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Piano, page 47

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W. A. Mozart - Hyekyung Lee, piano

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

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

GERSHWIN - NEW YORK CONNECTIONS - Elizabeth Hayes, piano

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Programme Notes by Elizabeth Hayes
13.00 eur Buy

NOCTURNES - Junko Kobayashi, piano

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

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

Nocturnes

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

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

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

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

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

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

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

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

Claude Debussy (1862-1918)
Clair de Lune
Nocturne

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

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

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

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

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

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

Graham Williams
Three Nocturnes

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

Nocturne 1

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

Nocturne 2

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

Nocturne 3

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

Translated by Geoffrey Bownas

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

Franz Liszt (1811-1886)
En Reve - Nocturne

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

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

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

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

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

Edvard Grieg (1843 -1907)
Notturno

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

BRAHMS TRIOS - VOLUME TWO - Gould Piano Trio

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

13.00 eur Buy

M. Ravel - Hyekyung Lee, piano

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

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

Jack Liebeck - Works for Violin & Piano

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

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

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

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

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

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

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

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

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

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

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

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

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

Copyright: Richard Whitehouse, 2003
13.00 eur Buy

R. Schumann - Hyekyung Lee, piano

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

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

P. I. Tchaikovsky: Dumka, The Seasons Op.37bis, Piano Sonata / Polina Fedotova

P. I. Tchaikovsky: Dumka, The Seasons Op.37bis, Piano Sonata / Polina Fedotova
ID: CR102
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Polina Fedotova is an exceptionally interesting musician, whose concerts always attract true lovers of piano music. Her performances lack self-advertisement; they are marked with a wonderful sense of style and fine taste. Her brilliant virtuosity does not overshadow rich emotions and profoundness of her interpretations.
Music surrounded Miss Fedotova from the very first days. Her father - an outstanding conductor Victor Fedotov - worked at the Mariinsky Theater in St.Petersburg for almost fifty years, conducted ballet performances in the world's best theatres.
Polina studied at the St. Petersburg Conservatoire secondary school in the class of an eminent pedagogue V. Kunde. Later, she continued her education at the Moscow Tchaikovsky Conservatoire under professor Yevgeni Malinin, a famous pianist; she went on to post graduate course with professor Valeri Kastelsky. Both professors brought her up in the traditions of romantic school of Henry Neighaus. The beautiful "singing" touche that critics always appreciated in Polina's performances is one of the most characteristic features of the Russian piano school.
At the age of 13, she became a prize-winner of the International youth competition Concertino-Prague (2nd prize). Later she participated in other prestigious competitions: Sergei Rachmaninov Competiton in Moscow, where she was awarded a diploma, and Musica di camera in Italy (3rd prize). In 1992, she was the winner of Frederic Chopin International Piano Competition in Palma di Mallorca (1st prize and Gold Medal). A Spanish newspaper "Actualle" highly appraised performances of the young competitor from Russia: "Polina Fe-dotova has the real power and strength of the Russian piano school, which allows her to transmit all the subtlety of dynamics of the great Polish composer".
Polina Fedotova's repertoire is wide: Tchaikovsky and Bach, Rachmaninov and Beethoven, Mozart and Rimsky-Korsakov, Scriabin, Prokofiev and Chopin, Schubert, Liszt, Ravel. Miss Fedotova likes monographic programs. While preparing to such programs, she plunges into the "inner world" of the composer’s soul, emotional and intellectual. Her interpretations reveal the secrets of the composers' creations, fascinating the listeners with their high expression and deep feelings.
Polina Fedotova's concert life is very active and interesting. She is a soloist of the Moscow Philharmony and gives concerts in Russia and abroad. In 1999, she was awarded the important title of the Honoured Artist of Russian Federation. Since 1996, Polina Fedotova teaches piano at the Moscow Conservatoire.
"Music educates the human soul, says Polina Fedotova, and I would be happy to know that beautiful ideals of art that are so dear to me since my early childhood, would be preserved in the creative activity of my pupils".
© Classical Records
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Mozart - Piano concertos. M. Voskresensky, L. Nikolaev

Mozart - Piano concertos. M. Voskresensky, L. Nikolaev
ID: CR100
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

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 56 piano concertos. He has performed with orchestras under the direction of more than 150 conductors, among them - Charles Dutoit, John Pritchard, Franz Kon-witschny, Kurt Masur, Eugeny Svetlanov, Kirill Kondrashin etc. His 40 CD's include recent recordings of all sonatas and etudes by Scriabin, "Pictures at an Exhibition" by Mussorgsky, Beethoven’s Hammer-klavier, works by Liszt, Schumann, Rachmaninov...
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 111 prizes in international competitions, among them 49 gold medals.
He has participated as juror for international competitions in London, Leeds, Sydney, Tel Aviv and others as well as for the Tchaikovsky and Rachmaninov Competitions in Moscow. 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. In the last 3 years, he gave master classes in Bejing, Lissabon, Paris, and Tokyo. The Julliard School invited Professor Voskresensky to teach for the period of three weeks in this famous stronghold of American pianism.
This CD is dedicated to the memory of Ekaterina, Mikhail Voskresensky’s daughter , a brilliant pianist, who tragically died in a car accident in 1994.
Leonid Nikolaev studied at the Moscow Conservatoire with Boris Khaikin and Aron Shereshevsky. He was on special course in Vienna with a famous conductor Hans Swarovski. In 1974, he won Grand Prix of Herbert von Karajan Fund at the International Symphony orchestra competition in Berlin. Together with Leonid Slatkin and Zubin Mehta, he was the principal of the Russian-American International Youth orchestra from the moment of its creation in 1988. He recorded many CDs with music of Tchaikovsky, Beethoven, Berlioz, Shostakovich... Together with Mikhail Voskresensky, he recorded 2nd Piano concerto by Chopin with Great Radio and TV Symphony orchestra.
He appeared in all European countries, in Cuba, USA, Japan. He is a professor of the Moscow Conservatoire.
© Classical Records
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Brahms - Elisaveta Blumina, piano.

Brahms  - Elisaveta Blumina, piano.
ID: CR098
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

Pianist Elisaveta Blumina has established herself across Europe as an eminent soloist, enthusiastic teacher, and chamber musician of exceptional qualities. Born in St. Petersburg, Russia, Ms. Blumina began studying piano at the Conservatoire and continued her studies at the Musikhochschule in Hamburg and at the Conservatoire in Berne. Among her teachers are Mara Mednik, Evgeni Koroliov, Karl-Heinz Kammerling, Andras Schiff and Bruno Canino. She took master classes with the Alban Berg Quartet, Ivry Gitlis, the Melos Quartet and Paul Badura Skoda. Ms. Blumina has won numerous international piano competitions in Russia, Germany, Italy and Belgium. In addition, she has been awarded five times the prize of the best accompanist, in particular at the Sarasate International Violin Com-petition (Spain) and at the Pfitzner International Voice Competition (Germany). The pianist has raised her profile at many festivals, including the Schleswig-Holstein, the Carinthian Summer, Mecklenburg Vorpommern, Campos de Jordao, Verbier and Colmar festivals. She has performed in some of the world's major concert halls such as the Berlin Philharmonic, the Musikhalle in Hamburg, the Carnegie Recital Hall in New York, the Beethovenhalle in Bonn and the Conservatoire in Milan. Ms. Blumina has been guest soloist with the Dresden Philharmonic, the Moscow Virtuosi, the Sinfonia Varsovia, the Hamburg Philharmonic, the Philhar-monic of Bonn, the Romanian State Orchestra, the Symphonic Orchestra of St. Petersburg, the Halle Philhar-monic and others. She performed with conductors such as Yuri Temirkanov, Vladimir Spivakov, Christian Simonis, Gerd Albrecht and Andrey Boreyko. Television appearances and many radio recordings (NDR, ZDF, ORF, WDR, Radio de la Suisse Romande and Radio Nacional de Espana) have also contributed to her exceptional reputation. Various CD recordings (with Syrinx, Oehms-Classic, Harp-classics, La bottega discantica, Genuin Music Production, Charade, Es-Dur) have been well received by the international critique. Elisaveta Blumina is a member of the "Euro-pean Chamber Music Association", and a founding member of the "Trio Eremitage". Her regular chamber music partners include Pierre Amoyal, Daniel Hope, the Artemis Quartett, Yosif Feigelson, Hans-Udo Heinzmann, Henrik Wiese, Eduard Brunner, Dmitri Makhtin and Soloists of the Bolschoi Theatre.
© Classical Records
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