49 Results for : pedagogue

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    Andre de Peretti
    Andre de Peretti - Pedagogue d'exception: ab 32.99 €
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    The Czar's Guitars-A Tribute to Vladimir Morkov
    Vladimir Morkov (1801-1864) stands out as a musician, music critic, composer, arranger, and pedagogue of the highest order. The disappearance of the Russian seven-string guitar after the 1917 October Revolution let the world almost completely forget this exceptional scholar and artist. Most of the guitar duets on this CD come from Morkov's manuscripts and two sets of partbooks from 1856 and 1858.
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    Die russische Klaviertradition-Alex.Goldenweiser
    The eminent pedagogue and performer Alexander Goldenweiser stars in his own marque in this release. It falls under the rubric 'The Goldenweiser School' and who better than he to appear, in the shape of two solo outings made in Moscow around 1952-53.
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    Romantic Violin Concerto Vol.07
    Ilan Volkov (Dir) // This disc juxtaposes two significant Russian works for violin and orchestra, each written by a composer with a close relationship to Tchaikovsky, and each dedicated to the great violinist and pedagogue Leopold Auer. These two concertos are both formidable display pieces, designed to show off Auer's transcendental technique.
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    J.S. Bach, F. Busonia, Scriabins, Rachmaninoff
    Namik Sultanov is well-known as a distinguished pianist and pedagogue with exceptional lyrical gifts and a distinctive performance style. Born in Baku, Azerbaijan, he showed extraordinary musical talent from a very early age. Playing violin and flute, he was a serious student of composition in his youth, composing more than 150 pieces that were featured at music school concerts. Although at that time a string student, he won first prize in the music school's piano competition. At 12, deeply impressed by Van Cliburn's stunning performance at the First Tchaikovsky International Piano Competition, he began to self-study Tchaikovsky's First Piano Concerto. Practicing day and night, he soon played all three movements for Ahad Israfilzade, chief conductor of the Azerbaijan Philharmonic Orchestra. Mr. Israfilzade immediately asked him to play with the Philharmonic, and the triumphant concert was a big sensation in the musical life of this capital city. After this success, the Azerbaijan government sponsored Namik at Russia's most prestigious conservatory, Moscow's Central Special Music School. He studied under Professor Lev Naumov, a follower of the legendary Heinrich Neuhaus. Continuing his education under Professor Naumov's supervision at the Moscow State Conservatory, he received his doctorate in performance in 1973. After graduation, he was invited to join the faculty of the Azerbaijan State Conservatory, soon appointed an associate professor with the added title "Honor Artist of the Azerbaijan Republic". Participating in numerous national festivals throughout Eastern Europe, Dr. Sultanov represented his country at the Third International Music Festival in Moscow in 1985, the Fourth International Piano Festival in Istanbul in 1998, and the 1990 International Music Festival in Mexico City. His intense musicality, virtuosity, and electrifying personality have consistently thrilled audiences in the concert halls of Moscow, Istanbul, Izmir, Ankara, Mexico City, St. Petersburg, Kiev, Minsk, Alma-Ata, Tallinn, and Baku. In 1991, Dr. Sultanov was invited to join the piano faculty of Turkey's Bilkent University, where he chaired the Piano Department and was Vice Dean of the Faculty of Music and Performing Arts. During his teaching years in Azerbaijan, Turkey, and the United States, he nurtured many students who have become winners and laureates in regional, national, and international piano competitions. In 1999, the Turkish Ministry of Culture formally recognized his distinguished teaching. Dr. Sultanov has been invited to serve on juries for national and international competitions and is sought for master classes in Europe and USA . He recorded several CDs. Currently, he is a faculty member in San Jose State University, California, USA.
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    Colors for Solo Flute
    All of the wonderful compositions on this disc have certain features tying them together: they were all written by American composers and they are all scored for flute alone. Beyond those basic similarities, however, these works are each unique in tonal language, character, the innovation of new performance techniques, and use of COLORS. Katherine Hoover (b. 1937) is a celebrated composer for the flute. After the immediate success of her solo flute work Kokopeli, in 1990, she composed several more pieces for unaccompanied flute, including To Greet the Sun from 2004. This new work incorporates the unique sound of a flutter-tongued timbral trill. Of the work, Hoover writes, "To greet the sun is to give thanks for the great richness of the Earth and the gift of life. Various cultures have done this in differing ways, from dawn prayers to dances and ceremonies to researching the sun's awe-inspiring power." Published by Papagena Press. John La Montaine (b. 1920), Pulitzer Prize-winning composer, studied composition with Howard Hanson, Nadia Boulanger, and Bernard Rogers. The movements of his Sonata for Flute Alone have such descriptive and quirky titles, which add to the color of the work for the performer as well as the audience: Questioning, Jaunty, Introspective, and Rakish. Published by Fremont Press. Paul Richards (b. 1969) is an award-winning composer on the faculty at the University of Florida. His colorful compositions and titles are frequently performed by chamber and large ensembles across the world. About this work, Richards writes "The ghostly sound of a solo flute played with airy tones sparked the image of a post-apocalyptic, dusty, windswept and barren field, and a lone musician initiating a ritual of mourning and a fiery expression of loss, tempered by fleeting hints of hope. A flute further fit this conception as it has a lineage that goes back to the earliest musical instruments, and will likely survive in some form as long as we do. Depressing thoughts, I know, but then I got this fortune cookie: Don't worry about the world coming to an end, it's already tomorrow in Australia." This work was composed for Kristen Stoner and includes many extended techniques (glissandos, pitch bends, altered tone color, dictated vibrato, timbral trills, tongue thrusts, and spit tongue) to express feelings of despair, anger, and hope in a post-apocalyptic world. Ingolf Dahl (1912-1970) was a composer of Swedish and German descent, immigrating to America in 1939 and becoming a naturalized American citizen in 1943. He was an active composer and performer in the new music scene in Los Angeles, but also supported himself by working in the entertainment industry. He was a professor at USC from 1945 until the end of his life. In that same year, he composed Variations on a Swedish Folk Tune, seven diverse variations based on the theme "Skänklåt från Leksand." Published by Theodore Presser. Marilyn Bliss (b. 1954) is an active composer for the flute and the Native American flute, as well as for orchestra and chamber ensembles. She studied composition with George Crumb, George Rochberg, Harvey Sollberger, Jacob Druckman, and Jerry Owen. Murali is the name of Krishna's flute, the Indian god. Krishna, according to legend, played his flute under the first full moon and people were drawn from all over to dance to his alluring music. Published by the American Composers Alliance. Robert Muczynski (1929-2005) was trained at the University of Chicago and spent the majority of his career in Arizona. He wrote wildly successful sonatas each for flute, saxophone, and clarinet relatively early in his career, and unfortunately none of his subsequent compositions achieved the same renown. His Three Preludes are contrasting in style. The first movement, Allegro, is bright and joyful. Andante molto, is more contemplative, exploring beautiful arching melodies. The final Allegro molto is manic and rambunctious. Published by G. Schirmer. Lowell Liebermann (b. 1961) earned all three degrees at the Juilliard School, where he studied with Diamond and Persichetti. His colorful compositions for the flute have been remarkably successful, starting with his Sonata, composed when he was only 26 years old. Soliloquy, op. 44, commissioned by Katherine Kemler, is technically challenging, with constantly shifting tonal centers and contrasting tempi. Liebermann teaches at Mannes College in New York City. Published by Theodore Presser. Elizabeth Brown (b. 1953) is a composer and a celebrated performer of flute, shakuhachi, and theremin. Trillium was composed in 1999 for the National Flute Association High School Young Artist Competition. Brown writes, "Trillium is a beautiful early spring woodland wildflower with leaves and white petals in threes. The flute language of Trillium is heavily influenced by Japanese shakuhachi music and birdsong. There are a number of unusual timbres and trills, many involving microtones." Published by Quetzal Music. Kristen Stoner (b. 1973) has composed solely for the flute, several works for solo flute and duets, and she is currently working on a Sonata for Flute and Piano. Variations on an Irish Ballad is based on the traditional song "The Wind that Shakes the Barley." The variations are very different in inspiration, including one influenced by Piazzolla's etudes and one by a Luigi Hugues etude. Cynthia Folio (b. 1954) is an active composer and flutist, serving as professor of theory and composition at Temple University. Born in Virginia, she studied at West Chester University and then earned both graduate degrees at Eastman. The name Arca Sacra is a palindrome, and the composition itself is loosely based on a palindrome as well. Published by Hildegard Press. Daniel Dorff (b. 1956) studied composition at Cornell University and the University of Pennsylvania, studying with George Crumb, George Rochberg, and Karel Husa. He has composed many works for orchestra and particularly for woodwind instruments. He is composer-in-residence for the Symphony in C and also is VP of Publishing at Theodore Presser. August Idyll is a lovely, tonal piece with which to close the CD. Published by Theodore Presser. Kristen Stoner is an active performer and pedagogue. She has taught full-time at the University of Florida since 2002, and she taught at Denison University from 1999-2002. In addition to frequent solo performances in North and South America, she performs as principal flutist in both the Ocala Symphony Orchestra and the Florida Lakes Symphony Orchestra. She has performed at 11 NFA conventions. A graduate of the University of Texas and the University of Cincinnati College- Conservatory of Music, Stoner studied primarily with Karl Kraber, Bradley Garner, and William Montgomery. Dr. Stoner enjoys studying and performing works by women composers and has special interests in Latin American music for flute. She has performed and taught in Chile, Ecuador, Peru, and Brazil. Her first CD, Images for solo flute, was released on the Meyer Media label. In addition to performing flute, Dr. Stoner enjoys raising two beautiful girls, spending time with her family, and making jewelry. Kristen Stoner is thrilled to perform on a 14K Burkart flute.
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    Spirit Eternal
    This recording is dedicated to the Judaeo-Christian legacy of European musical expression and the struggle for life and freedom in the twentieth-century. Petr Eben (1929-2007) was born in Bohemia to a Jewish father in a family that adopted the Catholic faith. His was a life of determination, overcoming suffering, and of great humanity. He was at Buchenwald during the Second World War and after the war refused to join the Communist party, while openly practicing his faith. A true master and hero of twentieth-century art, Eben's talent was recognised already in his early childhood. He was renowned for his mastery of organ improvisation. Windows was composed in 1976. It was inspired by Mark Chagall's twelve stained glass windows at the Abbell Synagogue at the Hadassah University Medical Center in Jerusalem. Each window describes a son of Jacob, depicts his character, includes a biblical reference, and details the geographical area where each tribe resided in the land of the Hebrews. Chagall wrote the following dedication: 'This is my modest gift to the Jewish people who have always dreamt of biblical love, friendship and of peace among all peoples. This is my gift to that people which lived here thousands of years ago among the other Semitic people.' Marc Chagall, 6 February 1962 Eben selected four of Chagall's windows, thereby giving the work a four-movement structure. Each movement portrays the character and literal message presented in the window. George Enescu (1881-1955), like Eben, was a child prodigy. He was sent to Paris from Romania at an early age and became a violinist, pianist, conductor and composer. Enescu's stature remains high in Romania today, where he is revered as one of the great cultural figures of the twentieth - century. Composed in 1906, Legend is a short masterpiece for trumpet dedicated to Professor Merri Franquin at the Paris Conservatoire. I chose Legend for this recording as it presents a milestone in the trumpet repertoire. It's dreamy qualities also set it apart from the generally stern and deeply emotional repertoire elsewhere on this album. While utilizing the techniques perfected by the late nineteenth-century cornet masters Jean-Baptiste Arban, Jules Levy and many others, Legend places the trumpet in a context of 'serious' and programmatic music with sounds reminiscent of Massenet and Wagner. The Sonata for Trumpet and Organ opus 200 (1962) is made of three semi-improvised chants. Alan Hovahness (1911-2000) the American composer of Armenian and Scottish descent, brings out the style and deep emotion of slow-moving Armenian chant, played over tone clusters in the organ part. Following his popular trumpet and organ composition Prayer for St Gregory, Hovahness takes the listener further down the path of ambient soundscape filled with expression and lament. Like Windows and the Hindemith sonata, the duality and contrast between the keyboard and the trumpet create tremendous emotional power. The influence of German composer Paul Hindemith (1895-1963) on twentieth- century music is vast. An originator of a tonal system in his own compositions, conductor, violist and a committed pedagogue, Hindemith saw himself as a bearer of German musical tradition. He brought his art and knowledge to as diverse places as Turkey in the 1930's, and America in the 1940's and 50's. The Sonata for Trumpet and Piano (1939) is one of the most influencial compositions in the twentieth-century trumpet repertoire. It is part of a body of work, spread over decades, in which Hindemith wrote music for almost all orchestral solo instruments. In 1938 Hindemith left Germany for Switzerland. It was there, in 1939, a year before his move to the United States and while watching the disturbing political developments in his home land, that he composed the Sonata for Trumpet and Piano. The musical language and structure of the composition are intense and unsettling, from the first note, to the last decaying B-flat of the final treatment of J S Bach's chorale Alle Menchen müssen Sterben (All people must die).
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    Ivona Kaminska Performs Bach Busoni & Chopin
    The Unique artistry of Ivona Kaminska results from a rare blend of passion and intellect, scholarly research and sublime inspiration. With an inexorable thirst for knowledge, she studied internationally, coming into a wide array of influences representing the various world-wide schools of pianism and musicology. A native of Warsaw, Poland, Ivona Kaminska holds such prestigious degrees in piano performance as a Master of Arts degree and Postgraduate Artists' diploma from the Frederic Chopin Academy of Music in Warsaw, a Master of Music degree from the University of Nebraska-Lincoln, as well as a Doctorate degree from the University of British Columbia in Vancouver, Canada. She has also participated in international festivals including the Mozarteum Sommerakademie in Austria, the Schleswig-Holstein Musik Festival in Germany, as well as the international music festival in Duszniki-Zdroj, Poland. Winner of several solo concerto competitions, she has appeared as a soloist in Poland, Canada, and the United States, gaining acclaim for her tempestuous performances. Dr. Kaminska was also bestowed several distinguished awards and artists' grants, including the Stefan Batory Foundation Award in 1993, the Mozarteum Akademie Scholarship in 1995, the Beryl Barnes Music Award in 1999, the PhD Recruitment Scholarship from the University of Alberta in 1998 and 1999, and the Astral Career Development Grant in 2003, among many others. She is an active performer, presenting dozens of recitals yearly, including programs of not only traditional solo piano repertoire, but also premiering several new works by living composers of Poland, Canada, and the United States. During her international studies, she worked with such artist-teachers as Andrzej Stefanski, Tatiana Shebanova, Boris Bloch, Ruth Laredo, James Cook, Stephane Lamelin, Mark Clinton, Henri-Paul Sicsic, and Marek Jablonski. Dr. Kaminska's repertoire encompasses a wide spectrum of styles, ranging from early Baroque music performed on historic instruments, to the tempestuous avant-garde works of Frederic Rzewski and others. Having come into contact with such eminent experts in 18th-century music as Igor Kipnis, Gregory Butler, and George Ritchie, she has immersed herself in stylistic performance practice and pedagogical research. Having enriched her expertise by intense studies of the music of J. S. Bach on both organ and harpsichord, in 2003 Ms. Kaminska presented her doctoral dissertation, which discusses the genesis and analysis of the composer's often unappreciated and frequently misinterpreted French Overture, BWV 831. Equally passionate as a pedagogue, Dr. Kaminska is the founder and artistic director of the Chopin Academy of Music in Issaquah, Washington, faculty member of the Shoreline Community College in Shoreline, Washington, and chamber music coach for the Puget Sound Summer Chamber Music Workshop. She is frequently featured as a guest lecturer, master class clinician and an adjudicator throughout the Pacific Northwest.
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    L'inspiration Poatique
    The title of this album, L'Inspiration Poétique, refers to the Airs de cour ([8]-[13]-[20]) present in this recording, and their impact on the interpretation of Flute music from the beginning of the 18th century in France. Their flexible, poetic and gracious singing quality have inspired us to search for a more free and organic sense of instrumental ornamentation. Le titre de cet album, L'Inspiration Poétique se réfère aux Airs de cour ([8]-[13]-[20]) présents dans cet enregistrement, et a leur impact sur l'interprétation des Pièces pour Flute du début du XVIIIeme siecle. Leur chant libre, flexible, poétique et gracieux nous entraina vers une vision plus libre et organique de l'ornementation instrumentale. Sophie Ardiet started playing music at the age of 7, beginning with recorder, then studying piano and modern flute. After receiving her diploma of musicology from La Sorbonne University in Paris she decided to focus her attention to early music. She studied recorder with Michelle Tellier at the National Conservatoire of Boulogne, where she graduated in 2002. It is while pursuing further recorder studies with Pierre Boragno in Versailles and beginning Baroque Flute studies with Jean-Claude Veilhan and Anne Matthias at the Conservatoire of the 14th arrondissment of Paris that Sophie took the decision to move to Den Haag to study with Wilbert Hazelzet. After she obtained her Bachelor Diploma in Baroque flute in 2007, and in Recorder in 2008, she completed a Masters degree in baroque flute performance with world renowned soloist and pedagogue Barthold Kuijken. Sophie is an active performer and has given concerts throughout Europe and in Australia, most recently performing in the Barcelona and Utrecht Early Music Fringe Festivals. James Holland was born in Sydney, Australia, and began his musical life with the electric bass guitar, later switching to the classical guitar in which he graduated with a Bachelor of Music with Honours from the Sydney Conservatorium of Music in 2003. As a classical guitarist James was always interested in transcriptions of lute and vihuela music, and his gravitation towards lute playing was quite a natural one. James is an exciting young player of the next generation of performers of historical plucked instruments, always searching for the marriage between historically informed performance and his own personal interpretation. James studied in Den Haag with Nigel North, Joachim Held and Mike Fentross, and took further lessons with Hopkinson Smith and Elizabeth Kenny. He now performs in solo recitals, as a continuo player for chamber ensembles, opera and accompanying singers. These activities have taken him across Europe, to North America and Australia. James plays renaissance and baroque lutes, vihuela, theorbo and baroque guitar. James has recently performed in the Festival Classique in Den Haag, and the fringe concerts of the Barcelona and Utrecht Early Music Festivals, both as a continuo player and in solo recital. He has performed with the Pinchgut Opera Company, Collegium Musicum Den Haag, de Swaen Ensemble, among others, and has worked with conductors such as Attilio Cremonesi, Patrick Ayrton, Peter van Heyghen, Charles Toot and Sebastian Marq. James will be touring in Australia with baroque flautist Sophie Ardiet until March 2010. In this time he will also be playing a production of Cavalli's 'L'Ormindo' with the Pinchgut Opera Company, and spending time in the sun with friends and family in Sydney. After this he will be based in Paris.
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    Rachmaninoffamirovchopin
    Namik Sultanov is well-known as a distinguished pianist and pedagogue with exceptional lyrical gifts and a distinctive performance style. Born in Baku, Azerbaijan, he showed extraordinary musical talent from a very early age. Playing violin and flute, he was a serious student of composition in his youth, composing more than 150 pieces that were featured at music school concerts. Although at that time a string student, he won first prize in the music school's piano competition. At 12, deeply impressed by Van Cliburn's stunning performance at the First Tchaikovsky International Piano Competition, he began to self-study Tchaikovsky's First Piano Concerto. Practicing day and night, he soon played all three movements for Ahad Israfilzade, chief conductor of the Azerbaijan Philharmonic Orchestra. Mr. Israfilzade immediately asked him to play with the Philharmonic, and the triumphant concert was a big sensation in the musical life of this capital city. After this success, the Azerbaijan government sponsored Namik at Russia's most prestigious conservatory, Moscow's Central Special Music School. He studied under Professor Lev Naumov, a follower of the legendary Heinrich Neuhaus. Continuing his education under Professor Naumov's supervision at the Moscow State Conservatory, he received his doctorate in performance in 1973. After graduation, he was invited to join the faculty of the Azerbaijan State Conservatory, soon appointed an associate professor with the added title "Honor Artist of the Azerbaijan Republic". Participating in numerous national festivals throughout Eastern Europe, Dr. Sultanov represented his country at the Third International Music Festival in Moscow in 1985, the Fourth International Piano Festival in Istanbul in 1998, and the 1990 International Music Festival in Mexico City. His intense musicality, virtuosity, and electrifying personality have consistently thrilled audiences in the concert halls of Moscow, Istanbul, Izmir, Ankara, Mexico City, St. Petersburg, Kiev, Minsk, Alma-Ata, Tallinn, and Baku. In 1991, Dr. Sultanov was invited to join the piano faculty of Turkey's Bilkent University, where he chaired the Piano Department and was Vice Dean of the Faculty of Music and Performing Arts. During his teaching years in Azerbaijan, Turkey, and the United States, he nurtured many students who have become winners and laureates in regional, national, and international piano competitions. In 1999, the Turkish Ministry of Culture formally recognized his distinguished teaching. Dr. Sultanov has been invited to serve on juries for national and international competitions and is sought for master classes in Europe and USA . He recorded several CDs. Currently, he is a faculty member in San Jose State University, California, USA.
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