To wrap up the past year, we want to focus on our fantastic releases, and perhaps remind you a few you’ve forgotten!
Hendrik Hofmeyr: Double Concerto for Flute, Violin and Strings; Alberto Colla: Quasi una Romanza, Concerto for Flute and Strings; Carlo Galante: I Sospiri di Ariel, Concerto for Flute and Strings; Ernani Aguiar: Concertino for Piccolo and Strings
Italian flute virtuoso Raffaele Trevisani celebrates the music of the 21st Century in this delightful program of new concertos for flute and piccolo. The concertos were written especially for Trevisani and/or dedicated to him; all four works are fresh and inviting. The program is truly a “Raffi and friends from around the world” creation, with American conductor Orbelian, Brazilian conductor Duarte, South African violinist Koornhof, and music by Italian, Brazilian and South African composers.
Trevisani is recognized as one of the outstanding flutists of his generation, and has been praised consistently for his style, musicality and beautiful tone quality. “I do not hesitate to say that he belongs to the best of the flutists of the day,” remarked Sir James Galway. “Trevisani’s interpretation has, besides the sheen of its sparkling virtuosity, a quality of sound, a fineness of expression, elegance and lightness of phrasing.A musical freshness that makes it truly significant.” (Amadeus magazine.)
“Raffi” Trevisani has an impressive array of recordings on Delos, including Italian Flute Concertos (DE 3332), C.P.E. Bach Flute Concertos (DE 3312), and Mercadante Flute Concertos (DE 3372), all with Constantine Orbelian and the Moscow Chamber Orchestra. Bach Trio Sonatas with Piet Koornhof, violin (DE 3391), The Virtuoso Flute (DE 3340), and Raffi’s own arrangements of Mozart Violin Sonatas for Flute and Piano (DE 3367) are all with Paola Girardi, piano.
Mendelssohn: Sonata IV; Schubert-Buzard: “Du bist die Ruh”; Paulus: “Blithely breezing along”; Vierne: Symphonie III, Op. 28: Adagio • Final; Howells: Psalm-Prelude Set. II No. 2; Reubke: Sonata on the 94th Psalm
If you want to be an outstanding young organ virtuoso, choose an organ builder as your father and an organist/choirmaster as your mother. Grow up absorbing their musical passion and knowledge and developing an intimate familiarity with the noble instrument. Build on that background and stay connected with it, while further refining your art and making musical explorations on your own. And so it is with young Stephen Buzard, who presents the Recording Premiere of the Buzard Pipe Organ, Op. 37.
This is a stunning program, designed to allow the Op. 37 to be heard in its wide range of colors. Stephen’s brilliance as a performer, with a deep understanding of the music and the instrument, is unmistakable. But a surprise standout gem that lingers in the memory is Stephen’s own transcription of “Du Bist die Ruh.” In its eloquent simplicity, this well-loved art song sounds as if the composer might have meant for it to be played just this way, in a quiet church on just such a beautiful organ. (“You are the quietness / The mild peace / You are longing / And what stills it.”)
Stephen is the winner of the 2009 Joan Lippincott Competition for Excellence in Organ Performance. In his final year atWestminster Choir College, studying organ performance with Ken Cowan, he serves as Organ Scholar at Trinity Episcopal Church, Princeton, as well as Director of Music for the Episcopal Church at Princeton University. He has been appointed Senior Organ Scholar atWells Cathedral in England for 2010-2011.
This instrument of 43 Stops and 56 Ranks of pipes is the 37th new organ built by Buzard Pipe Organ
Builders of Champaign, Illinois. The Church’s downtown Sanctuary was completed in 2005, and the new organ arrived in June of 2008, being completed by the first of August.
Premiere solo recital recording,
The Fred J. Cooper Memorial Organ, Dobson Opus 76, Verizon Hall, Kimmel Center for the Performing Arts
J. S. BACH: Prelude and Fugue in E Minor, BWV 548
FRANZ LISZT: Symphonic Poem: Orpheus (trans. by Jean Guillou)
CLARENCE MADER: Afternoon of a Toad
W. A.MOZART: Adagio and Fugue in C Minor, K.V. 546 (trans. by Jean Guillou)
JOSÉ LIDÓN: 4 piezas para la Misa (Four Pieces for the Mass): Cantabile para organo al alzar en la Misa (Cantabile for the Organ upon the Elevation of the Host during the Mass) / Ofertorio (Offertory) / Elevación (Elevation) / Allegro
JEAN GUILLOU: Scènes d’Enfant d’après The Turn of the Screw d’Henry James
Encore: WILLIAM GRANT STILL: Reverie
Cherry Rhodes, one of our era’s outstanding concert organists, performs a festive recital during the inaugural year of this splendid new instrument in Philadelphia’s Kimmel Center. Her program is beautifully planned to introduce the instrument and its wide range of colors. The recorded sound is clear, warm and dimensional.
The playing itself has the kind of excitement a great artist can achieve in a live performance. This varied program is expertly paced to keep the live audience mesmerized. It works that way for CD listeners, too, and only occasionally, when applause breaks out for instance, does one even remember that there is a rapt audience present.
It is no wonder that this remarkable American artist has been asked to do the inaugural performances on many important instruments and in many major settings. Her biography reads like a concert organist’s fantasy — or wildest dream — of accomplishments and accolades. From a young age, she has been performing all over the world with legendary conductors, in fabled cathedrals and in the most prestigious concert halls. She also conducts master classes, and mentors gifted young organists who themselves are winning top competitions. She is currently Professor of Organ at the Thornton School of Music, University of Southern California.
Haik Kazazyan: “This is a real instrumental talent: big, gleaming sound, virtuoso skills and tender sensibilities.” – The New York Times
A virtuosic program built around favorite opera tunes, in the grand style of the concert encore.
These delightful showpieces transform favorite themes and arias into elaborate structures testing the outer limits of the soloist‘s virtuosity.
Efrem Zimbalist: Fantasy on themes from “Le Coq d’Or” (“The Golden Cockerel”) by Nikolai Rimsky-Korsakov
Pablo de Sarasate: Fantasy on themes from “The Magic flute” by W. A. Mozart
Franz Waxman: Fantasy on themes from “Carmen” by Georges Bizet
Henryk Wieniawski: Fantasy on themes from “Faust” by Charles Gounod
Heinrich Wilhelm Ernst: Fantasy on themes from “Otello“ by Gioachino Rossini
Igor Frolov: Fantasy on Themes from “Porgy and Bess” by George Gershwin
Haik Kazazian, who comes from the great Russian violin tradition, has distinguished himself as one of the outstanding young violinists of his generation. He begins this varied program with the “Coq d’Or” Fantasy, full of exotic melody and color, and goes on to more familiar virtuoso showpieces, ending with the crowd-pleasing “Porgy and Bess” Fantasy. Haik has attracted international attention through his worldwide concert tours, and has won prizes in a number of international competitions, such as the Tchaikovsky International Competition in Moscow, theWieniawski International Competition inWarsaw, and the Long-Thibaud Competition in Paris.
Pianist Andrey Shibko is a formidable soloist in his own right, and has won international competitions such as London’sWorld Competition, Zurich’s Geza Anda Competition, and the D’Angelo Competition in the U.S., which was followed by an appearance on the Great Performers Series in New York. As evidenced on this recording, Andrey is also an accomplished chamber musician, in which role he has appeared in many international tours. Both young performers are also members of the artist faculty of the Moscow Conservatory.
EL DIABLO SUELTO
The AMBAR Music Group
Sasha Rozhdestvensky, violin
Francisco Gonzalez, guitar – voice
Nelson Gomez, guitarron
Juan Fernando Garcia, percussion – flute
Moscow Chamber Orchestra
Constantine Orbelian, conductor
Joaquin Riaño, guitar
Ricardo Sandoval, mandolina
What does acclaimed violin virtuoso Sasha Rozhdestvensky do for fun, between concerto appearances and recordings with major orchestras worldwide? This delightful and infectious album is the answer. Sasha and his three Colombian-born, classically-trained colleagues who form the group Ambar play South American dances — the Colombian Bambuco and Pasillo, the Venezuelan Vals, the Brazilian Choro, and the Colombian/Venezuelan Porro and Cumbia.
Based in Paris, Ambar has caught on with European audiences, and performs at prestigious festivals and concert venues such as the Salle Gaveau in Paris. Two of the group are also students of ethnomusicology; and all are passionate about Latin American music, as evidenced by these lively and sometimes nostalgic performances.
Guitarist/recording artist Francisco Gonzales also gives presentations at music conferences about guitar and Latin American music. Guitarron virtuoso Nelson Gomez also founded the group Quimbaya in Mexico before moving to Paris. Flutist/percussionist Juan Fernando Garcia is also a professor at the Erik Satie Conservatory in Paris, and often gives master classes in Brazil.
Contents: El Diablo Suelto (vals) Heraclio Fernandez •Mimi (bambuco) Carlos Alberto Rozo Manrique • Segura Ele (choro) Pixinguinha • Patasdilo (pasillo) Carlos Vieco • El Alegre Pescador (cumbia) José Barros • Ambar (bambuco) Juan Carlos Guio Andrade • Lucerito (bambuco) Luis Mariano • Um a Zero (choro) Pixinguinha • Vou Vivendo (choro) Pixinguinha • A Pacheco (pasillo) Carlos Vieco • Paçoca (choro) Celso Machado • A los Toros (bambuco fiestero) Emilio Murillo • Momposina (porro) José Barros