composing following the disastrous première of his First Symphony (ruined by an apparently drunken Glazunov on the conductor’s podium) and his fight to overcome it with the help of a hypnotherapist, one Dr Dahl, to whom the Second Piano Concerto was dedicated.

Time and again, Dmitri Shostakovich deftly managed to dodge the artistic bullet when it came to the expected political conformity of the day. His two piano concertos bear his distinctive musical voice, despite Soviet diktats. Cheeky banter and effervescence characterise the works, offset by a sublime movement in the second concerto that soloist Boris Giltburg describes as “a rare instance of Shostakovich without a mask.” Giltburg’s own transcription for piano of Shostakovich’s Eighth String Quartet adds a beautiful bonus to the programme.

Interviews with James Ehnes and Boris Giltburg, and a look at Stravinsky's Firebird Suite