49 Results for : pedagogue

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    Cara Mia
    Carlos almenar otero clasical singer and voice pedagogue introduces " voice training and development" a whole life dedicated to the most serious studys of clasical singing and opera, voice training and teaching for stage, radio, tv, concerts and records. Milan, berlin, vienna, miami and caracas. Initiator of the newest method of "physiological-respiratory training program " absolute world novelty with the most amazing results, to improve sounds, resistance and vocal health. To master long phrases, sustained notes with little air amount. Based on the master work of professor otto iro in berlin and vienna: original in german "wissenschaftliche stimmbildung und diagnostik" (enlarged by professor paula schreck. Munich and professor hans streck. Berlin) this method has been fundamental in his 50 years of professional experiences on stage, radio, tv, theater, concerts, records and voice teaching and coaching. Former exclusive artist by "deutsche grammophon-60 records in german language by polydor label. 35 albums in japan, italy, spain and latin america. Concert tours in european countries, rusia, japan. Special guest by " german radio of america" san francisco, saint louis new york, chicago. After his first concert in tokyo, koseinenkin hall, the news paper " japan times" stated". No doubt, carlos almenar otero has one of the most beautiful and best trained voices which ever visited japan... " now introducing his " voice improvement method" in schools, universities, and music institutes, both in english and spanish, for all voice professionals. Invited by koubek center, university of miami to present this methology on special courses for teachers and speakers. Also presented on the university " jose maria vargas" in pembroke pines. Florida. This methology is presented also in a DVD production distributed by the foundation. Great for teachers, actors, speakers and singers. Prodigious results in short time.
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    Early Mallet Works
    Ney Rosauro Percussionist, Composer and Pedagogue A native of Rio de Janeiro, Brazil, Ney Rosauro has developed a successful international career as a percussionist, composer and pedagogue. He is considered the most popular composer of percussion concerti, which average 150 performances each year by orchestras and wind ensembles worldwide. His Concerto for Marimba and Orchestra is the most popular percussion concerto of all time and has been performed over 1.000 times by distinguished orchestras. His numerous compositions and method books have become standard in the percussion repertoire, and his 7 CDs have been hailed by critics, percussionists and general music-lovers alike. As soloist and pedagogue he has done courses, solo concerts and performances with orchestras in more than 35 countries. Dr. Rosauro is a Yamaha, Sabian and Contemporanea artist and play exclusively with N.R. mallets and sticks by Vic Firth. For more info visit.
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    David Kim: Encore!
    David Kim Violinist David Kim was named Concertmaster of The Philadelphia Orchestra in 1999. Prior to this position, he was the Senior Associate Concertmaster of the Dallas Symphony. Born in Carbondale, Illinois, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his Bachelor's and Master's degrees from The Juilliard School. As a 12-year old Mr. Kim appeared with Itzhak Perlman as the subject of 'Prodigy', a WNEW-TV (New York) production. In 1986 he was the only American violinist to win a prize at the famed International Tchaikovsky Competition in Moscow, where he was prominently featured in a documentary detailing the competition. Mr. Kim performs extensively throughout the world both with The Philadelphia Orchestra and as guest soloist with numerous other orchestras. He has collaborated with many highly regarded conductors such as Christoph von Dohnanyi, Charles Dutoit, Christoph Eschenbach, Peter Oundjian, and Wolfgang Sawallisch. An avid chamber musician, Mr. Kim founded and is artistic director of the Kingston Chamber Music Festival at the University of Rhode Island. In conjunction with the festival, Mr. Kim founded an annual outreach program that has taken him to elementary schools, performing and speaking about classical music in an effort to cultivate future audiences. To date, he has performed for well over 12,000 young people in the State of Rhode Island. In 2001, he was awarded the honorary degree of Doctor of Arts from the University of Rhode Island. Mr. Kim resides in a suburb of Philadelphia with his wife Jane and daughters Natalie and Margaret. He and his family are active members of Renewal Presbyterian Church in West Philadelphia. He is an avid golfer, wine lover, and sports fan. ----------------- Gail Niwa Gail Niwa's 'brilliant insights' and 'power, eloquence and striking sound color' have made her an audience favorite throughout the world. In 1991 Ms. Niwa created a sensation by becoming the first woman ever to win the Gold Medal at the Gina Bachauer International Piano Competition. She was also awarded the Audience Prize and the Chamber Music Prize. Ms. Niwa has also won major prizes in the International Chopin Competition, the Mae Whitaker Competition and the Washington International Competition. Ms. Niwa won high praise for her New York recital debut at Alice Tully Hall, and her recitals at Orchestra Hall in Chicago on the Allied Arts Piano Series and at the Ambassador Auditorium's Gold Medal Series in Pasadena. She also received outstanding reviews for her solo appearances with the Chicago Symphony Orchestra in February 1995, performing the Schumann Piano Concerto with Sir Georg Solti conducting. Ms. Niwa can be heard in the film Fantasia 2000 with the Chicago Symphony Orchestra in Saint-Saens 'Carnival of the Animals.'
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    20th Anniversay Celebration
    20th ANNIVERSARY CELEBRATION OF AUSTRALIAN COMPOSERS JADCD 1119 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from saxophone quartet, mandolin ensemble through, a trio for piccolo, guitar & cello to works for solo mandolin and solo piano. Tracks 1, 2, 3, 4, 5 & 6 - ERIC GROSS (b.1926) SUITE LATIN AMERICAN op.302 (2008) for multi-instrumentalist Saxophone Quartet. The TANGO CONCERTANTE, completed in 2007 received a very enthusiastic reception by the members of the Fo(u)r Fans - Saxophone Quartet to whom this Suite is dedicated. It was therefore decided to create a suite of movements in a Latin American style. The title of each movement indicates the style, mood and rhythmic provenance of the musical content, with the BALADA providing a calm and gentle contrast to the other, livelier movements. Because of the versatility of the instrumentalists for whom the suite has been composed, the composer succumbed to the temptation to provide additional variety of timbre by utilising also instruments other than the various saxophones, which the members of this ensemble play so expertly. Track 1 - Tango Concertante Track 2 - Rumbaphonics Track 3 - Balada Track 4 - Samba This Suite was recorded privately in Weimar, Germany in 2008 and the fifth movement, "Hatdance" will be recorded in due course. The members of the Fo(u)r Fans- Saxophone Quartet are: • Ruediger Trosits-Sopr.Sax/Flute/Bb Clt. • Berndt Klinke-Alto Sax/Sopr.Sax/Flt/Picc./Bb Clt./B'Clt. • Holger Arndt-Ten.Sax/Eb Clt./ B'Clt. • Jens Kaiser-Baritone Sax/Bb Clt. Track 5 - PIANGO CONCERTANTE op.302/A (2008) This is an arrangement and adaption for solo piano of the Tango Concertante op.302/1. Because of the enthusiastic reception given to the tango the composer decided to create this idiomatic arrangement for that great supporter of Australian music, the Australian pianist Sally Mays, utilising her great musicianship and technical prowess to the fullest. This private recording was made in London in August 2008. Sound Engineer Bas Kelleher. Track 6 - PREMARCH AND POSTWAR (VORMÅRZ UND NACHKRIEG) op.307 A brief tone-poem for piano, based upon the poem of the same title by the German poet MICHAEL KIRMES-SEITZ, and gives expression to the disasters and havoc created in Germany by the political events of that period. The music pictures and contrasts the exaggerated and false hopes raised and the inevitable horrendous consequences by the end of World War II. This composition was written especially for the outstanding pianist and pedagogue, Idil Ugur who resides in Weimar where this private recording was made in August 2008. E.G. Track 7 - PETER SCULTHORPE (b.1929) A SUN SONG FOR ERIC (1991) This short piece of music was written by the composer to be included in a GARLAND of pieces written by various composers for Eric Gross on his retirement from Sydney University in 1991. The music is one of Peter Sculthorpe's miniature masterpieces and contains a sunny aspect throughout. Peter Sculthorpe is Australia's most celebrated composer. Track 8 - ANN CARR-BOYD (b.1938) FANDANGO (1982) FANDANGO, written in 1982 for Adrian Hooper and the Sydney Mandolins, is a lyrical bluesy type of work and has proved to be this composer's most popular piece of music along with her MUSIC FOR AN IMAGINARY ITALIAN FILM, also written for Adrian Hooper and the Sydney Mandolins. Track 9 - BETTY BEATH (b.1942) contrasts (1983) This is one of the many miniature masterpieces of Betty Beath's composed in 1983. Played by the composer at the piano. Tracks 10, 11 & 12 - ROBERT ALLWORTH (b.1943) Track 10 - NIGHTFALL ON SYDNEY HARBOUR (2006) This composition describes an impressionistic landscape of Sydney Harbour at dusk. The music ebbs and flows, creating a moody scene. Track 11 - TWILIGHT THOUGHTS (2008) Twilight Thoughts depicts feelings at twilight and is contemplative in character. Track 12 - PRELUDE AMETHYST AND JADE (2008) Prelude Amethyst and Jade describes in harmony and melody the characteristics of these gems. Tracks 10, 11 and 12 recorded 12/9/2008 by Kerry Joyner at 2MBSFM Studio C. Track 13 - RAY LEMOND (b.1956) NORDLAND (2008) The upper part of Norway is known as Nordland and is home to the spectacular Norwegian fjords. The music tries to capture a slice of the majesty and tranquility of this natural wonder. Recorded on Arcadia 24/8/2008 by Matt James. Track 14 - ROBERT ALLWORTH (b.1943) FALLING LEAVES OF RED AND GOLD (2008) FALLING LEAVES OF RED AND GOLD was written for mandolinist MICHAEL HOOPER in July 2008. The music is in three movements and is lyrical and autumnal in character. Michael Hooper graduated as Doctor of Philosophy (Musicology) from York University in July 2008 and recorded this composition at the Rymer Auditorium of the Music Research Centre at the University of York.The recording was produced by Ellen Winhall and remastering was supervised by Adrian Hooper. Track 15 - DEREK STRAHAN (b.1935) AT BONDI-SURF & RIPS (1963) Rondo for Piccolo, Guitar & 'Cello (1963, revised 2008) - Trio Nuovo Musicale New Music Group Players. My home in 1963 was a flat in a crumbling block at the south end of Bondi Beach renting at $8 per week which had a millionaire's view looking north along the surf, and which has since been replaced by expensive apartments. I body-surfed every day, rediscovering a beach life last experienced at age 10 in 1945 in Perth, WA, before being relocated to the UK by my family, from whence I fled in 1962 returning to Australia. This Rondo is one of a dozen or so music works I wrote in that year, and seems to have been a visceral and combative depiction of swimming in the surf in rough conditions, with conflicting currents above and below amid the constant excitement of waves rolling in. I have changed little of the structure and themes of the original score but have added detail to enhance texture, maintain motivic impulse and provide a more climactic Coda. This is the first of three pieces making up a Suite "At Bondi". 'Surf & Rips' heard here, then "Millpond" and "Perfect Day" which follow with the flute taking the woodwind role. Recording, Revolve Pty. Ltd., 28/01/08 This compact disc celebrates the 20th Anniversary of the first compact disc issued on the JADE label through BROAD MUSIC. This compilation represents 20 years of production of Australian music on JADE RECORDS. A special tribute is made to Dr. Eric Gross AM for his encouragement of Australian music during his tenure as Associate professor of Music at the University of Sydney and also as a supporter throughout the 20 years of the JADE series of Australian music. Some of his most engaging music is heard on this disc. The 20th year of production and also the 103rd disc in this series. Compilation mastered by Steve Smart Studios 301. Photo: ARCADIA NSW by Lorraine Cain of Newport Beach NSW Australia.
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    Five Postcards
    Since giving his Carnegie Hall concerto debut, American violinist ANTON MILLER has appeared throughout the United States and abroad as a soloist, chamber musician, recitalist, and pedagogue. He is currently Associate Professor of Violin at The Hartt School and on the violin and chamber music faculty at New York University. He previously has been on the faculty of the Oberlin Conservatory, Lawrence University, and Swarthmore College. Mr. Miller is a founder and&nbsp,the Artistic Director of the Three Bridges International Chamber Music Festival&nbsp,in Minnesota, and was the co-Artistic Director of the Silver Bay&nbsp,Festival.&nbsp,Past and current festival faculty positions also include The Intensive String Quartet&nbsp,Workshop at New York University, Aria International Academy, The Hawaii Performing Arts Festival, The Festival Eterna Primavera in Cuernavaca Mexico, the Summer Festival of Thessaloniki, Musicorda, Hsing Tien Kon (Taiwan), Bearstown&nbsp,(Korea), Killington, Hot Springs, and New Arts Festival. As a chamber musician he can be heard in concert in collaborations with the Trio Respiro, Trio Nuovo, Con Brio Ensemble, and the Phenix Ensemble. A winner of the Artists International Competition in New York, Anton Miller&nbsp, studied with renown violin pedagogues Dorothy DeLay and Franco Gulli, and chamber music with Felix Galimir and&nbsp,members of the Juilliard Quartet.&nbsp, .Mr. Miller's dedication to expanding the violin repertoire can be seen in his frequent commissions and premieres of the music of living composers. His world premiere performance of Xiogang Ye's "Last Paradise" for violin and&nbsp,orchestra in Beijing, China was recorded for broadcast throughout Asia and released on CD.&nbsp, His complete discography can be found on the Dorian, Jericho, Full House, Hugo, Naxos and Klavier labels. &nbsp, Always trying to bridge the gap between popular culture and classical music, violist RIta Porfiris has been the subject of articles and interviews in media across the globe including the New York Times, Chamber Music America, International Symphony Musician, the NBC Nightly News, NPR, PBS, and the BBC. She has performed in major concert halls and music festivals worldwide and as a soloist has appeared with numerous orchestras including the Orquesta Filarmonica de la Ciudad de Mexico and the New World Symphony.&nbsp,Currently the Associate Professor of Viola at The Hartt School, she is also on the faculty of the Texas Music Festival and ARIA Arts Academy and has been on the faculties of the New York University, University of Houston Moores' School of Music, Florida International University, and the Harlem School for the Arts in New York. She has given master classes and clinics across the U.S., Japan, Great Britain, Argentina and Brazil.&nbsp, &nbsp,Ms. Porfiris is a member of the Phenix Ensemble and was a founding member of the Plymouth Quartet, in-residence at the Ojai Festival, Mainly Mozart, Point Counterpoint, and the Internationale Quartettakademie Prag-Wien-Budapest. She is the recipient of Austria's prestigious Prix Mercure, a prizewinner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of the Paolo Borciani International Quartet Competition.&nbsp, In her former 20 year-long career as an orchestral musician (of which 15 years were spent with the Houston Symphony), she worked under some of the most recognized conductors of the 20-21st centuries including Leonard Bernstein, Sergiu Celibidache, Kurt Masur, Michael Tilson Thomas, and Christoph Eschenbach.&nbsp,Ms. Porfiris received both her BM and MM in Viola Performance from The Juilliard School, studying with William Lincer. Other teachers and mentors have been Paul Doktor, Norbert Brainin, Maurice Gendron, and Harvey Shapiro. She has published an article in the Journal of the American Viola Society detailing the importance of physical fitness in preparing for virtuosic modern works, her top push-up score is 134 in two minutes.
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    Inspirations en Pointe: Original Music for Ballet
    This album was recorded at Soundscape in Buffalo, NY, and cover art is by Lena Ralston. Review by Dr. Suzanne Knosp, Professor of Dance, University of Arizona 'There is tremendous variety in both key area and harmonic progressions among these works. In addition, there are many different forms and styles represented....Her adagios are particularly beautiful, poignant and sometimes haunting. Her contemporary harmonies and unusual melodic rhythms in some of the works are engaging and, I suspect, would intrigue the dancers. I find Professor Wilcox's melodies, particularly in the lyrical works, to be highly original. In addition, her style of playing, which provides supportive articulation, dynamics and emotional intent, I think would be an inspiration for both teachers and dancers. It is important for the ballet pianist to convey a wide variety of expressive intent for the dance, wit, pathos, joy, beauty, nobility, etc. Wilcox captures many of these and more through her performance. Wilcox provides very clear introductions for each exercise which set the stage well for the dancer to begin. She has given the dancers a variety of tempos, which are within an appropriate range for the designated exercises and her tempos are steady, yet provide the sense of breath which is so important to the development of the dance artist. I would highly recommend this CD to any ballet pedagogue teaching any level. There is a clarity in each composition that I think would benefit the beginning level dance student and inspire an advanced dancer. '
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    Fantasy
    Composers have used the word 'fantasy' in myriad ways, taking advantage of both it's implied lack of formal structure, and the exploration of the imagination. A fantasy can be a spontaneous improvisation on a simple chord structure (Mozart), a development of a single theme (Schubert), a celebration of multiple themes (Hirtz and Di Liberto) or a full-scale original work (Schumann). The Wanderer Fantasy (1822) is Franz Schubert's most openly virtuosic work for piano, and as such first drew me in as a teenager looking for technical challenges. Fortunately my teacher Lee Kum-Sing opened my eyes and ears to the music behind the notes. Remarkably, the genesis for all four movements is the smallest kernel of a rhythmic idea that Schubert took from his own song Der Wanderer. Aficionados of Morse Code will recognize the letter D in the opening measures of each movement. William Hirtz's Wizard of Oz Fantasy (1999) was originally commissioned as a piano duet for Karen Kushner and Igor Kipnis. I gratefully accepted an offer from Mr. Hirtz to arrange a solo version, mistakenly assuming that a reduction for only two hands would have fewer notes. (I am happy to report that our close friendship has survived.) This ingenious fantasy enables Harold Arlen's glorious songs and Herbert Stothart's colorful incidental music to be heard in a piano recital setting. It is a tour-de force of pianistic creativity and a virtual compendium of advanced technique. Performing W.A. Mozart's Fantasy in D minor (1782) presents a particular challenge, as it is an unfinished work. My childhood copy has ten measures added by an editor, which bring the piece to a rather abrupt close. I have taken the liberty of improvising my own ending. If the last minute and a half is not to your liking, do not blame Mozart! Fantasia sulla Cavalleria Rusticana (2005) was written by Sicilian pianist Calogero Di Liberto while he was completing his doctoral studies in my studio at The Shepherd School of Music at Rice University. In researching operatic fantasies for his doctoral document, he realized that he could compensate for the lack of a fantasy on Pietro Mascagni's immensely popular opera by writing his own. Di Liberto's brilliant understanding of the piano, and his lifelong love of Italian opera, shine through in this fantasy dedicated to his daughter Clara. Robert Schumann's Fantasy (1836) was my first major project (it may have qualified as an obsession) at The Juilliard School as a student of the legendary pedagogue Adele Marcus in 1980. My battered copy of the score is swathed in her markings: "Sentiment without sentimentality," "Proportion vs. freedom," and "Surge!" In these lessons I began to grasp the scope of a work whose artistic challenges far surpassed the considerable technical ones. A sign of this monumental work's enduring popularity occurred during the final editing process, when three of my students at the Shepherd School of Music at Rice University were working on the Schumann Fantasy simultaneously. It has been a privilege to pass on the legacy of Miss Marcus' words of wisdom. Although I did make a few recordings at the beginning of my concert career, I was always ill at ease. I missed the inspiration of a live audience and the unpredictable nature of each performance. To me, a recording was a permanent document that I might instantly wish to disavow! Now, I thoroughly enjoy the process. I find satisfaction in trying a phrase one way, then another. I also appreciate my wife Aloysia Friedmann's special role as my recording session producer. Her musicianship, artistry and patience inspire me, and I trust her ears implicitly. In addition, it is wonderful to have the opportunity to bring new works to light, and I am delighted to have Hirtz and Di Liberto stand with pride beside Mozart, Schubert and Schumann. This recording is dedicated to the memory of Adele Marcus. PRODUCER Aloysia Friedmann POST-PRODUCTION Jon Kimura Parker and Aloysia Friedmann RECORDING AND EDITING Andy Bradley, SugarHill Studios, Houston, TX MASTERING Chris Longwood, SugarHill Studios, Houston, TX CD DESIGN Wade Campbell PHOTOGRAPHS Tara McMullen PHOTO STYLING Liz Parker, lizpr.com MICROPHONES Telefunken/Schoeps, Francis X. Schmidt PIANO Hamburg Steinway #491220 Maintained and tuned by Dean Shank SPECIAL THANKS TO Sam Ersan, and to Dean Robert Yekovich and The Shepherd School of Music for making this recording possible All Wizard of Oz songs in medley © Harold Arlen, E.Y. Harburg, published by EMI Feist Catalog, Inc. Arrangement © William Hirtz Fantasia Sulla "Cavalleria Rusticana" Per Pianoforte By Calogero Di Liberto. Copyright and Publishing Casa Musicale Sonzogno, Milan, Italy.
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    Astraga a Mystical Unity
    BA Music Records is a coop of the artists it represents. Sales proceeds go to them directly. Thanks you for your support. ...................................................... ASTRAGAIA, Madjid Khaladj: daf, tombak, zang-e saringoshti, dohol Morteza Esmaili: didgeridoo, jew's harp Mystical Unity The Ghaderi dervishes of Iranian Kurdistan and the Aborigines of Australia are literary a world apart, or more precisely, half a world. The daf, an emblematic frame drum used in dervish and suffi ceremonies, is known and distinguished for it's dozens of suspended metal rings on the inside face of it's frame. The rings brush and strike against the drum's skin as the performer moves the drum in controlled motions while playing on the face of the drum with his hands. The unique sounds from this feature along with the repetitive rhythms performed in religious ceremonies add to the mystical aura. In the dervish fraternities of Kurdistan, as in many Sufi gatherings special zekrs, or sacred mantras, are repeated in chants that have the power to concentrate and then unleash spiritual energy. The repetition of the zekr accompanied by the daf, reverberate in a rhythmic dance, leading to exhilaration in psycho-spiritual parts of the body (e.g. viscera, neck, head). Such dynamic and vivacious motions often lead to ecstasy and sometimes to trance. Similar types of rituals take place in Indigenous Australia, carried by the didgeridoo, a very long hollow tube, ending in a trumpet-like opening, characterized by a fascinating and enigmatic sound. Played with circular breathing, the sounds produced by this instrument symbolize the 'Original Mother.' According to legend, Aborigine songs and melodies come from the spirits and supernatural powers released into the earth by their ancestors, and thus, most of the lyrics have sacred connotations. The association of these two traditional instruments, and their respective origins, opened the door to an exploration and elaboration of the ground these two cultures share. Madjid Khaladj and Morteza Esmaili allow a hereto-unimagined musical space to unfold in an atmosphere spiritually uplifting beyond a complement of their individual worlds. .......... The Instruments: Daf: Much appreciated and developed by the dervishes for use in spiritual performances, the daf is a frame drum that has it's origins in the Middle East and Central Asia. In addition to it's size, it is different from it's closest kin by the chains metal rings that are suspended within the frame. Didgeridoo: The didgeridoo, originally played by Aborigines from Northern Australia, is a natural trumpet, with a long straight body. It is usually made from a branch of a eucalyptus tree, hollowed out by termites. The bark is removed and the ends are trimmed. The method of playing the didgeridoo involves circular breathing and vibrating lips. It is usually between 1 and 1.5 meters and is sometimes decorated with totemic icons and paintings in red ochre or clay. Tombak: This is the main percussion instrument of Persian art music. It's challis shaped body is made of a turned and hollowed-out walnut or mulberry tree trunk with a goatskin stretched across the wide end of the resonator. Jew's harp: Called Zanburak in Iran, the instrument is a lamellophone, which is in the category of plucked idiophones: it consists of a flexible metal or bamboo tongue or reed attached to a frame. The tongue/reed is placed in the performer's mouth and plucked with the finger to produce a note. The frame is held against the performer's teeth or lips, using the jaw and mouth as a resonator, greatly increasing the volume of the instrument. The note thus produced is constant in pitch, though by changing the shape of his or her mouth and the amount of air contained in it the performer can cause different overtones to sound and thus create melodies. Zang-e saringoshti: Brass cymbals pairs attached onto the thumb and the middle finger of each hand. Mainly employed to stress the dance, one finds them particularly omni-present on figurine dancers in Persian miniature paintings of the beginning of the last century. Dohol: A large cylindrical double-ended drum, the dohol is played with two special drumsticks. One is a thick wooden one, bowed close to the end, called Changaal, and the other one, called Deyrak, is a much thinner one. Senj: This is a special type of large diameter brass cymbals, played by striking a pair together. .......... Madjid Khaladj Born in Ghazvin, Iran in 1962, Madjid Khaladj began studying the tombak at age seven. As a traditional musician and skilled pedagogue in several instruments, he is unanimously recognized as a master of Iranian percussions. Highly active internationally, he has perfomed in festivals, concerts, and conferences around the world. He has produced recordings, and art movie soundtracks (with Ry cooder and Lisa Gerrard), and has appeared in radio and television broadcasts. In 1984, he was invited to teach Iranian percussions at the Center for Middle Eastern Music Studies at the Institute of Musicology of Paris- Sorbonne, then under the direction of Yehudi Menuhin. Using this opportunity, he has introduced many western musicians to Iranian music. In 1996, he founded the Ecole de Tombak in Paris (Center for Iranian Percussion Study). Since 1998, he has also been teaching at the State Academy of Music in Basel, Switzerland (Musik Akademie der Stadt Basel in Switzerland). Madjid Khaladj constantly investigates the vast possibilities in improvising within the Persian musical system, and beyond. The unequalled beauty of his style, his mastery of rhythms and the brilliance of his spontaneous creations not only place him in the top ranks next to great classical Persian music masters, but also distinguish him as a major figure in world percussion. Some of Khaladj's most noted works are: Anthology of Iranian Rhythms, Vol. I (1997) & Vol. II (1999), Iranian Percussions (2000), DVD of Tombak (2005), Nafas/ Iranian Art Percussion (2006) and the numerous recordings with masters such as Hossein Alizadeh, Hossein Omoumi, Dariush Talai, M.R. Lotfi and M.R. Shajarian. Morteza Esmaili Born in 1964 in Teheran (Iran), he plays Jews harp since he was 8 years old. With 16 years old, he started to travel all over the world looking for harmonic sounds and traditional & sacred music. During this trip, he came across lots of people and music. In 1992, he was introduced to Didgeridoo where he found what he was looking for: the same harmony as Jews Harp. From 1992 to 1995, Morteza lived in Japan where he tested the mix between electronic sounds and Jews Harp. From 1995, he became more and more interested in Sufi music, having been back to his mother country, Iran, and then to Turkey to meet Sufi communities. In February 1999, he went to Australia to study the story and sound of Didgeridoo where he was adopted by Ramangini Aboriginal community (Arnhem Land). He played with them around the fire in the bush. His foster father, Banbuma Georges, named him Kodjo. In the same year, he came back to France where he founded the 'Harmonic Fusion' Association in order to organize meetings among artists throughout the world. The main one was a concert with different traditional musics and instruments such as Sufi from Turkey and Sudan, Iranian drums, Jews Harp & Didgeridoo (John Wright, Madjid Khaladj, Kudsi Erguner, Sir el Khatm, and Morteza Esmaili). Morteza, versatile musician, took part in several world music events with Australian Aboriginal singers and dancers such as Wayne 'Jowandi' Barker, Stanley Marando, Baven Yunupingu... and recorded with some French bands like Aston Villa, Alain Brunet et Manhu Roche. Convinced by the therapeutic effect of music and sound, he concentrates his efforts on this research. He succeeds to create a traditional music using his instruments as well as modern music by the original tracks and the mix of instruments from various origins. ---------------------------------- Zarb,
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    Violin Sonata/Music For Cello And Piano
    Born into a family of architects, the pianist, piano pedagogue and composer Emmanuel Durlet was only 16 when he obtained his degree in piano studies with the highest honours from the Royal Flemish Conservatoire of Music in Antwerp. Following an esteemed career as a performer, proving himself as a piano virtuoso of the highest level, he entered a new compositional phase in 1933.All of the works on this new recording date from this period, and Durlet prefers to give his pieces evocative titles that often describe the mood or feeling of the music itself. This programmatic element is constant in his entire oeuvre. The rather unusual title of The Refuge of your Eyes, for instance, can be explained by its composition in April 1946, as Durlet was recovering from major surgery on his left eye, and the Miniature for little Aunt was written in memory of 'Tanteke' (Auntie), Durlet's father's sister. His highly distinctive melodic lines and rich and, at times, surprising harmony make Durlet's music easily recognisable, and are a common feature of his music. Of particular beauty are the Old-Flemish Melodies and Dances, originally penned for the harpsichord in 1757 by Robert d'Aubat de Saint-Flour, a dancing-master in the city of Ghent. Durlet turned these pieces into a string of fine pearls for the piano, with suggestive titles such as 'The Shepherds', 'The Mouse' and 'The Three Kisses'.Three award-winning artists, all of whom have played with the world's leading orchestras and achieved success in a number of international competitions, perform Durlet's music for violin, cello and piano.Other information:- Recorded in 2011 and 2012.- Emmanuel Durlet was on of the most significant composers of the first half of the 20th century in Belgium. His style is eclectic, and draws inspiration from French impressionism, 'modernist' tendencies of his time, and Flemish folklore, creating a highly distinctive language, instantly recognisable.- Durlet's skills as a pianist (he was a highly regarded virtuoso performer) show in his works for piano solo and the substantial Violin Sonata, a very personal work, called 'Illuminated Tales'.- Excellent and dedicated performances by Kiyotaka Izumi (piano), Eliot Lawson (piano) and David Cohen (cello).- The extensive booklet includes a wealth of information and photographic material on the composer and the works, as well as artist biographies.
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