Valentina Lisitsa Movies Movies, Biography & News Valentina Lisitsa 1973 With her multi-faceted playing described as “dazzling”, Valentina Lisitsa is at ease in a vast repertoire ranging from Bach and Mozart to Shostakovich and Bernstein. Her orchestral repertoire alone includes more than forty concerti. She admits to having a special affinity for the music of Rachmaninoff and Beethoven and continues to add to her vast repertoire each season. Valentina Lisitsa was born in Kiev, Ukraine and began playing the piano at the age of three, performing her first solo recital a year later. She gained a place at the Lysenko Music School for Gifted Children and later studied at the Kiev Conservatory under Ludmilla Tsvierko. In 1991 she won the first prize in The Murray Dranoff Two Piano Competition together with Alexei Kuznetsoff.
She now resides in the USA. With more than 30 million YouTube channel views, Valentina Lisitsa is one of the most watched classical musicians on the Web, using digital innovation to champion classical music and performance. She has performed in venues around the world, including Carnegie Hall, Avery Fisher Hall, and the Musikverein. In May 2010, Valentina Lisitsa performed the Dutch premiere of Rachmaninoff’s “New 5th” Concerto in her debut with the Rotterdam Philharmonic, and in August 2011 made her debut with the Orchestra Sinfonica Brasileira under the baton of Maestro Lorin Maazel. Valentina Lisitsa has recorded three independently-released DVDs, including her best-selling set of Chopin’s 24 Etudes. Her recording of the 4 sonatas for violin and piano by composer Charles Ives, made with Hahn, was released in October 2011.
In addition, Ms. Lisitsa has recently completed recordings of the complete concerti of Rachmaninoff and Rhapsody on a Theme of Paganini with the London Symphony Orchestra under conductor Michael Francis. Her 11-12 season features debut performances with the Helsinki Philharmonic, the Colorado Symphony and recitals at Ravinia, Festival of the Arts Boca, Teatro de Colon in Buenos Aires and the Casals Festival, chamber engagements, and a solo recital in June 2012 at the Royal Albert Hall, London Valentina Lisitsa records exclusively for Decca Classics.
Valentina Lisitsa was born on 1973 in. With her multi-faceted playing described as “dazzling”, Valentina Lisitsa is at ease in a vast repertoire ranging from Bach and Mozart to Shostakovich and Bernstein. Her orchestral repertoire alone includes more than forty concerti. She admits to having a special affinity for the music of Rachmaninoff and Beethoven and continues to add to her vast repertoire each season. Valentina Lisitsa was born in Kiev, Ukraine and began playing the piano at the age of three, performing her first solo recital a year later.
She gained a place at the Lysenko Music School for Gifted Children and later studied at the Kiev Conservatory under Ludmilla Tsvierko. In 1991 she won the first prize in The Murray Dranoff Two Piano Competition together with Alexei Kuznetsoff. She now resides in the USA. With more than 30 million YouTube channel views, Valentina Lisitsa is one of the most watched classical musicians on the Web, using digital innovation to champion classical music and performance. She has performed in venues around the world, including Carnegie Hall, Avery Fisher Hall, and the Musikverein. In May 2010, Valentina Lisitsa performed the Dutch premiere of Rachmaninoff’s “New 5th” Concerto in her debut with the Rotterdam Philharmonic, and in August 2011 made her debut with the Orchestra Sinfonica Brasileira under the baton of Maestro Lorin Maazel.
Valentina Lisitsa has recorded three independently-released DVDs, including her best-selling set of Chopin’s 24 Etudes. Her recording of the 4 sonatas for violin and piano by composer Charles Ives, made with Hahn, was released in October 2011. In addition, Ms.
Lisitsa has recently completed recordings of the complete concerti of Rachmaninoff and Rhapsody on a Theme of Paganini with the London Symphony Orchestra under conductor Michael Francis. Her 11-12 season features debut performances with the Helsinki Philharmonic, the Colorado Symphony and recitals at Ravinia, Festival of the Arts Boca, Teatro de Colon in Buenos Aires and the Casals Festival, chamber engagements, and a solo recital in June 2012 at the Royal Albert Hall, London Valentina Lisitsa records exclusively for Decca Classics.
Want to stretch your ears? This disc is one of the best introductions to the world of microtonal music. The program consists of six works, each with its own approach to defining and using tones outside standard notation and keyboard configuration. To many listeners some of these pieces will seem simply out of tune, but others will find them merely strange-sounding. Just a touch of music theory to explain things: You can get microtones by slicing the equal half-step intervals of a piano scale into narrower equal fractions. Since the equal half-steps are really a slightly-out-of tune compromise to accommodate our modern system of equal temperament, such 'quarter-tone music' exaggerates the out-of-tuneness but creates remarkably tangy harmonies.
This is best illustrated here by, a work for voice, flute, guitar, harp, and string quartet. Carrillo, one of the true pioneers of this kind of music, uses quarter-tone (and narrower) intervals both as ultra-expressive passing tones and to create fresh, dark harmonies. Another approach to enlarging the palette of notes is to refuse to accept the compromise of equal half-steps and instead use scales whose notes coincide with 'natural' overtones. Harry Partch was the pioneer of this approach and is represented by his Finnegan's Wake songs.
Soprano Meredith Bordon is the able soloist in both Partch's and Carrillo's compositions. Her recital-style voice is accurate and strong. Lou Harrison, a follower of both Partch and Charles Ives, contributes a typically attractive Tombeau for Ives, using his own adaptation of Partch's ideas. But the stand-out performance on the disc is Ives' own Second String Quartet. Harmony Ives once instructed a copyist not to 'correct the spelling' of her husband's scores.
(For instance, not to turn an E-flat into D-sharp, for these notes, identical pitches in standard notation, are different pitches in a 'natural overtone' scale.) She went on to explain how Charles perceived the relationship of such putatively identical notes. AFMM leader Johnny Reinhard realized that she was describing a natural-overtone scale system of 21 notes, and this is billed as the first recording to play this great string quartet in this manner. A valuable alternative to great standard readings, this performance reveals a softer, dreamier, less satiric affect. The music discussed so far is all tonal.
In Anaktoria, Iannis Xenakis writes atonal music, so all the notes are equally valid and nothing sounds out of key; that is to say it is consistently dissonant. Xenakis' sound is bold, generally harsh, without melody or traditional rhythm, but conveys a sense of power and monumentality that is exhilarating (assuming it doesn't send you running for the door instead of listening!). This is an excellent performance, aided by the precise intonation of the experienced AFMM players. Along with the Ives, Anaktoria is a primary reason for my strong recommendation to daring listeners.
Giacinto Scelsi's eight-minute piece also is atonal and uses micro-steps-but like most of Scelsi's work it fails to reveal anything of real musical value. Obviously producing a labor of love, Reinhard and his musicians give exciting, committed readings. Sound is slightly studio-bound, but clean. In sum: The disc is well worth acquiring, even if you decide to skip Scelsi on subsequent playings.
(Joseph Stevenson, ClassicsToday.com). This release marks the world-premiere recording and rediscovery of Antonio Caldara’s, a musical serenade of operatic magnitude composed for the court of Austrian Emperor Karl VI, featuring the creme de la creme of the day’s singers, including the legendary castrato Carestini (Franco Fagioli’s part).
Unearthed and edited by Andrea Marcon, the piece offers a series of virtuosic arias, breath-taking cantilenas and ethereal duets performed by some of the finest singers of today. Franco Fagioli and Daniel Behle, two of today’s hottest vocalists, lead a distinctive cast of early music “shining stars”, including soprano Veronica Cangemi in a welcome return to Deutsche Grammophon / Archiv. The dynamic La Cetra Barockorchester, one of the most coveted period ensembles active today, lends an idiomatic touch to the program. This is a major new release under the Archiv imprint featuring a world-class cast of singers.
The opera is new to the repertoire and the catalogue altogether and has been recorded both in studio conditions and live performances in Dortmund. Romina Basso's new album examines the 17th-century Italian lamento, a chamber cantata on an ostensibly tragic subject that is capable of embracing wider territory than a formal outpouring of grief. The prototype was Monteverdi's psychological work Lamento d'Arianna, drawn from a now lost opera of 1608.
For his successors, however, the form had political potential. In Morte di Maria Stuarda makes Counter-Reformation hagiography out of Mary, Queen of Scots, while Rossi's Lamento della Regina di Svezia mourns the death of Gustavus Adolphus of Sweden, killed in battle in 1632. The genre wasn't necessarily serious, either. Francesco Provenzale's Squarciato Appena Avea, for example, takes the Gustavus Adolphus story as point of departure for a scabrous study of his widow's sexuality. Among the greatest of all baroque interpreters, Basso is breathtakingly expressive and persuasive.
The Greek period ensemble Latinitas Nostra is directed from the harpsichord by founder Markellos Chryssicos. (The Guardian.com). They were composed over a twenty-year period and were originally written for piano. The orchestral textures are rich and colorful.
Guarnieri studied in Paris with Charles Koechlin and was a guest conductor at the Boston Symphony. Guarnieri composed Encantamento in 1941.
Alla turca pdf guitar chords. In this lesson we will study one of the Mozart's finest - the famous 'Rondo alla Turca'.
The music comes close to his the evocative music teacher Koechlin. It begins with an atmospheric melody evocative of nature, but the music quickly builds into languid dance and then to the percussive rhythms of Brazilian folk music. The first hypnotic melody returns and the work ends quietly. The short piece by Alberto Ginastera - Overture to the creole Faust - was based on the story by Estanislao del Campo and dates from 1943. The overture has begins with a sinister melody that quickly turns into a dance, somewhat reminiscent of Estancia. The music settles into a reflective melody, developing into a more dramatic melody to close the work.
The short piece, The Wandering Tadpole of Silvestre Revueltas, is not well known. This is a dance from a larger ballet for children.
The music has a nice sense of humor with various instruments darting back and forth with bits of melody, and there are echoes of a mariachi band. Venezuelan composer Inocente Carreno's Margaritena receives a spirited performance. The music is centered on a folk song Margarita es una lagrima, which Carreno skillfully weaves into a rhapsody. Juan Bautista Plaza, also born in Venezuela, was considered one of the founders of Venezuelan national music. The fuga romantica for strings, from 1950, was written as homage to Bach.
Beethoven’s first published works—his Opus No.1—were three trios for piano, violin and cello and already they show a marked advance on Haydn’s trios in the comparative interdependence of the three parts. Their freedom from Haydn’s oppressive formality looks forward to the first mature trios, the pair that comprises Opus 70, displaying all sorts of harmonic twists, thematic innovations and structural idiosyncrasies, these trios make much of the piano part and contain plenty of dramatic outbursts that are typical of Beethoven’s middle period. Even more arresting is the first of the Opus 70 trios (1808) nicknamed ”The Ghost” because of its mysterious and haunting Largo. Its sibling boasts a cheerful bombastic finale that is the most entertaining music that Beethoven composed for this combination of instruments. Faust and Mr.
Queyras as well as Mr. Melnikov reach into the depths of their individual and collective souls to find the spectacular tone textures that Beethoven had intended. They bring these forth with breathtaking motifs and heart-stopping melismas once again showing that interpretation requires genius enough to inhabit the skin of the composer in order to find the right balance between a perfect reading of the score and emotion that is over and beyond that the text might even suggest despite specific diacritical remarks by the composer. This is a wonderful recording indeed.
Ukrainian pianist Valentina Lisitsa has taken an unusual path toward career development: she posted her Chopin performances to YouTube, gained a strong following there, and then hired the London Symphony Orchestra for a set of Rachmaninov concerto performances. The gambit seems to be working: Lisitsa's performances of late Romantic repertoire have been reasonably well received, and now she's earned the right to implement what one imagines was the point of the whole exercise in the first place: the pursuit of the crossover audience centered above all in Britain. There is no denying that Chasing Pianos works well. British has made a long specialty out of minimalist music that shades in the direction of melodic pop. Although Nyman has stated that opera is his favored genre, the style is ideally suited to film scores, and his music for The Piano (1993) is a classic of the genre.
That score, adapted for solo piano, is heavily featured here, along with music from other scores that is artfully chosen to give just enough contrast to avoid sheer repetitiveness without disturbing the basic calm surface. Lisitsa's style, flawlessly precise and slightly mechanical, fits this music in a rather eerie way, and fans of Nyman's music will doubtless find a fresh and exciting take on it here. Those coming to the music from the film The Piano or from one of the other soundtracks represented should also be pleased. The sound, from the concert hall at Britain's Wyastone Estate, is unusually well suited to the project: dreamy and soft without being overly gauzy.
( James Manheim). Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov begin their project to record all of Schumann’s concertos and piano trios using gut strings and a piano of Schumann’s time (a Streicher of 1847) with the most challenging two works of all. The tangled performance history of theis well enough known by now – written in 1853 for Joseph Joachim to play, it was suppressed after Schumann’s death and not performed in public until the 1930s.
Performances have remained sporadic though, and as Faust’s shows, even the finest violinists (and she is one of the very best around today) still struggle to make convincing sense of some passages, especially in the rather stop-start opening movement; there are moments here when the usually nimble Freiburg Baroque Orchestra sounds as if it is having to wade through musical treacle. Ism malayalam full. Composed two years before, the G minor Piano Trio isn’t top-drawer Schumann either, especially when compared with the two earlier trios, but Faust and her colleagues have the knack of teasing out its lyrical beauties and giving all the music real lightness and transparency.
'The idea for this CD project arose during a tour on which we performed Robert Schumann’s Trio Op.80. As passionate admirers of the composer, we conceived the desire to place his works for piano, violin and cello in a broader context and to illuminate them mutually in order to allow listeners to gain a deeper understanding of his music.
We soon agreed to play the pieces for this recording on a historical piano and stringed instruments with gut strings, using orchestral forces to match. Pablo Heras-Casado and the Freiburger Barockorchester sprang spontaneously to mind as the ideal partners for a project of this kind. Our shared journey into the magical world of this incomparable composer will remain with us as an exceptionally intense, happy, and fulfilling experience.'
Isabelle Faust, Alexander Melnikov, Jean-Guihen Queyras. Replete with all the Angela Hewitt virtues—among them, unfailing clarity, innate elegance, an unerring sense of proportion, a finely honed mastery of style, melodic finesse and an unobtrusive grasp of harmonic rhythm—these are exemplary performances. Stylistically, they are very much of their time, falling midway between the 'Beethovenian', 'revisionist' tendency of the mid-20th century, repudiating the earlier essentially miniaturist 'Dresden China' tradition, and the sometimes rather antiseptic, musicologically-'enlightened' approach of the century's final third. The prevailing tonal palette, from soloist and orchestra alike, is appropriately lean but always beautifully focused and elegantly applied. Operatic in the best sense, Hewitt is more concerned with dialogue, not only between the two hands but within all levels of the texture, than with conventional notions of 'vocal' cantabile.
But what finally renders Mozart's operas supreme (and I maintain, loosely, that he never wrote anything but opera) is not the matchless subtlety and characterisation of the dialogue, but the continuous development of the individual characters and the relationships between them. What I most miss here, and I recognise that I may be in a small minority, is precisely that feeling of development, which necessarily relies on vivid and varied characterisation in the first palce.
I feel this throughout, though never more so than in, especially the slow movement, where the uniquely Mozartian tension between harmonically loaded melody and the essentially neutral, often near-static nature of metre is spoiled by an excessive sense of symmetry. ( BBC Music Magazine). New York native and avant-garde composer Morton Feldman composed this work just two years before his death in 1987, and it haunts the listener into a prism of melancholy.
Shifting, unsettling, and yet every bit hypnotic, pianist Aki Takahashi and the world-renowned Kronos Quartet conjure up the ghost of Feldman to wander the streets of New York as if they were abandoned. This single piece, over 79 minutes in length, is like an icy flower that blooms almost undetected. Takahashi is so delicate on the piano as to whisper quiet clusters of notes, reverberated by the Kronos Quartet for further contemplation. Feldman often preferred his performances and recordings to be very quiet, almost inaudible at times. Truly, it would make no sense to play a Feldman piece at volume ten on the stereo - it would be like shining huge spotlights on a Rothko painting. The beauty is in the shadows, and the chill of opens it's vast arms and pulls the listener in alongside the darkness. ( Glenn Swan).
This is a live recording, made at a pair of concerts in May, and ‘live’ is undoubtedly the word for it. All the performances have an improvisatory quality, interpretative decisions seemingly made before your very ears. At the beginning of the Prokofiev it is as though Mutter and Orkis, realising that the audience in the Beethovensaal are already uncommonly silent and attentive, had decided after a quick glance at each other to begin the Sonata almost confidingly, with quiet tenderness and muted colour.
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Once or twice they take risks: the third and most epigrammatic of the Webern pieces is played with a mere thread of tone; in the hall it must have approached the limits of audibility. But this approach powerfully distils the intimate but intense emotions of these pieces; there is something close to pain in the second of them. Once in a while the risks show.
Not long after the opening of the Prokofiev there is an abrupt, stabbed accent that you suspect Mutter would have had second thoughts about in a studio recording, and an equally sudden expressive scoop in the slow movement – hauntingly poignant as she phrases and colours it – robs her intonation of its purity for a moment. There are similar but less hazardous extremes in the big gestures and expansive palette of the Respighi; fewer in George Crumb’s evocative, post-Bartokian Nocturnes, with their striking use of plucked, brushed or drummed piano strings. Throughout the recital, emotionally searching, and you are bound to refer this to the fact that she dedicates the disc to the memory of her husband, who died five years ago.
It is vulnerable music-making, not always comfortable, but deeply expressive and often moving. The recording is spacious, the audience hushed.' Ukraine-to-North Carolina transplant Valentina Lisitsa has gained tremendous popularity by using YouTube (75 million views and counting) to market her music. No one should say that Lisitsa is merely an Internet phenomenon; more like her, taking the music directly to potential listeners through contemporary media, are sorely needed.
The Internet has propelled her to a spot on the roster of the major Decca label, and she has played mostly mainstream Romantic repertory with a diversion, on her last release prior to this one, into the piano music of Michael Nyman. Here she takes on some real standards, the 24 Chopin Etudes, Op. 25, and the technically even more perilous Symphonic Etudes, Op. 13, of Schumann, rendered with five extra variations in the middle excised by Schumann from the work and published posthumously (the work is essentially a set of variations that spills over its boundaries, something like the Diabelli Variations, Op. 120, of Beethoven). The Schumann fits Lisitsa's strengths; she has formidable technique in passagework and is exceptionally skilled at bringing out the kind of inner counterpoint that the Symphonic Etudes are all about. The same strengths apply in the Chopin, where her left hand doesn't flag in the workout it receives.
According to the booklet notes, performances of Alfred Cortot served Lisitsa as a reference point. Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. There's nothing terribly poetic about Lisitsa's performance, but there's no denying that she's on top of the music and that the physicality she has brought to it on the Internet is present. An interesting chapter in a unique contemporary pianistic career. (James Manheim). “Her playing of Britten’s powerful 1938 concerto has an allure that is anything but sexy; it’s urgent and occasionally darkly sinister, a perfect reflection of the nervous year in which it was written.
And Roe is more than a match for the demands of Samuel Barber’s exuberantly difficult 1962 concerto.” (The Observer, 8th March 2015) This solo release, a unique coupling of two of the 20th Century’s greatest piano concertos marks Decca’s first-ever recording of the Barber concerto and the first of the Britten since the classic Richter account conducted by the composer in 1970. Elizabeth Joy Roe has been performing both works since a student at Julliard and has written extensive booklet notes which detail the intriguing parallels between the two composers. Her New York concerto debut was in the Britten conducted by James Conlon at Alice Tully Hall, Lincoln Center and in 2003 she was invited to replace the Barber concerto’s dedicatee, John Browning, at a performance with the Delaware Symphony shortly after Browning’s death. The album is completed with by each composer: Britten’s ‘Night Piece’ and Barber’s ‘Nocturne - Homage to John Field’, widely-considered the father of the nocturne. (PRESTO Calssical).
Both concertos are part of Hahn’s active performance repertoire, and both were written by composers who were violin virtuosos in their own right. Hahn writes, “It’s fun to delve into Mozart’s ingenuity and emotional directness, his writing speaking directly to listeners while performers delight in his myriad clever phrases. As a result, Mozart improves moods; when I look around the stage at people playing his works, I always see smiles.” On this recording, Hahn plays the cadenzas by Hungarian violinist Joseph Joachim.
Born in Israel, composer Chaya Czernowin has lived in Germany, Japan and the U.S. Her teachers included Dieter Schnebel, Joan Tower, Brian Ferneyhough and Roger Reynolds. Czernowin's sound occupies a unique world. Often many instruments are used to become one 'composite' instrument. Time is slowed down, so that the slow flow of sound enables one to perceive the smallest details of a texture or a sound., dense or agitated, at times echoing that of Xenakis and Ferneyhough. She has been awarded numerous international prizes including: Gaudeamus Composer's Workshop, DAAD Scholarship (Berlin), Stipendium Preis and Kranichsteiner Musikpreis (Darmstadt), Asahi Shimbum Fellowship (Tokyo), NEA Composition Commission Grant, ISCM and IRCAM commissions. Czernowin is on the composition faculty of the University of California at San Diego.
Valentina Restaurant
This is the debut recording of her works. A special opportunity to hear an exciting voice in New Music. (Mode Records).
One aspect of the polymorphously polyrhythmic music of Conlon Nancarrow is its lack of practicality in live performance. Nancarrow didn't have, in his time, access to electronics, and as his interest in hearing multiple levels of rhythmic activity increased he turned to the only medium capable of delivering the goods - the pneumatic technology of the player piano, driven by the 'digital software' of a paper roll punched by hand. About the time his work began to gain attention, Nancarrow started to receive commissions for works from real, flesh-and-blood players. One of them, the late pianist Yvar Mikhashoff, created a number of arrangements of Nancarrow's studies for various live ensembles, including a four-hand version of Study No.
Duo pianists Helena Bugallo and Amy Williams have taken Mikhashoff's work as the point of departure, resulting in this disc,. Ten of Nancarrow's studies are heard combined with six other works written for human players.
Three Two-Part Studies, Prelude, Blues, and Sonatina are early works from the 1930s and '40s, and the Three Canons for Ursula and Tango are late works. The obvious benefit that human intervention brings to the table in these pieces is a sense of touch and expression.
Nancarrow's modified player pianos were capable of delivering discretion between soft and loud, but there was little they could achieve in terms of any gradations in between. The Bugallo-Williams Piano Duo demonstrates that there is a lot to experience in Nancarrow's music outside the realm of its pneumatic context. Wergo's recorded sound is excellent, and Bugallo and Williams make Nancarrow's horrendously difficult rhythmic textures seem both natural and non-mechanical.
Particularly impressive is their handling of three movements from the 'Boogie Woogie Suite,' namely Studies No. 3B in C and D; although the original player piano version is very exciting, Bugallo and Williams make it sound like a fractured duet between Art Tatum and Meade Lux Lewis. (Uncle Dave Lewis). The Mexican composer Arturo Fuentes (born in 1975) arrived in Europe in 1997; his musical path led him from Milan, Paris and Vienna to his current home in Innsbruck. He has studied with Franco Donatoni in Milan and Horacio Vaggione in Paris. Arturo Fuentes composes instrumental music, electronic music and conceives new musical theater projects that combine dance, video and electronics. His music is characterized as a meticulously organized kaleidoscopic chaos that explores the frontiers of dynamics, color, texture and virtuosity.
This music unveils a constantly evolving sculptural design; you perceive a sonic space occupied by constant agitation – it’s research into an aerial tonality. Neos presents a collection of music from Mexican composer Arturo Fuentes, performed by the. 'I ran into Arturo Fuentes for the first time at IRCAM, in the late '90s.
He talked to me for a long time about his passion for logic and analytic philosophy, quoting Quine and Wittgenstein. His music, which I discovered later on, did surprisingly contradict the expectations that were arisen from those discussions. Instead of the crystal-clear development and the rational see-throughness I was waiting for, I got lost in a charmingly chaotic and obsessive sound world, whose rich, frenetic textures seemed to dwell in the shadow cast by language, in the 'ineffable' evoked by Wittgenstein, that region, quoting Giorgio Agamben, where 'the language stops and the matter of words begins.' ' (Mauro Lanza). ECM New Series presents the first full album devoted to the music of Dobrinka Tabakova, a composer born in Bulgaria in 1980 but raised from a young age in London and educated there. In Tabakova’s music – richly melodic, texturally sensuous, often emotionally radiant – there resides the new and the familiar, or rather the familiar within the new, and vice versa; there are the spirits of East and West coursing through the pieces, usually hand in hand; and just as the composer’s technical virtuosity is apparent, she possesses a desire, and a talent, for direct communication that can be heard in virtually every measure. The recording features Tabakova’s, plus the Rameau-channelling Suite in Old Style for viola and chamber orchestra.
Then there are three chamber works: the string trio Insight, the string septet Such Different Paths and a trio for violin, accordion and double-bass, Frozen River Flows. The performers include violinist Janine Jansen and several of Tabakova’s former conservatory colleagues: violinist Roman Mints, violist-conductor Maxim Rysanov and cellist Kristina Blaumane, principal with the London Philharmonic Orchestra. Tabakova’s music has a particularly 21st-century feel for its broad palette – its free mix of tonality and modality, of folk-music influence and the example of past masters. Her ECM debut came about after a happenstance meeting of the composer with label founder-producer Manfred Eicher at the Lockenhaus Festival in Austria, where Rysanov was performing Tabakova’s Suite in Old Style (part of a triptych of suites she has written for him, along with a concerto). The resulting album presents Tabakova works from 2002 through 2008. (ECM Records).
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