Podcast appearances and mentions of vadim repin

durée : 00:19:31 - Disques de légende du mardi 29 octobre 2024 - 1971 est une grande année : elle a en effet donné deux violonistes d'exception : Vadim Repin côté russe, et Gil Shaham côté américain.

durée : 00:19:31 - Disques de légende du mardi 29 octobre 2024 - 1971 est une grande année : elle a en effet donné deux violonistes d'exception : Vadim Repin côté russe, et Gil Shaham côté américain.

1878. De Russische componist Peter Tsjaikovski zit gevangen in een ongelukkig huwelijk en vlucht weg van zijn vrouw richting Clarens. In alle rust aan het meer van Genève begint Tsjaikovski aan zijn vioolconcerto, met de assistentie van violist en minnaar Iosif Kotek. Drie jaar later werd het werk onspeelbaar verklaard door muzikanten en critici, maar vandaag kan je met dit meesterwerk de Koningin Elisabethwedstrijd winnen. moeilijke woorden: attacca uitvoering: Vadim Repin

durée : 00:58:36 - Vadim Repin, une maîtrise vertigineuse - par : Aurélie Moreau - « J'ai débuté si tôt l'étude du violon que j'ai presque l'impression d'être né avec l'instrument dans les mains. J'en suis tombé tout de suite amoureux et je n'ai même jamais imaginé pouvoir faire autre chose dans ma vie » nous dit Vadim Repin.

durée : 00:16:56 - Le disque contemporain de la semaine du dimanche 24 octobre 2021 - A l'occasion du 90ème anniversaire de la compositrice Sofia Gubaidulina, un album monographique est paru chez Deutsche Grammophon. On vous en parle !

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En juin 2020, nous rencontrions Hagit Hassid-Kerbel, co-fondatrice du Festival Musica Mundi, ainsi que de l'école Musica Mundi. A l'occasion d'un grand concert de Musique de Chambre de ses étudiants, vendredi prochain, 2 avril, à 19h30, nous vous proposons une nouvelle diffusion de cet entretien. Hagit Hassid-Kerbel est pianiste. En 1999, elle créait avec le violoniste Leonid Kerbel, son époux, le Festival Musica Mundi A leur arrivée en Belgique, Hagit et Leonid Kerbel (ndlr. : respectivement Israëlienne et Russe) constatent que les structures d'enseignement musical de haut niveau manquent pour leurs élèves les plus brillants et les plus passionnés, ceux pour qui la musique est davantage qu'un loisir. On parle ici de ces jeunes gens qui ne sont pas encore en âge d'intégrer le Conservatoire, et qui doivent suivre la filière de l'enseignement général. En 1999, forts de ce constat, Hagit Hassid-Kerbel et son époux décident dès lors d'organiser un stage d'été de haut niveau pour des jeunes musiciens de 10 à 20 ans. Rapidement, ils convainquent de très grandes figures mondiales de la Musique de Chambre de les rejoindre : le violoncelliste Mischa Maisky sera ainsi le tout premier guide, et le premier soutien de l'aventure Musica Mundi. Concomitamment à ce constat, Hagit et Leonid décident d'organiser un Festival conjointement à ce stage : Musica Mundi était né ! 22 ans plus tard, le Festival Musica Mundi rassemble chaque été les plus grands noms de la Musique de Chambre : de Vadim Repin, au quatuor Prazak, en passant par le regretté Paul Badura Skoda, les King's Singers, Dietrisch Henschel, Rudolf Buchbinder, Ivry Gitlis, Lily et Mischa Maisky , Maxime Vengerov, Ronald Van Spaendonck, et tant d'autres... Le Maître-mot du Festival et de son stage est sans aucun doute celui d' "émulation". Il consiste à faire vivre ensemble des jeunes musiciens du monde entier pendant 10 jours. De jeunes artistes qui ont l'occasion de fréquenter de grands Maîtres pendant tout le stage, dont certains sont parfois leurs idoles. Cours particuliers, stages d'Orchestre, et pour les plus brillants et chevronnés d'entre eux, la possibilité de se produire sur scène, pendant les concerts du Festival : un rêve éveillé pour certains. En septembre 2018, Hagit et Leonid Kerbel franchissaient un pas de plus, et concrétisaient un projet qui germait depuis la création du stage Musica Mundi : celui de créer une école : la Musica Mundi school. Une école répondant à l'enseignement "Cambridge", c'est à dire qu'elle dispense actuellement à 35 jeunes du monde entier, des humanités générales d'une part, et un enseignement musical de haut niveau, d'autre part. La philosophie, les désirs du stage Musica Mundi sont ici inchangés : offrir simultanément un enseignement général et un enseignement musical d'excellence, à des jeunes de 12 à 18 ans. Les cours sont dispensés en anglais, et le modèle "Cambridge" permet aux jeunes d'être les détenteurs d'un diplôme d'humanités en bonne et due forme. "Notre envie", nous confiera Hagit Kerbel, "c'est de ne pas compartimenter d'un côté les cours généraux, et de l'autre, la Musique". Dans cette école, les loisirs et le travail se confondent joyeusement, de 7h du matin, jusqu'à 22h. L'école Musica Mundi est installée dans le Domaine de Fichermont, à Waterloo, un Monastère désacralisé. Les cours sont donnés en anglais, et si tous les grands noms du Festival ne peuvent être aux côtés de ces jeunes tout au long de l'année, certains d'entre eux comme Mischa Maisky et Maxime Vengerov, leur rendent visite plusieurs fois par an. L'équipe pédagogique est fournie : on y retrouve quelques grands noms, comme le pianiste Jacques Rouvier, la harpiste Catherine Michel, ou bien encore le clarinettiste belge Ronald Van Spaendonck. Outre l'écrin de verdure dans lequel se niche l'ancien Monastère, l'école peut s'enorgueillir de posséder une splendide salle de concert, qui était autrefois la Chapelle des...

Programmation musicale : Maurice RAVEL - Le premier mouvement du Concerto pour piano en sol majeur . Pierre-Laurent Aimard & Cleveland Orchestra sous la direction de Pierre Boulez . DG 4778770 . Erik SATIE - Gnossiennes n°2 à 4 . Jean-Yves Thibaudet . DECCA 4736212 . Gabriel FAURE - Le premier mouvement du Quintette à clavier n°1 en ré mineur opus 89 . Eric Lesage et le Quatuor Ebène. Alpha 602. Daniel CAPELLETTI - Tango pour accordéon, violon, piano, deux guitares et contrebasse. Ensemble Soledad. Virgin 5455032. César FRANCK - Les deuxième et troisième mouvements de la Sonate en la majeur pour violon et piano . Vadim Repin et Nikolai Lugansky. DG 00289 477 8794.

"When I hear Beethoven, I feel like he's reading my mind, reading my soul. It's impossible to comprehend. I compare Beethoven to someone like Da Vinci. Similar level of genius. His music is one of the great treasures we have." On today's program, cellist Pablo Ferrández is here. A colleague of Daniel on stage and a friend offstage, they have a lot talk about when it comes to cello, music, and music's role in modern life. But this is not a conversation where two musicians talk shop. Quite to the contrary-- it's a conversation with appeal to the general public, to even the most casual of listeners or someone with just a passing interest in music. Great music shapes us, it colors every aspect of our lives, it makes itself relevant and indispensable just by virtue of it existing. So where do we turn in these pandemic times when we need music the most? What do musicians do? Why does Beethoven mean so much, so long after his death? Is "relevance" an escape word-- a myth?-- people use when they don't want to fully confront a great work of art? Prizewinner at the XV International Tchaikovsky Competition and SONY Classical exclusive artist, Pablo Ferrández announces himself as a musician of stature. A captivating performer, “Ferrández has the lot: technique, mettle, spirit, authority as a soloist, expressivity and charm” (El Pais). Recent highlights include the debuts at the Hollywood Bowl with Los Angeles Philharmonic under G.Dudamel, with Bayersichen Rundfunk Symphony Orchestra under D. Gatti, with Bamberg Symphony under C. Eschenbach, performances of Brahms Double Concerto and Beethoven Triple Concerto with Anne-Sophie Mutter, and appearances with the London Philharmonic, Israel Philharmonic, Rotterdam Philharmonic, Vienna Symphony, and Orchestre National de France, among others. The 20/21 season will bring the debuts with Filarmonica della Scala under R. Chailly, Mahler Chamber Orchestra under D. Gatti, Salzburg Mozarteum Orchestra, Philharmonia Orchestra, BBC Scottish Symphony, RTE National Symphony Orchestra, Festival Strings Luzern, Orchestra de la Svizzera Italiana, Moscow State Symphony Orchestra and returns with the Dusseldorf Symphony at the Elbphilharmonie, Orchestra Sinfonica Nationale RAI, St. Petersburg Philharmonic, Spanish National Orchestra, RTVE Orchestra, Orquesta Sinfónica de les Illes Balears and the Basque National Orchestra. He will also be Artist-in-residence at the Tenerife Symphony Orchestra. As a recitalist and chamber musician, he frequently collaborates with such artists as Vadim Repin, Martha Argerich, Gidon Kremer, Yuja Wang, Nikolay Lugansky, Khatia Buniatishvili, Beatrice Rana, Denis Kozhukhin, Maxim Rysanov, Ray Chen, Alice Sara Ott, Elena Bashkirova, Luis del Valle and Sara Ferrández. Born in Madrid in 1991, in a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía when he was 13 to study with Natalia Shakhovskaya. After that he completed his studies at the Kronberg Academy with Frans Helmerson and became scholar of the Anne-Sophie Mutter Foundation. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. ----------------- talkingbeats.com Please consider supporting Talking Beats with Daniel Lelchuk via our Patreon: patreon.com/talkingbeats In addition to early episode access, bonus episodes, and other benefits, you will contribute to us being able to present the highest quality substantive, long-form interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever.

World-class pianist Polina Osetinskaya is one of the four prodigy-called musicians from the Soviet Union, standing alongside violinists Maxim Vengerov and Vadim Repin, as well as pianist Evgeny Kissin. She is glad to leave the past of the childhood fame behind her and is proud to make a transformation to worlds most respected concerting pianists, which has been a long and uneasy journey for her. The pianist today is known for her unusual repertoire, including works by the contemporary post-avant-garde composer as well as traditional, classical works. After performing at the Salzburg Festival this week Polina Osetinskaya will appear at Carnegie Hall next season with Maxim Vengerov and for her project “An Unknown Friend”. Ona Jarmalavičiūtė, a musicologist, has conducted an interview with a performer about her performance style, struggles of youth her and opinion about the music business of today.

I programmet diskuteras bl.a. brittiska folksånger i Britten, Haydn och Beethovens arr framförda av Christian Gerhaher samt en mässa av Zelenka. Dessutom har Albert Ehrnrooth mött Gianandrea Noseda. I panelen Bodil Asketorp, Camilla Lundberg och Evabritt Selén som tillsammans med programledaren Johan Korssell betygsätter följande skivor: FOLKSLIED Sånger av Haydn, Britten och Beethoven Christian Gerhaher, baryton, Gerold Huber, piano Anton Barachovsky, violin, Sebastian Klinger, cello BR Klassik 900131FLORENT SCHMITT Antoine et Cléopatre, sviter 1 och 2 samt Le Palais hanté Buffalos filharmoniker JoAnn Falletta, dirigent Naxos 8.573521 JAN DISMAS ZELENKA Missa Divi Xaverii och Litaniae de Sancto Xaverio Hana Blazikova m.fl. Collegium Vocale 1704, Collegium 1704 Václav Luks, dirigent Accent ACC 24301TJAJKOVSKIJ - STRAVINSKY Violinkonsert D-dur Les Noces Patricia Kopatchinskaja, violin, MusicAeterna Teodor Currentzis, dirigent Sony 88875165122CD-revyns Albert Ehrnrooth samtalar med dirigenten Gianandrea Noseda om William Shakespeares dramatik som influens på den klassiska musiken, speciellt med avseende på Verdi, Berlioz och Tjajkovskij. Andra i programmet nämnda eller rekommenderade inspelningar: Schmitts Antoine et Cléopatre med Rheinland-Pfalz statliga filharmoni under Leif Segerstam på skivmärke Cybelia, dessutom kommer BBCs symfoniorkester ledd av Sakari Oramo att framföra detta verk den 4 oktober i Barbican i London. Tjajkovskijs Violinkonsert med Vilde Frang och Danmarks radios symfoniorkester ledd av Eivind Gullberg Jensen på EMI;  David Ojstrach tillsammans med Sovjetunionens statliga symfoniorkester dirigerade av Kirill Kondrasjin på Melodija samt med Vadim Repin och Mariinskij-teaterns orkester ledd av Valerij Gergijev på Philips. Stravinskys Les Noces med Bernstein på DG samt Stravinskys egen på CBS. Inget svep denna vecka  

Er stammt aus Sibirien und hat schon als Jugendlicher in München, Tokio und New York debütiert: Der Geiger Vadim Repin. Am Donnerstag spielt er in Nürnberg Max Bruchs Violinkonzert - mit einem Orchester, das er sehr schätzt.

Åbos filharmoniker spelar Sibelius, Martinu-kvartetten spelar Tanejev och Sofia möter sopranen Camilla Tilling. Det är en del av veckans innehåll. I panelen sitter Anna Nyhlin, Evert van Berkel och Hanna Höglund som tillsammans med veckans vikarierande programledare Magnus Lindman betygsätter följande skivor:SERGEJ TANEJEV Kvintetterna Martinu-kvartetten, Olga Vinokur, piano, Jiri Bárta, cello, Jitka Hosprová, viola Supraphon SU 4176-2 Betyg: 5 radioapparater. Veckans toppnotering!JEAN SIBELIUS Svanevit, Ödlan, Ett ensamt skidspår, Grevinnans konterfej Åbos filharmoniker Leif Segerstam, dirigent Naxos 8.573341 Betyg: 4 radioapparaterCLAUDIO MONTEVERDI Madrigaler (vol 1) Cremona Les Arts Florissants, Paul Agnew, dirigent Les Arts Florissants AF 005 Betyg: 4 radioapparaterW A MOZART Enleveringen ur seraljen Diana Damrau, Anna Prohaska, Rolando Villazón, Paul Schweinester, Thomas Quasthoff, Franz-Josef Selig Chamber Orchestra of Europe Yannick Nézet-Séguin, dirigent DG 479 4064 Betyg: 2 radioapparaterSofia möter Camilla Tilling Sofia Nyblom möter sopranen under ett av hennes sällsynta stockholmsbesök. Samtalet kretsar kring den nya CD:n I skogen innehållande sånger av Sibelius, Grieg, Stenhammar och Alfvén. Andra nämnda eller rekommenderade inspelningar- Tanejevs pianokvintett med pianisten Michail Pletnjov, violinisterna Vadim Repin och Ilja Gringolts, violasten Nobuko Imai samt cellisten Lynn Harrell, inspelad på DG.- Mozarts Enleveringen ur seraljen med RIAS symfoniorkester, Västberlin och dirigenten Ferenc Fricsay i en inspelning gjord 1954 på DG; i inspelning från 1966, också på DG  med Bayerska statsoperans orkester ledd av Eugen Jochum samt i ny inspelning (2015) med René Jacobs och Akademin för tidig musik, Berlin gjord på skivmärket Harmonia Mundi.

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Audio production by Todd “Toddy Ruxpin” Hulslander, with kind of creepy hovering during the editing process by Dacia Clay. Music in this episode: – “Life Carries On” from Dismal Times, by Earthen Grave – Brahm’s Violin Concerto, Rachel Barton Pine with Chicago Symphony Orchestra. Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions. – “Ice Cream Man” from Van Halen by Van Halen. – Mendelssohn’s Violin Concerto in E Minor as performed (not necessarily in this order) by: — Rachel Barton Pine with Gottinger Symphonie Orchester. Christoph-Mathias Mueller conducting. — Joshua Bell with Camerata Salzburg. Roger Norrington conducting. — Fritz Kreisler with Berlin State Opera Orchestra. Leo Blech conducting. — Jascha Heifetz with Boston Symphony Orchestra. Sir Thomas Beecham conducting. — Maxim Vengerov with Leipzig Gewandhaus Orchestra. Kurt Masur conducting. — Isaac Stern with Philadelphia Orchestra. Eugene Ormandy conducting. — Henryk Szeryng with London Symphony Orchestra. Antal Dorati conducting. — Nathan Milstein with New York Philharmonic. Bruno Walter conducting. — Anne-Sophie Mutter with Berlin Philharmonic. Herbert von Karajan conducting.  — Itzhak Perlman by London Symphony Orchestra. Andre Previn conducting. — Maud Powell For more information about Classical Classroom: www.houstonpublicmedia.org/classroom For more information about Rachel Barton Pine: www.rachelbartonpine.com But wait! There’s more! In this short Classical Classroom, she talks about the most important thing her two musical loves share in common: emotional power. Audio production by Todd “Goes to 11” Hulslander with lighters in the air by Dacia Clay. Music in this episode: – “Death Is Another Word” from Earthen Grave, by Earthen Grave – Brahm’s Violin Concerto, Chicago Symphony Orchestra, Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions – “Ice Cream Man” from Van Halen by Van Halen – “Arpeggios from Hell” by Yngwie Malmsteen – Tchaikovsky’s Violin Concerto in D major, Vadim Repin with Kirov Orchestra. Valery Gergiev conducting. – Sibelius’ Violin Concerto in D minor, Salvatore Accardo with London Symphony Orchestra. Sir Colin Davis conducting. – “Wasted Years” from Somewhere in Time by Iron Maiden – “Ozzy/ Black Sabbath Medley” by Rachel Barton Pine

  More about Nocturnes Leon Bosch, Sung-Suk Kang "Nocturne" (mp3) from "Virtuoso Double Bass" (Meridian Records) Buy at iTunes Music Store More On This Album   The working relationship between Sung-Suk Kang and the distinguished double bass player Leon Bosch goes back to 1982, when both were students at the Royal Northern College of Music in Manchester, UK. Sung-Suk accompanied Leon during lessons and at scholarship auditions. 'At the end of our courses of study,' Leon remembers, 'the RNCM principal, Sir John Manduell, invited us to play two pieces together in one of the so-called principal's concerts. These were showcase events in which his ‘prize students’ were afforded a platform to perform in front of an audience of many distinguished invited guests, as well as the public. Sung-Suk and I performed two pieces by the great double bass player Bottesini, the Capriccio di Bravura and Fantasy Sonnambula. 'I'll remember that 1984 concert forever, for Sung-Suk’s magical playing throughout. There was one extended piano tutti in Sonnambula which was particular memorable for its unique delicacy and scintillating effervescence.' Sung-Suk picks up the story. 'After we left the RNCM, Leon and I lost contact with each other for twenty years. Then in the autumn of 2006, all of a sudden I received an SMS message from Leon on my mobile.....out of the blue. I called him back and discovered that at short notice he wanted me to play for him on a CD of pieces by Bottesini. After exchanging a few emails, I agreed.’ So what had inspired Leon to make the move? 'After Sung-Suk and I parted company back in 1984 I always thought of her whenever I played Sonnambula. I often wondered what had happened to her. I have a tape recording of that principal's concert and played it often over the years to reassure myself that it was indeed real and not just a grossly exaggerated and romanticised memory! 'Then when I was scheduled to record my first Bottesini disc, my pianist had to withdraw. After much thought, I resolved to try and find Sung-Suk, since she was the only person I felt I'd really be happy to work with. I put her name into Google and found her referred to on the website of the conductor, Nayden Todorov. With that lead, I traced her to Vienna.’ 'We began to rehearse as soon as I arrived in London!' Sung-Suk recalls. 'There wasn`t enough time to work on each piece in detail.... and we only had one and a half days to record all the repertoire for the CD. 'Playing with Leon wasn`t easy at first - he has a unique way of phrasing and his rubato is never predictable. And of course my ears had to concentrate so much on picking up the thick, deep lower register of the double bass sound. But during the recording sessions everything clicked and became completely natural. 'We tried to create a new atmosphere for each piece and then find the inspiration for a special interpretation at the end of the process. This was always different from what we'd prepared....music-making with Leon is always spontaneous! I love the full sound he makes, all the different colours he creates to express varied emotions in depth.’ As for Nocturne, it allows the piano to anticipate the main theme in the opening section but then gives it no share of the melodic line so expressively introduced and sustained by the double bass. It is, however, the piano which towards the end initiates the change from minor to major harmonies, just before double-bass harmonics magically project the melody into the soprano register. If Bottesini expected to be remembered by future generations he no doubt felt that it would be through his operas and sacred music. In fact, while they are forgotten, his posthumous reputation derives from an instrumental artistry which, though it died with him, survives in the hands of those few bassists who can do his compositions full justice.   Nikolai Lugansky "Nocturne, Op. 55 No. 1" (mp3) from "Chopin: Piano Sonata No. 3, Fantasie-impromptu, Prélude, Nocturne, et al." (Onyx Classics) Buy at iTunes Music Store More On This Album   Nikolai Lugansky's first recording for ONYX. The Daily Telegraph commenting on Lugansky, said 'He can thrill in taxing pianism through his iron will and fingers of steel, but there is an assuaging velvet quality to his tone, a natural feel for lyrical line' Gramophone praised his 'pianism of immense skill, fluency and innate musical quality' Nikolai Lugansky was born in Moscow in 1972. He studied at Moscow Central Music School (under Tatiana Kestner) and then at the Moscow Conservatory, where he was a pupil of Tatiana Nikolayeva, who described him as ‘the next one’ in a line of great Russian pianists. Following Nikolayeva’s untimely death in 1993, Lugansky continued his studies under Sergei Dorensky. A laureate of the International Bach Competition in Leipzig, the Rachmaninov Competition in Moscow and the International Tchaikovsky Competition in Moscow, Lugansky has a repertoire of over 50 concertos with orchestra as well as a wide range of solo and chamber works. He has worked with many distinguished orchestras and conductors including Christoph Eschenbach, Vladimir Fedoseyev, Valery Gergiev, Neeme Järvi, Raymond Leppard, Yoel Levi, Mikhail Pletnev, Gennady Rozhdestvensky, Vladimir Spivakov, Evgeny Svetlanov, Yuri Temirkanov, Kurt Masur, Riccardo Chailly and others. His chamber music partners have included Vadim Repin, Alexander Kniazev, Joshua Bell, Yuri Bashmet, Mischa Maisky, Leonidas Kavakos and Anna Netrebko among others. Lugansky has recorded 23 CDs. His solo recordings on Warner Classics — Chopin Études, Rachmaninov Préludes and Moments musicaux and Chopin Préludes — were each awarded a Diapason d’Or. His PentaTone Classics SACD of Tchaikovsky’s Piano Concerto no.1, with the Russian National Orchestra under Kent Nagano, was cited as ‘Editor’s Choice’ in Gramophone. His Prokofiev CD was one of the ‘CDs of the Year’ (2004) featured in The Daily Telegraph. Lugansky’s recordings of the complete piano concertos of Rachmaninov, with the City of Birmingham Symphony Orchestra under Sakari Oramo, received Choc du Monde de la Musique, Preis der deutschen Schallplattenkritik and the 2005 ECHO Klassik Award. His last recording (Chopin’s and Rachmaninov’s cello sonatas) with the cellist Alexander Kniazev won the 2007 ECHO Klassik Award. As well as performing and recording, Lugansky teaches at the Moscow Conservatory as an assistant of Prof. Sergei Dorensky.   Anthony Goldstone "Nocturne in D-Flat Major, Op. 8" (mp3) from "Russian Piano Music, Vol. 4: Sergei Lyapunov" (Divine Art) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Now almost forgotten in the West, Lyapunov was one of the truly great composers of the Romantic era in the late 19th and early 20th centuries. His Sonata is a phenomenal work and his mastery of pianistic composition is also finely demonstrated by the other works on this album masterfully interpreted by Anthony Goldstone. Anyone who loves Chopin or Liszt should get to know this music.   Fuzjko Hemming "Nocturne No. 20 In C-Sharp Minor" (mp3) from "Fuzjko Hemming - Collector's Edition" (Fuzjko Label) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon MP3 More On This Album Having wowed much of the Eastern Hemisphere for years, classical pianist Fuzjko Hemming is preparing for her introduction to the United States. Having been born into humble circumstances, child of a Japanese mother and Swedish father, she has felt rootless, too Asian in appearance for Sweden, and in Japan constricted by the society's stratified and class-oriented way of life. Then, as she was starting to gain traction as a professional musician, her promising career was cut short. - Fuzjko lost all hearing in her left ear after battling a serious cold. At 16, she already lost her hearing in her right ear due to illness. Completely deaf for 2 years, she eventually had 40% of her hearing restored in her left ear. After living in poverty in Europe for many years before returning to Japan and gaining acclaim for her music - critics hailed her as being "born to play Chopin and Liszt " In 1999, Japan's NHK Television aired a documentary of her life and she released her debut album, La Campanella, which sold more than two million copies, a rare accomplishment for any classical artist She also has won an unprecedented four Classical Album of the Year Awards at the Japan Gold Disc Awards, another extraordinary achievement for any artist, let alone a classical artist She remains the only four-time Gold Disc Award winner. Since that time she has recorded numerous successful albums - invigorating collections of classical interpretations, five of which are being released for the first time in the U.S. on her label Domo Records: Echoes of Eternity, La Campanella, Liszt: Piano Concerto No. 1, Nocturnes of Melancholy, Live at Carnegie Hall. On the new album, Fuzjko, the artist performs largely romantic repertoire ranging from Beethoven's "The Tempest" sonata to works by Chopin, Liszt, Scarlatti and Debussy. In each piece, whether performing Chopin's Nocturnes or Liszt's bravura pieces "La Campanella" and "Grand Etudes D'Apres Paganini No. 6", Fuzjko infuses poetry to these timeless compositions, and always in her own eminently attractive style. The warmth of Fuzjko's sound can also be heard in Scarlatti's Sonata K.162 and Debussy's "Claire De Lune". Although much of the repertoire is familiar, Fuzjko also dips into lesser known works like Liszt's transcription of Schumann's "Fruhlinghsnacht", and Chopin's "Trois Nouvelles Etudes No.3, and always played with her celebrated musicality much in evidence. The celebrated virtuoso blends the classicality of her influences such as Franz Liszt, Frédéric Chopin with the sophisticated approach of her mentors (Leonard Bernstein, Herbert von Karajan) to create an emotional delivery of exquisite craftsmanship. She's been known to bring some fans to tears with her moving immersion in her music. With her strikingly unorthodox playing style and intricate ethnic roots, it's evident that Fuzjko's true home is at the piano, where she reveals herself as a true artist of the world.   Carly Comando "Bear" (mp3) from "One Take" (Deep Elm) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album   Chilling. Stirring. Powerful. Contemplative. These are some of the words most frequently used to describe the achingly beautiful piano instrumentals of Carly Comando. Her debut album "One Take" features ten delicately woven songs (including her single "Everday") that are the direct emotional output of her innermost thoughts. "The album means the world to me. It's complete, in-the-moment sincerity translated into moody solo piano music. I used an improv technique, recording in just one take, so I could capture the essence of pure emotion" says Carly. From the rises and falls to the shrinks and swells, these songs will leave an indellible impression on your mind. It's music that stays with you forever. "One Take" was recorded in Carly's home studio in Brooklyn, NY. Mastered by Phil Douglas (Latterman, Small Arms Dealer, Iron Chic). The album includes the "Everyday" which was originally released in December 2006. Deep Elm Records is simultaneously releasing an EP titled "Cordelia" featuring four additional piano instrumentals. Carly also plays keyboards / sings in the band Slingshot Dakota and composes custom works upon request. And yes, that was the name given to her at birth. "This is music that changes lives, opens minds, broadens horizons. Carly is an amazing pianist." - ANA "Beautiful and soothing, she will evoke emotion and ease any scattered mind. A talented composer." - SweetieJo "Emotional and inspiring, it grabs your soul and moves you. Highly recommended." - The Rez

WPAS speaks with violinist Vadim Repin about his November 15th program at the Kennedy Center: Debussy’s Violin Sonata in G minor, Stravinsky’s Divertimento for Violin and Piano and Beethoven’s “Kreutzer” Sonata.