24 Results for : recitalist

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    Spirit of the Season , Hörbuch, Digital, ungekürzt, 207min
    Narrated by Charles Johnston.Spirit of the Season is the incredible story of one man’s selfless journey to achieve the impossible. Set in the realistic and earthy environment of 18th-century England, Brian Lamont’s startling narrative also refers to some of the darker aspects of the Industrial Revolution and introduces the listener to a host of colorful characters who are brimming with old-world charm. As midwinter approaches, there unfolds a humorous, moving, and powerfully uplifting festive tale - for everyone.Charles Johnston has been an opera singer for over 30 years, working for national companies in the UK and abroad. His repertoire includes many of Verdi and Puccini’s finest baritone roles, but he has worked on productions of operas from the early 17th century to newly composed pieces. He is also a song recitalist, and has made CDs of Schubert’s Winterreise and English Songs by Somervell, Ireland, Vaughan-Williams, and Britten which are now available for streaming. He has just started a Poetry Masters at the Creative Writing Department at UEA.Visit: charlesjohnston.co.ukAudio production by Charles Johnston and Penbury Press in association with Amazon ACX. ungekürzt. Language: English. Narrator: Charles Johnston. Audio sample: https://samples.audible.de/bk/acx0/232798/bk_acx0_232798_sample.mp3. Digital audiobook in aax.
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    Die Lieder Vol.5
    A new recording from renowned recitalist and winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition, Christopher Maltman. Graham Johnson is both accompanist and curator of this series that presents the entire piano-accompanied songs and vocal works of Johannes Brahms.
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    Glass: Solo Piano Music
    Accepted onto the early admissions programme of the University of Chicago, Philip Glass graduated aged just nineteen with a degree in Mathematics and Philosophy, practising the piano in his spare time. Subsequently studying at the Juilliard School, Glass's name has since become synonymous with the minimalist style. His film compositions have earned him a Golden Globe as well as three Academy Award nominations.This selection of pieces showcases Glass's music for solo piano, with each of the works baring the hallmarks of minimalism. Among the pieces featured in the collection is Metamorphosis, a set of five variations that evolve over the course of the entire work to create a stirring final movement. Also present are extracts from the soundtrack of Stephen Daldry's film The Hours, as well as 'Truman Sleeps' from The Truman Show (which earned Glass a Golden Globe award for 'Best Original Score'). The collection ends with the 'Trilogy' Sonata, containing piano transcriptions of Glass's three 'portrait' operas: Einstein on the Beach, Satyagraha and Akhnaten.Dutch pianist and composer Jeroen Van Veen studied at the Utrecht Conservatory and has played with many orchestras throughout Europe and the USA, under renowned conductors such as Howard Williams, Peter Eötvös and Robert Craft. An accomplished recitalist, van Veen has also appeared at festivals including the Reder Piano Festival and the Festival der Kunsten (Bad Gleichenberg). His compositional style is closely related to minimalism, and contains elements of jazz, blues and pop music.Other information:- Recorded 23--28 October 2006, Barbara Church, Culemborg, The Netherlands.- A new compilation of the music for piano solo by Philip Glass, icon of minimalism. In his piano music, Glass presents structures of repeated patterns which slowly and gradually, seemingly unconsciously, change in rhythm, speed or form, creating a fascinating sound landscape of slowly shifting colours and patterns.- Dutch pianist Jeroen van Veen is a champion of the minimalist piano school. His earlier set of minimalist piano works (BC 9171) has won rave reviews in the international press: "The leading exponent of minimalism (Fanfare)", "10/10" performance/recording, Classicstoday.- Includes notes on the composer and a biography of the artist.
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    More Songs My Father Taught Me
    Malcolm Martineau (Piano) // Known the world over as one of the finest dramatic stage presences before the opera public today, Sir Thomas Allen is also a communicative recitalist, gifted with an open humour and devotion to song that quickly enraptures his audience. These qualities were celebrated last year with pianist Malcolm Martineau in the first volume of 'Songs my father taught me' (CDA67290) and which by popular demand - a true encore! - are shared again in this touching second collection.
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    Living American Composers
    Randal Turner, Biography The American baritone Randal Turner has been hailed as a fine singing actor and consummate musician with a voice described as both warm and commanding. This versatile artist's repertoire includes all periods of opera, concert and oratorio. Mr. Turner also performs frequently as a recitalist. He made his North American stage debut in April 2010 as Don Giovanni with the Michigan Opera Theater in Detroit and made his West Coast recital debut with this performance in San Francisco in December 2010. The Zurich-based singer has sung in opera houses throughout Europe, including Teatro dell'Opera di Roma, Piccolo Teatro Milano, Teatro Verdi di Pisa, Teatro Regio di Torino, Teatro Petruzzelli, Stadttheater St. Gallen, Staatstheater Darmstadt, Landestheater Linz, Wiener Kammeroper, Opéra de Monte Carlo and Opernhaus Zurich. His career includes numerous leading roles such as Figaro in Il Barbiere di Siviglia, Silvio in I Pagliacci, Valentin in Faust, Ford in Falstaff, Stanley in A Streetcar Named Desire among others. Turner has received international praise for his portrayal of Don Giovanni, as well as other Mozart roles and early music portrayals by Handel, Hasse, Haydn and Bach. However, he has received equal acclaim for his work in contemporary opera, including works by Andre Previn, Benjamin Britten, Roberto Hazon and Luigi Dallapiccola. His recital in San Francisco features two world premieres written for the baritone: Julia Schwartz's "Don Juan at 40" and Clint Borzoni's "Two Poems by Walt Whitman." He previously starred in the world premieres of Nadia Boulanger's "La ville morte" and Marco Tutino's "Federico II." Randal Turner was born and raised on a farm near Crawfordsville, Indiana. He began studying music and ballet at the Interlochen Arts Academy in Michigan. He then studied voice at Oberlin College Conservatory of Music under renowned teacher Richard Miller and at Indiana Jacobs University School of Music with Margaret Harshaw. He was a member at the International Opera Studio at the Zurich Opera. He currently studies with Dale Fundling in New York City. Allen Perriello, Biography Pianist and coach Allen Perriello is a recent graduate of the Adler fellowship and Merola Opera Program at San Francisco Opera. He has worked on productions for Seattle Opera, Boston Lyric Opera, Opera Cleveland, Rising Star Opera Theater, and Ash Lawn Opera. Active as a collaborative pianist, Perriello was awarded the Best Collaborative Pianist Prize in the 2008 Lotte Lehmann Foundation Competition. He has performed in recital with Joélle Harvey, Daveda Karanas, Daniela Mack, Heidi Melton, and Randal Turner. The Gibsonia, PA native holds a master's degree in collaborative piano from the University of Cincinnati College-Conservatory of Music and a bachelor's degree in piano performance and music education from Ithaca College. Why a program of "Living American Composers": When I was originally approached about making my West Coast recital debut, I thought about singing some my favorite pieces that I had performed over the years. I imagined a program of music that I had loved and lived with over the years. There is something wonderful about going back to pieces and rediscovering them and digging deeper into the beauty of the text and music. But that all changed when my friend and composer Julia Schwartz wrote a piece for me called "Don Juan at 40." The poem is by her friend and poet Ron Butlin and it plays like a great scene from an opera. From the moment she sent me the music, I knew that I had to perform this piece. That single act got me thinking about other music by our great living American composers and this program began to develop. Composer Glen Roven had contacted me a few years ago and asked me if I'd be interested in singing his music. I met with Glen a few months later and he graciously spent a great deal of time going through his songs. I knew that I wanted to include his beautiful "Four Melancholy Songs," Op. 16 No. 1, based on poems by William Butler Yeats. I hope to add Roven's 'He Wishes for the Cloths of Heaven' in a future recital. We are blessed with so many great American composers and I was excited about the idea of exposing them to a wider audience. The challenge was narrowing it down to a workable list. We contacted many composers and generously received sheet music and suggestions for the recital. Two of the most heralded American composers are Ricky Ian Gordon and Jake Heggie, both of whom have their work performed in the major opera houses of the world. They are also gifted song writers and I had a plethora of riches to choose from. I am a huge fan of Gordon's opera 'The Grapes of Wrath' and I was introduced to the composer via email. I immediately fell in love with his song 'Will there really be a morning?,' but I quickly realized that numerous singers were already including it on recital programs. I was also haunted by his setting of Dorothy Parker's 'Lullaby' and it's companion piece 'Interior.' I mentioned to Ricky that I loved the Parker setting and he said that they needed just one more to round out a set. With the print button out came the "The Thin Edge/Coda.' Meeting Ricky was like meeting a 21st century Mozart and I'm honored to perform his music. I didn't have the chance to meet and work with the great American composer Jake Heggie, as his new opera "Moby Dick" was being premiered to critical acclaim. I couldn't imagine a concert in San Francisco without the local wunderkind Jake Heggie. I have long dreamt of performing his opera 'Dead Man Walking' while I'm still young enough and able to do the pushups required for the role. When the producer of this concert sent me a score of "Moby Dick" I knew that I wanted to sing Starbuck's last scene. This was the only piece on the program that I was going into blind and without any help from recordings or advice from the composer. I mustered up the courage to call the conductor Patrick Summers, who gave me some very useful insights and ideas. Looking for songs from Jake was a bit more challenging. When going through his songs you become immediately aware that he likes to compose for women's voices. Fortunately, I was working with mezzo-soprano Patricia Risley at the time and she suggested that I contact her husband, baritone Keith Phares, who premiered these songs. After a lengthy phone conversation he sent me the two beautiful songs included on this program. I was hoping to include Stuart Wallace on this program, but unforeseen circumstances dictated otherwise. Luckily, my pianist in New York, Jennifer Peterson, suggested her friend the prodigal composer Clint Borzoni. She had gone through a song he had just written called 'I Dream'd in a Dream' that was part of a Walt Whitman cycle. I loved the piece and knew that I wanted to perform another one of his songs. Borzoni wrote a me the song 'Long I Thought," which was so beautiful that it reduced me to tears. However, I felt that it was too complex to master in the short time before the recital. He then sent me a few more Whitman poems and I decided on 'That Shadow, My Likeness.' Clint then composed a rough draft and we sat down together at the piano and finished it. It was truly a collaboration and I cannot wait to present this concert again with 'Long I Thought' included! I would like to thank the talented conductor and pianist Jennifer Peterson for her time and patience for going through almost every song that all of these composers have written before deciding on the program. For not walking out on me when the stress of going off book became as pleasant as pulling teeth. For presenting this concert with me in New York and being the surrogate before it was handed over to the enormously talented Allen Perriello. To Amy Gates for also helping me memorize the concerts and her amazing 'Gates technique.' To my San Francisco hosts Jeff, Mike and Sarah and to Michael Colbruno for finding me, believing in me and making this pr
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    Mendelssohn
    About the Trio One of the most distinguished piano trios in North America, the Newstead Trio's performances are personified by warmth, energy, and depth of expression. In more than fifteen years together, they have performed for audiences throughout the United States, Canada, Italy, Hungary, Singapore, and China, where they gave their concerto debut performing Beethoven's Triple Concerto with the Shenzen Symphony Orchestra. The trio made their New York debut at Carnegie Hall, and has been broadcast live on radio and television. Their innovative and uniquely accessible concert programming combines traditional piano trio literature with more contemporary works. These presentations are characterized by a dramatic variety that can be enjoyed by a wide variety of audiences worldwide. They have also commissioned numerous works by widely respected composers and have included a world premier performance on each of their three recordings. The Newstead Trio is the ensemble in residence at the Pennsylvania Academy of Music and is included on the roster of Pennsylvania Performing Arts on Tour. Michael Jamanis, Violin Michael Jamanis received a Bachelor of Music from The Juilliard School, a Master of Music from Yale University, and a Doctor of Musical Arts from Rutgers University. He has been the recipient of numerous awards throughout his career, including the Lincoln Center, Victor Herbert, and Metro-Media Awards. In addition, he has worked with such artists as Leonard Bernstein, Arnold Steinhardt and Joseph Fuchs. When Dr. Jamanis is not on tour with the Newstead Trio, he serves as the head of the string department at the Pennsylvania Academy of Music, as well as the artistic director of Vivace, a summer music festival now in it's eighth year. Dr. Jamanis is also a visiting professor at China Northwest University for Nationalities and a senior adjunct assistant professor at Franklin and Marshall College in Lancaster, Pennsylvania. Sara Male, Cello Canadian cellist Sara Male received an Associate of the Arts in Music degree from the Victoria Conservatory where she was presented the Principal Emeritus Prize. Her major teachers include Bernard Greenhouse, Zara Nelsova and Timothy Eddy. Ms. Male holds a Bachelor of Music with high honors from Rutgers University, and a Master of Music from the Mannes College of Music. Ms. Male is a former member of the Saskatoon Symphony and is well sought after as a chamber music recitalist, having performed in major venues in the US, Canada, Europe and Asia. Ms. Male joined the faculty of the Pennsylvania Academy of Music as cello instructor and director of the Chamber Music Program in 1994 and is an adjunct assistant professor at Franklin and Marshall College. Xun Pan, Piano Born in Tianjin, China, Xun received his early musical training from his grandmother and parents. He continued his studies at the Central Conservatory of Music in Beijing and Syracuse University, and earned a Doctorate of Musical Arts degree from Rutgers University. Xun was the winner of the Dr. Luis Sigall International Piano Competition in Chile in 1987 and the Frinna Awerbuch International Piano Competition in New York in 1992, and has performed solo recitals worldwide from Carnegie Hall's Weill Recital Hall to China's Beijing Concert Hall. Currently, Xun serves as chairman of the piano department at the Pennsylvania Academy of Music and is a visiting professor at the China Conservatory of Music, China Northwest University for Nationalities, and at Wenzhou University. Mendelssohn The bicentenary of Mendelssohn's birth is observed with affection as well as admiration, the happy regard reserved for those creative artists whose communicative power combines elegance with warmth of heart. Mendelssohn was not a revolutionary, and could not abide some who were (his reactions to Berlioz and his music provide innocent amusement now), but his music and what we know of his personality add up to an agreeably positive image, at once perdurably youthful and consistently mature, characterized by enthusiasm, freshness, imaginativeness and an interest in a broad range of interests which contributed to his sense of drama and gift for color. (His pen-and-ink sketches and water colors are worthy of exhibition). Mendelssohn composed his stunning Overture to A Midsummer Night's Dream and his remarkably mature String Octet as a teen-ager, when Beethoven was still alive, and he is remembered, among other distinctions, for excelling even Mozart's accomplishment as a certifiable child prodigy. Throughout his life, Mendelssohn's commitment to the music of his artistic forebears was more than merely a matter of scholarly interest. He is remembered for restoring Bach's St. Matthew Passion to circulation at age 20, and for similarly successful rescue efforts on behalf of Beethoven's Fourth and Fifth Piano Concertos and, with his young protégé Joseph Joachim, the same composer's Violin Concerto. He regarded such activity with the same seriousness and intensity as his own creative work, but it in no way affected the individuality of his personal style as a composer, which only became more distinctive as the years passed. That style, always marked by great spontaneity and melodic richness and frequently exhibiting the "elfin" spirit that made him the ideal composer of the music for A Midsummer Night's Dream, and is epitomized in it's most mature stage by these two trios, both of which are products of his maturity, created out of his declared intention to revive and refresh the tradition of this genre as represented in the trios of Beethoven and Schubert.. The years in which they were composed frame the rich period during which he produced the stage music for MND (remarkably "picking up where he had left" off with the aforementioned overture some sixteen years earlier), the beloved Violin Concerto in E minor, and the last and greatest of his symphonies, the "Scottish." Mendelssohn had actually composed a Trio in C minor as early as 1820, at age eleven, but that work was scored for piano, violin and viola, and it was in any event one of the numerous compositions in various forms which he regarded as juvenilia and neither brought to publication nor performed in public. The two later recorded here identify him as the continuator between the definitive masterworks for piano, violin and cello by Beethoven and Schubert before him and those to come decades later from Brahms. The Trio in D minor, the earlier and by far the more popular of the two, was composed in 1839, when Mendelssohn was 30 years old. (That was the year in which, as conductor of the Leipzig Gewandhaus Orchestra, he presided over the belated premiere of Schubert's big Symphony in C major--not so big on that occasion, when it was performed with numerous cuts). The opening of this work is frequently cited as a sort of "pre-echo" of the elegiac, or "autumnal" trios of Brahms (who frequently spoke of his admiration for Mendelssohn, and left evidence of it in several of his own works in various forms), but throughout the work there are also suggestions of the legacy of Beethoven and Schubert. The slow movement, which Robert Schumann praised so unreservedly, is characterized by a noble and somewhat restrained level of melancholy, but has a fiery middle section which fades away resignedly when the opening material returns. It is followed by one of the great examples of the scherzo style that Mendelssohn made more or less his own, this one being a meeting place for some darker figures as well as the usual elfin ones. (Some eighteen years earlier, when Carl Zelter, Mendelssohn's teacher, took the lad to meet Goethe and play for him, Zelter remarked to him, "What goblins and dragons have you been dreaming about, to drive you along so wildly?") The finale's marking of assai appassionato would appear to sum up the entire work. In the main, this final Allegro is a brilliant, dancelike piece, but two poignant interludes occur along it's cou
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    Twentieth Century Flute
    Ervin Monroe is one of America's most distinguished flutists. Born in the rural south, Ervin was largely self taught. By age sixteen he was driving fifty miles each week to play Principal Flute in the Pensacola Florida Symphony. His dedicated musical efforts eventually won him full scholarships for flute performance study at the Oberlin Conservatory of Music and the Manhattan School of Music. At age nineteen he studied in Austria and toured as a member of Salzburg's Mozarteum Orchestra, but decided to complete his musical studies in the states and vie for a position with an American symphony. While working on a master's degree at the Manhattan School of Music, Monroe was hired to play Principal Flute for the American tours of the world's most prestigious ballet companies, inluding the Bolshoi, Royal Danish and Royal English Ballets. At age twenty-three he was the youngest wind player selected to play in the Chamber Symphony of Philadelphia and record chamber music for RCA Red Label Classics. Just two years later he was appointed Principal Flute of the Detroit Symphony, a position he held for 40 years until his retirement in 2008. One of the 20th century's most recorded Flutist's, Mr. Monroe can be heard on over 100 great Symphonic recordings with legendary conductors such as Antal Dorati & Neemi Jarvi, in addition to extensive discography of solo, duo and holiday CD's. Monroe is a musician of great versatility. Flutist, composer, arranger and conductor, he is one of the most published flutists today. Ervin is a frequent lecturer and recitalist throughout the Americas and abroad. His congenial teaching style and his warm, expressive performance approach are transferred to his articles and periodicals that have appeared in leading music publications worldwide.
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    Pebbles in the Pond
    BIO Pat Waltman Feuchtenberger holds a Bachelor of Music from the St. Louis Institute of Music, a Master of Arts, from Radford University, and has pursued post graduate studies in various universities. Her teachers include Lois Baptiste Harsh, Evelyn Mitchell, Leo Sirota, Miklos Ivanich, and Lloyd Zurbrigg. She has performed as soloist, recitalist, and chamber musician in the Midwest and Southeast. She established Feuchtenberger Artists' Management Company in 1983. This company has become well-known internationally, representing pianists, Enrique Graf, Beatrice Long, and the Long Duo, with sisters, Beatrice and Christina Long. She has held faculty positions at Concord College at Athens, WV. and Bluefield College in Bluefield, Virginia, where she founded the Bluefield College Preparatory Department. She continues to teach privately. Besides serving as the Director of Feuchtenberger Management, she is an adjudicator for various festivals and competitions, and is a member of the International Society of Performing Arts, American Symphony Orchestra League, National Association of Performing Arts Managers and Presenters, National College of Musicians, Virginia Music Teachers Association, Virginia Federation of Music Clubs, and Phi Kappa Phi. In 2005 Pat formed the Black and White Classics Recording Company to provide an artist-friendly recording experience emphasizing integrity in music, artists, and engineering. She made the first compact disk, "Pebbles in the Pond," which includes music of Bach, Scarlatti, Debussy, Chopin, and Gershwin. She is a consultant for performing arts and arts management, and a speaker in colleges for career days, representing the performing arts. She is listed in Who's Who in the World, and Who's Who in Entertainment, has been the subject of several interviews as WGMS in D. C. and articles in magazines such as Radford Magazine, A Music Partnership, and newspapers. She was nominated in 2000 for The Governor's Award for the Arts in Virginia. She was born in Jacksonville, Illinois, and has three sons, and four granddaughters. She enjoys family, music, travel, gardening, reading, cooking, walking, especially in the mountains, people. NOTES Pebbles in the Pond Music can be but a small speck in the scheme of things, but still make a profound influence heard 'round the world. The exceptional characteristic about classical music is there is no right or wrong way to listen to it, and no one dictates what you should hear. It depends on what is in your life to relate to it. That is the correct interpretation for you. As Charlie Parker said: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn." Of course, it is a little like eating peanuts, the more you try it, the more you enjoy it. Reflections on the Water has been one of my favorite pieces to play for many years, and audiences have always loved it. It invites us to imagine all kinds of water-fountains, pools, great oceans, sprays with the sun glistening, and a trip back to childhood, throwing pebbles in the pond to watch the ripples grow in outward, in ever enlarging circles. Debussy's impressionistic sounds conjure images similar to the paintings of Renoir, Manet, and Monet. He was influenced by American jazz, and his music had a profound influence on all composers after him. The music of Scarlatti was such fun to work on after doing Chopin and Gerswhin, just like a refreshing dip in a pool, after the steamy summer day. Scarlatti's sound reflects the cool blue of the Mediterranean, and simple joys of life. Unique usage of dissonance, and remarkably original sonorities, deep expressive range, from humor and wit to passions and despair. The Sonata in F Minor represents one of Scarlatti's more thoughtful, quiet pieces which constantly seems to reach upward, striving for an unknown sublime entity only the listener can understand for himself. Chopin wrote music that changed the way the world wrote music, heard music, and performed music. Considering he found the piano complete for the expression of his creative spirit, pianists revel in his music, and audiences have responded to that love. It was not always so. His editors told him, his music was "too difficult," and people couldn't read it. Indeed, if one approaches Chopin's music with a mind set on a classical style, it is pretty dreadful! And so, we change gears, and enter into the Romantic mode, where we have lyrical phrases, influenced by Chopin's admiration of Bach's music, love of the opera, flowing accompaniments, full use of the piano including pedaling which becomes an art in itself, and importantly, we must enter into the heart and mind of the composer to communicate his feelings to the listeners. Many find Chopin at his best in his small pieces, and so I have chosen an unusual Nocturne-one which has a surprise ending, a Mazurka not too often heard, and the lovely Etude in E Major, which is said to be a melody Chopin claimed to be his best, along with the Waltz in G Flat. The Chromatic Fantasy and Fugue by Bach is a piece sometimes avoided by performers and teachers, because it takes a good deal of research to come up with what the performer believes is a credible version. I used three editions, listened to several recordings, and referred to some notes from Evelyn Mitchell, a fine teacher who had been a child prodigy and studied with Maurice Rosenthal. The Fantasy progresses through chromatic chords and cadenza-like runs which are a real trip! Going back to the Urtext edition, it is easier to understand the structure which Bach uses to create his improvisations. The Fugue begins with a soft, noble subject in the right hand and progresses relentlessly to a majestic finale with octaves using the whole keyboard. . George Gershwin, one of America's greatest composers, died at the age of 39. He was a talented pianist, who made his way on Tin Pan Alley at the age of 15. He could sight read anything put in front of him, and transpose it, and then improvise on it. He had large hands and much of his music contains intervals of 10ths and 12ths. These three Preludes were written to bring the syncopation and craggy rhythms and lyrical blues of jazz to the concert stage and reach "serious" audiences. "Music washes away from the soul the dust of everyday life." (Red Auerbach (1812 - 1882) and quoted again by Pat Conroy -and now, by me. It is my deepest wish that those who hear this music experience some of what I felt in making this CD -no worries, no fears-I was invincible. I felt connected -to the past and the present. Happy Listening! Pat.
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    Beethoven: The Complete Sonatas for Piano & Cello
    Born and raised in the Philippines, pianist Victor Santiago Asuncion is recognized as a pianist of innate musical sensitivity and superb technique. As a recitalist and concerto soloist, he has appeared in major concert halls in Canada, Japan, Mexico, and the Philippines. He played his orchestral debut at the age of 18 with the Manila Chamber Orchestra and his New York recital debut in Carnegie's Weill Recital Hall in 1999. In addition, he has worked with conductors including Enrique Batiz, Zev Dorman, Arthur Weisberg, Corrick Brown, David Loebel, and Bobby McFerrin. A chamber music enthusiast, he has performed with artists such as Lynn Harrell, Cho-Liang Lin, James Dunham, Ronald Leonard, Susanne Mentzer, and the Vega and Emerson String quartets at venues that include the Phillips Collection, the Corcoran Gallery, 92nd Street Y, Benaroya, Merkin, Spivey and Shriver Concert Halls, and the Santa Fe, Aspen and Amelia Island Chamber Music Festivals. He was on the chamber music faculty of the Aspen Music Festival and School, as well as the Garth Newel Summer Music Festival. He was also the pianist for the Garth Newel Piano Quartet for three seasons. In addition to his active performing career, Mr. Asuncion is sought after as a piano, vocal, and chamber music coach. He was appointed assistant professor at the University of Memphis in 2003 and coordinator of Piano and Collaborative Arts Studies in 2004. He has given master classes at Minnesota State University, Vanderbilt University, the University of Memphis and the Washington Conservatory. The 2006-2007 season features solo and chamber music performances at Stetson, Vanderbilt, Ouachita Baptist, Henderson and Christian Brothers Universities, The Virginia Military Institute, Randolph-Macon Women's College and University of Mississippi at Oxford, Cerritos Performing Arts Center, Shriver Hall, and the Memphis Chamber Music Society. Festival appearances for the summer of 2007 include performances at the Madison and Santa Fe Chamber Music Festivals. He will also be on the faculty of the Vocal Arts Seminar at the University of Memphis' Rudi E. Scheidt School of Music. Mr. Asuncion's major teachers include Rita Sloan at the University of Maryland at College Park, Roberta Rust at the Harid Conservatory, David Buechner at Manhattan School, Gary Steigerwalt and Luiz de Moura-Castro at the Hartt School, Avelina Manalo at the University of the Philippines and Rosario Picazo at the Philippine High School for the Arts. Additional studies include master classes and private lessons with Wu Han, Byron Janis, Santiago Rodriguez, Warren Jones, Andre Michel Schub, Paul Sperry, Irma Vallecillo, Christoph Eschenbach, Felix Galimir, Orlando Cole, Dorothy Delay, Donald Weilerstein, William Preucil and Leon Fleisher. Reviews for Victor Santiago Asuncion's Performances: "Mr. Asuncion is an extremely gifted pianist who plays with great sensitivity and possesses a wonderful technique. He plays with much conviction, emotion and passion." - New York Concert Review " Lynn Harrell's recital, presented to a packed house by the Shriver Hall Concert Series, had an electric charge. Adding to the voltage was pianist Victor Santiago Asuncion, whose elegant articulation and remarkably sensitive phrasing complemented the cellist's every step of the way." - Tim Smith, Baltimore Sun "...elegant, liquid playing.." - Richard S. Ginell, Los Angeles Times "...extremely powerful playing.." - The Aspen Times "...impressive approach to a virtuoso repertoire..." - Wayne Lee Gay, Star Telegram/Fort Worth "...assertive, refreshing approach. It is clear he has something special..." - Tim Smith, Sun Sentinel "...Asuncion reeled out the vibrant finale, bringing the audience to it's feet." - Christopher Blank, Commercial Appeal Tobias Werner, Cello, has performed at Garth Newel Music Center since 1999 and is a member of the Contemporary Music Forum, ensemble-in-residence at the Corcoran Gallery in Washington, DC. He has performed at the Cape and Islands Chamber Music Festival, Villa Musica Mainz, the San Diego Chamber Music Workshop, the Vail Valley Bravo! Colorado Music Festival, the Maui Classical Music Festival, in Carnegie Hall's Weill Recital Hall, Strathmore Hall, the Phillips Collection, the New York Society for Ethical Culture, and at Bargemusic. Tobias has appeared as soloist with orchestras in the US, France, Germany, and Romania, and recent performances have included the concertos of Dvorák, Elgar, Haydn, and Boccherini. He has recorded on the ECM, Darbringhaus & Grimm, Bayer Records, and Orfeo labels. Recent CD releases include Piano Quartets by Mozart, Brahms, Dvorák, and Martinu with the Garth Newel Piano Quartet, the Suites for Unaccompanied Cello by J.S. Bach, and the Sonatas for Piano and Cello by Beethoven with Victor Asuncion. Tobias studied at the Musikhochschule Freiburg in Germany, and at Boston University. His teachers have included Andrés Díaz, Christoph Henkel, and Xavier Gagnepain. He plays on an 1844 J.F. Pressenda cello.
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    Remembrance
    SHORT BIOS 1- Nancy Roldán 2- José Cueto 3- Duo Cueto/Roldán Nancy Roldán, Pianist Acclaimed an "excellent pianist," Argentine born Nancy Roldán has concertized in the United States, Canada, Europe, and Latin America as recitalist, chamber musician, and soloist with orchestras. Special performances include "Homage to Casals" in Puerto Rico, "The golden Age of Tango" at the Library of Congress, the "First Argentine Piano Marathon" in NY, and Peabody's "The mind of Music" among other. Honors include Distinguished Alumnae Award [UNC-Argentina], two Johns Hopkins/Peabody faculty-development grants [2002-2006], and top distinctions at competitions. She serves on the Board of Directors of the American Liszt Society, President/Co-Founder: Baltimore-Washington Chapter, founder/director: Liszt-Garrison Festival and International Piano Competition. Faculty member at Peabody Conservatory of JHU [R], she maintains a consultant practice and private studio in Maryland. Adjudicator in International Competitions, she presents Master Classes and workshops on several performance related topics. Her CDs include Music of the Americas, A 30th anniversary celebration, and "Purrfectly classical" with pianist Noel Lester, Celebrations and Music of the New World with Trio Americas, On Wings of Angels and Remembrance with violinist José Cueto, and Horizons: Piano Music of Latin America. José Cueto, Violinist José Cueto was born in Puerto Rico. After early studies at the PR conservatory he was awarded scholarships to study with Berl Senofsky at the Peabody Conservatory of The Johns Hopkins University where he received MM degree in violin performance. Strad magazine recognized Cueto's debut performance at Weill-Carnegie Hall as grounded, confident, and superb. He has toured extensively in Argentina, the Eastern United States, Hungary, China, Brazil, the Czeck Republic, Italy -where he has toured the last five summers, and most recently in Russia, where he recorded two concertos by Italian composers with the St. Petersburg Symphony Orchestra in collaboration with conductor Vladimir Lande. Recordings include Music of Portuguese Composers, Music of the Americas with Trio Americas, Celebrations, Music by Thomas Benjamin, and Gladness of Heart with maestro Polochick and Concert Artists of Baltimore's orchestra, of which he is the concertmaster. Mr Cueto serves as concertmaster of the Chesapeake Symphony Orchestra, and has been guest concertmaster with the Lincoln, Nebraska Symphony Orchestra. He is Artist in Residence and Chair of Strings at St. Mary's College of Maryland. ABOUT THE DUO The duo Cueto-Roldan has toured in the USA, Puerto Rico, Brazil, and Argentina. The duo has promoted the performance of chamber and duo music by composers of South, Central, and North America. In addition, the duo's repertory includes traditional classical as well as Latin American and Spanish music. A favorite recording of the duo is On Wings of Angels, featuring solo and violin-piano selections "for the heart." Their collaboration may also be heard in the Trio Americas Recording Celebrations. Their performances have been acclaimed as " ... full blooded, ... superb, ... and ... exciting" by international critics. Recent performances include Great Romantics Festival in Canada, master classes and recitals in Denver and Boulder, CO, and the 2008 May festival in Washington, DC. Upcoming engagements 2009 include an All Brahms Summer Program at Hood College and "duo tone paintings" at several venues, including the Buckingham's Choice concert series. CRITICS' CORNER ABOUT THE DUO "... a noble interpretation, each one with mastery, and both in perfect communication to shape each musical idea. [Their] wonderful innate musicality creates an expressive, stirring performance." Carlos Guastavino, Argentine Composer (Personal letter) "The Cueto-Roldan duo makes an impression foremost with it's large and luxurious tone ... The evening was an impressive display of full blooded music making." Alex Ross, NEW YORK TIMES "Cueto and Roldán are a powerful and well balanced combination ... easy rhythmic energy and fine ensemble playing ... superb in all particulars." Marcia young, STRAD MAGAZINE. "Cueto and Roldán made a vivid impression ... left a profound effect." THE WASHINGTON POST "One of the finest chamber music concerts of the season ... Cueto and Roldán gave an exciting performance." THE GLOBE TIMES, Pennsylvania.
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