Podcast appearances and mentions of yuri bashmet

The Pale Man by Julius Long Today I tell you a tale about a summer vacation gone wrong in the hopes of chilling your too-hot day. The Pale Man was first published in Weird Tales Vol. 24, Issue 3 (1934). It is in the public domain and you can read it for yourself here. Be featured on a Small Frights episode! Submit all Halloween queries, advice, recommendations, or memories via telephone to the All Hallows Hotline at (802) 532-Dead! or write an EEEEKmail to itsalwayshalloweenpodcast@gmail.com ⁠Scare your fellow lanterns this season! Submit your haunting tales, photographs, art pieces, and/or recipes to Lantern's Way #2: There's a G-G-G-Ghost! Email all submissions to ⁠thelanternsway@gmail.com⁠   Submission deadline: 8/25 ⁠Pre-Order The Lantern's Way #2⁠ ⁠Order The Lantern's Way #1⁠ IAH Spotify Playlist ⁠Subscribe to It's Always Halloween on Patreon ⁠ ⁠Support It's Always Halloween with a One Time Donation⁠ ⁠Follow It's Always Halloween on Instagram⁠ ⁠Join the Local Lantern Society⁠ Intro music by Pete Byrnes. Scoring for this episode was composed by Toru Takemitsu (Nostalghia, 1987) and performed by Yuri Bashmet.

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022.In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt.Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018. 

Marlon Martinez is a young virtuoso bassist and composer emerging at the center of the resurgent Los Angeles jazz scene. He has demonstrated his virtuosity while touring with a wide range of artists, from rock icon Stewart Copeland to classical trailblazers Quatuor Ebène. Marlon is the protégé of mentor Stanley Clarke and studied with legendary jazz bassist Ron Carter in New York City. He is the music director and composer of his big band, Marlonius Jazz Orchestra. Marlon is a winner of Colburn School's 2020 New Venture Competition and was selected as an artist-in-residence for the inaugural Amplify Series at Colburn School in 2022. ​ In 2010 and again 2011, Marlon was selected to participate in the highly acclaimed Verbier Festival Orchestra in Switzerland. During his membership, he performed under the baton of Charles Dutoit, Valery Gergiev, Neeme Järvi, Rafael Frühbeck de Burgos and Yuri Temirkanov among others. He performed with international classical soloists such as Mischa Maisky, Leonidas Kavakos, Yuri Bashmet, Lisa Batiashvilli, Yuja Wang, and Deborah Voigt. ​ Marlon is currently the bassist for Stewart Copeland and Jon Kimura Parker's epic collaboration Off The Score. Notable tour appearances include the 2015 21C Music Festival with Off The Score, the 2016 Gstaad Menuhin Festival and Academy with Quatuor Ebène and Stacey Kent, the premiere of his composition Jazz Impressions for String Orchestra, No. 1 at the 2016 Festival du Haut Limousin, and "Don't Box Me In: An Intimate Evening with Stewart Copeland" at Long Beach Opera in 2018.  ​ Dedicated to music education and outreach, Marlon is a jazz faculty member of CSArts San Gabriel Valley. He also serves as a double bass coach for the Capistrano Unified School District, and collaborates with the Inner City Youth Orchestra of Los Angeles. With the support of the Colburn School and Billy Strayhorn Songs Inc., Marlon will record educational lectures and performances on the music of Billy Strayhorn, with Marlonius Jazz Orchestra, for Colburn School's Amplify Series in 2022.

Altvioliste Esther Apitley over het verschil tussen viool en alviool en dan vooral over het verschil in karakter. 'Als je viool speelt word je een heel ander persoon dan wanneer je altviool speelt'.    muziekvoorbeelden: - Bach - Partita no. 2 voor viool solo: Sarabande, Esther Apituley, altviool  https://open.spotify.com/track/7e1JBUQvLwqf9X6yNbeWfo?si=89d73335954745fb - Bach - Partita no. 2 voor viool solo: Sarabande, Hilary Hahn, viool https://open.spotify.com/track/0rYhv9ti1rgjlRJaeXdzLw?si=eedd0b260be3402a - Mozart - Sinfonia Concertante, Anne-Sofie Mutter, viool en Yuri Bashmet, altviool https://open.spotify.com/track/0XHOl74BrJ6ApzvZwyRgxT?si=a0af96a12c874b8e Muziek podcast: Akim Moiseenkov Opname en montage: Bart Geeraedts, TXTproducties 24classics is een classical music discovery service. We maken podcasts, organiseren de serie 24chambers en andere concerten  en produceren films. Ook kleine vriend van 24classics worden? Dat kan hier: https://24classics.com/word-vriend/

The viola plays an important role in the string section of orchestras, and it has a unique, rich sound and history. What does the viola sound like? Join host Liz Lyon and listen to beautiful viola music on this episode of YourClassical Adventures. Episode 89 playlist Michel Corrette: Viola da Bracchio Sonata - III. Minuetto — This piece features one of the earliest types of viola, the viola da barcchio. It was played just like a modern viola. Michel Corrette plays the viola de bracchio on this recording. LISTEN — Michel Corrette: Viola da Bracchio Sonata - III. Minuetto Michel Corrette: Viola da Bracchio Sonata - III. Minuetto by Rebecca Clarke: Viola Sonata — Rebecca Clarke's Viola Sonata is by far the best-known of her works. She even submitted it for a competition and tied for first place. Marina Thibeault plays the viola in this recording. LISTEN — Rebecca Clarke: Viola Sonata Rebecca Clarke: Viola Sonata by William Walton: Viola Concerto — The viola most often plays the midtones in supporting the orchestra. However, there are a lot of pieces written that feature the viola as a solo, like this piece. Yuri Bashmet plays the viola in this recording. LISTEN — William Walton: Viola Concerto William Walton: Viola Concerto by You can now search and listen to YourClassical Adventures where podcasts are found. Explore more from YourClassical Adventures! What are you curious about? Submit your feedback https://www.classicalmpr.org/story/2021/04/17/classical-kids-corner You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy.

Brahms piano quartet is considered as one of the most beautiful pieces of chamber music, especially with a group of top performers, like the violinist Gidon Kremer, the pianist Martha Argerich, the violist Yuri Bashmet and the cellist Misha Maisky

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durée : 00:58:18 - Yuri Bashmet, le tempérament d'un altiste - par : Aurélie Moreau - “On dit souvent qu'il faut de la force pour jouer de l'alto, c'est une erreur. L'alto est comme une porte ou une femme, il faut en posséder la clé !”, ardent défenseur de l'alto et du répertoire russe, carte blanche à Yuri Bashmet dans le van de France Musique. - réalisé par : Vivian Lecuivre

Themen im Podcast: - Der Weg zur eigenen Vermarktungsstrategie. - Offenheit und Adaptivität bei neuen Trends. - zunehmende Diversität des Geschäftsmodells im Klassikmarkt. Kirill Troussov gehört zu den international gefragtesten Geigern seiner Generation. Zu seinen Kammermusikpartnern zählen Künstler und Künstlerinnen wie Sol Gabetta, Yuja Wang, Daniel Hope, Joshua Bell, Gautier und Renaud Capucon, Yuri Bashmet, Mischa Maisky, Elisabeth Leonskaja, Julian Rachlin, Christian Zacharias und Natalia Gutman. Zu Kirill Troussovs internationalen Auszeichnungen gehören unter anderem der Europäische Kulturpreis, der Davidoff-Preis des Schleswig-Holstein Festivals, der internationale Yamaha Preis und der Reuters-Preis beim Verbier Festival. Kirill Troussov gibt regelmässig Meisterkurse in Mozarteum Salzburg, European Music Intstitute Vienna, , Cremona, Mailand, Madrid, Dublin, Berlin, München, Oslo, Budapest, USA und Hong Kong. Photocredit: © Marco Borggreve Das alles in dieser Episode von Careers of Classical Musicians! Diese Folge wird präsentiert von Dreher.Media

Carolin Emcke hat herausragende Kammermusik-Aufnahmen ausgewählt, Swjatoslaw Richter begleitet Mstislaw Rostropowitsch und Yuri Bashmet.

Ein Ritt durch die Abgründe und Höhen menschlicher Gefühle. Alfred Schnittkes 1986 uraufgeführtes Bratschenkonzert gehört zu dem Schönsten, das je für dieses Instrument geschrieben wurde, findet Autor Niklas Rudolph.

durée : 01:58:48 - La Biennale de Quatuors à cordes ; Concert d'archives Sviatoslav Richter en musique de chambre - par : Jean-Baptiste Urbain - ## Prélude à l'après-midi **La [Biennale de Quatuors à cordes](https://philharmoniedeparis.fr/fr/biennale-de-quatuors-cordes-15-24-janvier) à la Philharmonie** **Joseph Haydn** _Quatuor à cordes en si bémol majeur op. 76 n° 4 "Lever de soleil"_ : _I. Allegro con spirito_ [Quatuor Modigliani](https://www.modiglianiquartet.com/) Mirare **Samuel Barber** _Quatuor à cordes op. 11_ _: II. Molto adagio_ [Quatuor Diotima](http://quatuordiotima.fr/fr/) Naïve **Maurice Ravel** _Quatuor à cordes en fa majeur_ _: II. Assez vif - Très rythmé_ [Quatuor Hermès](http://www.quatuor-hermes.com/) La Dolce Volta **Emmanuel Chabrier** _J'engraisse : Air de Poussah_ (version pour voix, quatuor à cordes et piano) Philippe Jaroussky, contre-ténor / [Quatuor Ebène](https://www.quatuorebene.com/) / Jérôme Ducros, piano Warner Classics **Anton Dvorak** _Ohlas pisni (Echos de chants, arrangement pour quatuor à cordes de douze des dix-huit Mélodies du cycle Cyprès)_ _:_ _I. Ja vim ze v sladke nadeji (Je sais que sur la foi de mon amour pour toi)_ [Quatuor Thymos](http://www.quatuorthymos.com/Fr_cadre1.htm) Avie **Eduard Grieg** _Quatuor à cordes n° 1 en sol mineur op. 127_ _: IV. Finale : Lento - Presto al saltarello_ [Quatuor David Oïstrakh](http://www.oistrakhquartet.com/) Muso ## Concert d'archives **Benjamin Britten** _Lachrymae pour alto et piano op. 48_ Yuri Bashmet, alto / Sviatoslav Richter Enregistrement Radio France Enregistré le 28 juin 1985 à La Grange de Meslay, aux Fêtes Musicales en Touraine **Robert Schumann** _Quintette pour piano et cordes en mi bémol majeur op. 44_ _I. Allegro brillante II. Un poco largamente in modo d'una marcia III. Scherzo IV. Finale_ Sviatoslav Richter, piano / Quatuor Borodine Enregistrement Radio France Enregistré le 18 juin 1994 à La Grange de Meslay, aux Fêtes Musicales en Touraine ## En complément {% image 296dec54-97f6-4424-a4d9-9fdaaf80ff4d %} **Robert Schumann** _Bilder aus Osten (Images d'Orient), Impromptus pour piano à quatre mains op. 66_ _I. Lebhaft II. Nicht schnell und sehr gesangvoll zu spielen III. Im Volkston IV. Nicht schnell V. Lebhaft VI. Reuig andachtig_ Sviatoslav Richter et Benjamin Britten, piano à quatre mains Music and Arts Enregistré le 21 juin 1966 au Festival d'Aldeburgh - réalisé par : Laurent Lefrançois

I had such a great time spending a week with Diego at Andrés Martin’s bass festival this fall.  Diego is one of the most inspiring double bassists I know, and he's doing great things for the double bass both in Spain and in his home country of Uruguay. About Diego Zecharies: Diego Zecharies is a highly dedicated professional musician who has mastered his art globally, branching out as recording artist, professor, soloist, principal bass, producer and pedagogue, born in Montevideo Uruguay, nowadays based in Spain. Diego began his studies in his hometown, continues in Jerusalem and graduated with the highest qualification in the ÜdK Berlin (University of Arts Berlin) under the guidance of Prof. Rainer Zepperitz, Prof. Klaus Stoll and violin Prof. Ilan Gronich. During his studies, Diego performed as a principal bass at the Mahler Jugend Orchester, the Junge Deutsche Philharmonie and the Jeunesses Musicales World Orchestra. He won the Friczay Stipendium at Deutsche Symphonie Orchester Berlin and played as a substitute with the Rundfunk Symphonie-Orchester Berlin. Diego served as Principal Bass position in The Mahler Chamber Orchestra, the bandArt Orchestra, Brandenburg Symphoniker, Philharmonie Potsdam, and Sinfonica di Milano. He also is assiduously invited as Principal Bass at the Orchestra della Svizzera Italiana (Lugano, Switzerland); the Ensemble Les-Dissonances (Paris) with violinist David Grimal; collaborated with the the Israel Philharmonic; the Jerusalem Chamber Orchestra and the Luzern Festival Orchestra, recording together with Maestro Abbado many concerts for ARTE and for the Deutsche Grammophone. Diego played chamber music concerts with Emmanuel Ax, Christian Zacharias and Elizabeth Leonskaya, symphonic concerts with world-class conductors such as Mehta, Maazel, Abbado, Nagano, Ashkenazy, Temirkanov, Pappano, Sinopoli, Ozawa, Welzer Möst and soloists such as Yo-Yo Ma, Yuri Bashmet, Anna Sophie Mutter, F.P. Zimmerman, Martha Argerich, Alfred Brendel, Maurizio Pollini, Gordan Nikolic and others, always as Principal Bass. Diego is Principal Solo Bass in Galicia Symphony Orchestra from the year 2002. Renowned as a very active and passionate soloist, Diego’s research has brought him to perform some world-premiere material including entire unaccompanied Double Bass recitals, like at the BASS EUROPE Convention in Amsterdam 2014 and ISB World Convention 2015 in Denver (U.S.A) with great appreciation both critics and public. Diego appeared as soloist with: the Chamber Orchestra of Galicia Symphony; the Camerata of the Ministry of Education and Culture of Montevideo; the Galicia Symphony Orchestra; the OJS of Montevideo, the Orquesta de Baja California,among others and gave the opening unaccompanied Double Bass recital for the UNESCO Chair Culture of Peace and Human Rights under the World Peace Forum 2010. Diego has given numerous master classes in Europe, South América and South Korea, been assigned as coach on many youth orchestras across Spain and Germany and has recently been appointed as Director of the International Double Bass Festival of Montevideo and Director of the Double-Bass Cathedra of the Uruguayan National Orchestral Training Plan. This cathedra foresees a minimum of 3 seminars with solo recitals and telematic virtual master classes given throughout the year, plus an international festival every 2 years. In Spain, Diego is the Artistic Director of the “ReSuena Project”, which brings together kids from diverse cultural and social backgrounds, throughout the creation of youth symphony orchestras and choirs all over the city, project originally inspired on Venezuela’s “El Sistema de Orquestas”. Links to Check Out: Diego's website Music For Double Bass Solo, Duo And Quintett (new album) Montevideo International Double Bass Festival Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D’Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Subscribe to the podcast to get these interviews delivered to you automatically!

En junio de 2016 recibimos al dúo que conforman el contratenor Martín Oro y la laudista Dolores Costoyas. El programa comprendió obras vocales e instrumentales de compositores del Barroco temprano, entre los que se encuentran Claudio Monteverdi, Giulio Caccini y Benedetto Ferrari. Martín Oro, contratenor Antes de volcarse al canto, estudió viola y llegó a perfeccionarse junto a Yuri Bashmet en el Conservatorio Chaikovsky de Moscú. Su formación vocal la realizó en los conservatorios de Friburgo y Neuchâtel especializándose, luego, en la Schola Cantorum Basiliensis. Su repertorio está centrado en la música del Barroco, tanto la sacra como la secular y ha actuado junto a cantantes de la talla de Cecilia Bartoli, María Bayo, Jennifer Larmore, Emma Kirkby y Sara Mingardo. Además, ha sido dirigido por grandes referentes del movimiento historicista, como René Jabobs, Nikolaus Harnoncourt, Marc Minkowski, Gabriel Garrrido o Jordi Savall. En su haber se cuentan, también, numerosas grabaciones centradas, principalmente, en el repertorio barroco.   Dolores Costoyas, laudista Se formó y obtuvo su grado como guitarrista en el Conservatorio Juan José Castro y se perfeccionó luego en la célebre Schola Cantorum Basiliensis, de Suiza. Interpretando laúd, tiorba, vihuela o guitarra barroca, se ha especializado en la música del Renacimiento y la del Barroco. Desarrolla una intensa actividad en la práctica del bajo continuo en óperas y oratorios y es invitada, frecuentemente, a participar en los más prestigiosos festivales americanos y europeos de música antigua. Ejerce la docencia y ha grabado junto a reconocidos artistas para los sellos discográficos Harmonia Mundi, Archiv, Sony, Astrèe y Glossa.

Despite efforts to keep the content of the opening ceremony of the Winter Olympics under tight wraps, a few details have emerged about the musical lineup planned for Fisht Olympic Stadium in Sochi, Russia on Friday. Several Russian performers have been linked to the ceremony, including conductor Valery Gergiev, violist Yuri Bashmet, and Mariinsky Theater ballerina Ulyana Lopatkina. They'll join a parade of athletes and other pageantry to create what is reportedly the most expensive opening ceremony in Olympics history. To help explore the cultural significance of the Sochi games, host Naomi Lewin speaks with Simon Morrison, a professor of music history at Princeton University who specializes in Russian music and dance. He’s currently writing a book on the history of the Bolshoi Ballet.   What is conductor Valery Gergiev’s role and why was he chosen to participate? President Vladimir Putin named Gergiev as an official ambassador of the Sochi Olympics "because he is really the leading cultural export of Russia," said Morrison. Gergiev has a well-publicized friendship with Putin, and "can basically pick up the phone and get a hold of the president." This has made Gergiev a lightning rod. In recent months, his concerts in the West have been targeted by protesters against Russia's law that criminalizes the dissemination of "gay propaganda" to minors. "Naturally, given his jet-setting, his prominence and his panache, he's an emblem of Russia today," added Morrison.   Along with the celebrity performers, there are plans for a 1,000-voice children’s choir. What do we know about this? Gergiev has been making the rounds with a newly-formed, national children's chorus. Morrison believes it’s an effort to project an inclusive, diverse image for the country. "I think they’ll sing some big hymn," he said. “I don’t think it will be a nationalist hymn like ‘Slava’ from [Glinka’s] A Life for the Tsar since that’s a hymn that deals with Russia suppressing Poland and that wouldn’t be very international and cosmopolitan.” The chorus is reminiscent of the "Friendship of the Peoples," an old Soviet mantra referring to cooperation among Russia's ethnic and social groups. "Plus, a thousand children really suggests they want to rival with Beijing,” Morrison adds, referring to the grand spectacle of the 2008 Beijing Olympics ceremonies. Below is a video of the enormous Russian choir performing last month at the Mariinsky Theater: What other types of music can we expect? This has been a closely-guarded secret, but the 1980 Summer Olympics in Moscow may provide a few clues to current thinking. Expect Tchaikovsky ballet music, perhaps some Rimsky-Korsakov and grand choral numbers. “For choral music, maybe something that reaches back to the Catherine the Great era since, in many respects, this current regime would like to see itself – and the public would like to see it – as a sort of more benign imperialism,” said Morrison. "So I think the opening ceremonies will be a reinforcement of that.”   Any surprises in the works? "One of the things that’s rumored – and if this happens, it will be truly sensational and a real stick in the eye to the West – is that there is this pop duo named t.a.T.u.,” said Morrison. The duo consists of two young women whose stage show involves Lesbian schoolgirl imagery. “That’s part of their shtick. They were notorious as well as popular with the younger set." If that happens, argues Morrison, it will be a subversion of Western protests against the anti-gay law. Last week, several Russian news outlets reported that the duo Tweeted about their involvement in the ceremony (the alleged Tweet was later deleted and doubts persist about the post's truthfulness). Photo: Wikipedia Commons.   What other figures from Russian culture or entertainment may take part in the opening or closing ceremonies? The soprano Anna Netrebko will sing the Olympic Anthem in the Opening Ceremony and has also been rumored to sing in the closing ceremony. There have been suggestions that Sergei Filin, artistic director of the Bolshoi Ballet who was the victim of an acid attack last January, will have a role. “So I’m sure we will see the elite cultural representatives,” Morrison said. A spokesman for pianist Denis Matsuev told WQXR that he will be performing not in the opening ceremonies, as has been reported, but in the closing events.   Any bets on a grand musical finale? Says Morrison: “My money is on Swan Lake.”   The opening ceremony to the Sochi Olympics will be televised on NBC this Friday starting at 7:30 ET. (Updated 2/7.)

  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