DOCSLIB.ORG

See Full Discography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
See Full Discography Michael Collins Clarinet Discography Michael Collins records exclusively for Chandos and has covered a wide range of repertoire in his prolific recording career, which also includes releases on Deutsche Grammophon, Decca, EMI and Sony. The Lyrical Clarinet, Vol 2 With Michael McHale (piano) CHAN 10901 (June 2016, CHANDOS) “Imaginative, inspired playing by a leading clarinettist of a range of works” GRAMOPHONE Brahms & Reinecke Clarinet Sonatas With Michael McHale (piano) CHAN 10844 (January 2015, CHANDOS) “Collins, with McHale, offers joyous performances of these two works... a most desirable issue” GRAMOPHONE Brahms Cello Sonatas / Clarinet Trio with Paul Watkins, cello and Ian Brown, piano CHAN 10825 (July 2014, CHANDOS) “Collins floats exquisitely limpid lines in the graceful, contrapuntal Adagio, allowing it effortlessly to unfold.” BBC MUSIC MAGAZINE Brahms String Quintet / Clarinet Quintet with the Brodsky Quartet CHAN 10817 (March 2014, CHANDOS) “...supreme vigour, clarity and refinement. Finely recorded, even by Collins and the Brodsky's standards.” GRAMOPHONE [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 Lutoslawski: Orchestral Works, Volume IV With Tasmin Little (violin), BBC Symphony Orchestra, Edward Gardner CHAN 5108 (March 2013, CHANDOS) “Collins proves as brilliant a soloist as any... Highly recommended.” GRAMOPHONE British Clarinet Concertos With BBC Symphony Orchestra CHAN 10739 (October 2012, CHANDOS) “Collins's playing is compelling throughout... Collins shows off not only his splendid agility but also the affecting pathos of the closing pages of the score.” GRAMOPHONE Berio: Orchestral Realisations with Roderick Williams (baritone), Bergen Philharmonic Orchestra, Edward Gardner CHAN 5101 (February 2012, CHANDOS) “Michael Collins is excellent in every respect” MUSIC WEB INTERNATIONAL Further discography British Clarinet Sonatas, Vol. 1 Weber Clarinet Concertos CHANDOS 2012 CHANDOS 2011 The Lyrical Clarinet The Virtuoso Clarinet CHANDOS 2011 CHANDOS 2010 Spohr Clarinet Concertos Nos 3 & 4 Corigliano Clarinet Concerto HYPERION 2008 WARNER CLASSICS 2005 [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 Carter Symphonia & Clarinet Gregson Clarinet Concerto Concerto CHANDOS 2003 20/21 2004 Other recordings include: ADAMS – Gnarly Buttons COPLAND – Clarinet Concerto; 4 Dance London Sinfonietta / Adams Episodes from Rodeo Conductor: Thierry Fischer, John Farrer ARNOLD – Clarinet Concerto No.1 Performers: Richard Hosford, Michael Collins London Musici / Mark Stephenson Orchestra: Chamber Orchestra of Europe, Bournemouth Symphony Chorus, et al. ARNOLD – Clarinet Concerto No.2 London Musici / Mark Stephenson COPLAND – Sextet & Piano Quartet Vanbrugh Quartet, Martin Roscoe ARNOLD – The Chamber Music of Malcolm Arnold FINZI – Clarinet Concerto Performer: Iona Brown, Roger Chase, et al. City of London Sinfonia / Richard Hickox BARTÓK – Contrasts GREGSON – Clarinet Concerto Martha Argerich & Chantal Juillet Conductor: Martyn Brabbins Orchestra: BBC Philharmonic Orchestra BARTÓK – Chamber Works Performer: Gusztáv Fenyö, Michael Collins, et GÓRECKI – Chamber Music al. Michael Collins, Christopher van Kampen, et Lindsay Quartet al. BEETHOVEN – Violin Concerto (arr. for clarinet MOZART – Sinfonia Concertante by Mikhail Pletnev) London Chamber Orchestra/ Christopher MOZART – Clarinet Concerto Warren-Green Deutsche Grammophon Virgin Russian National Orchestra / Mikhail Pletnev MOZART – Sinfonia Concertante BRAHMS – Clarinet Sonatas The Philharmonia/ Giuseppe Sinopoli WEBER – Grand Duo Mikhail Pletnev MOZART/ BRAHMS MOZART – Clarinet Quintet BRAHMS – Trio Op.114 BRAHMS – Clarinet Quintet FRUHLING – Trio Nash Ensemble SCHUMANN – Marchenerzehlungen Op.32 (arr. Isserlis) MOZART – Serenades – K361 & K388 Michael Collins, Steven Isserlis & Stephen London Winds Hough [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 MUSIC FROM SARATOGA – BARTÓK, LISZT SHOSTAKOVICH/MESSIAEN – Chamber Works AND PROKOFIEV Quatuor pour la fin du temps SERGEY PROKOFIEV, FRANZ LISZT, ET AL. SHOSTAKOVICH – Piano Trio No. 2 in E minor Richard Woodhams, Michael Collins, et al. Joshua Bell/Steven Isserlis/ Olli Mustonen RAVEL: Piano Trio in A minor; Introduction & R. STRAUSS-COMPLETE MUSIC FOR WINDS Allegro Michael Collins with London Winds Performer: Roger Chase, Michael Collins, et al. STRAVINSKY, LOURIE AND SCHNITTKE SCHOENBERG – Chorus Music Conductor: Christoph Eschenbach Performer: BBC Singers, John Shirley-Quirk, Performer: Meyrick Alexander, Michael Pierre Boulez, Michael Collins et al. Collins, et al. SCHUBERT – Shepherd on the Rock ‘THE SIMON RATTLE JAZZ ALBUM’ Felicity Lott / Iona Brown STRAVINSKY – Ebony Concerto Pickwick BERNSTEIN – Prelude, Fugue and Riffs London Sinfonietta / Sir Simon Rattle SCHUBERT – Piano Quintet In A/Der Hirt Auf Dem Felsen Out of Russia – Gidon Kremer Performer: Iona Brown, Roger Chase, et al. ARTHUR VINCENT LOURIÉ, ALFRED SCHNITTKE, ET AL. ROBERT SCHUMANN, CLAUDE DEBUSSY, ET Conductor: Christoph Eschenbach AL. Performer: Gidon Kremer, Keith Bragg, Michael Collins, Kathryn Stott Michael Collins et al. Orchestra: Philharmonia Orchestra SHOSTAKOVICH/SCHOENBERG Conductor: Lionel Friend Performer: Marcia Crayford, Elizabeth Layton, Michael Collins et al. Label: Virgin Classics [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 .
Load more

Recommended publications
  • Doric String Quartet Leon Mccawley Tasmin Little Martin Roscoe Coull Quartet Mark Bebbington Britten Oboe Quartet Nicholas Daniel
    MALVERN CONCERT CLUB FOUNDED 1903 BY SIR EDWARD ELGAR OM 115th Season 2017-18 Trio Apaches Doric String Quartet Leon McCawley Tasmin Little Martin Roscoe Coull Quartet Mark Bebbington Britten Oboe Quartet Nicholas Daniel Roderick Williams Iain Burnside malvern-concert-club.co.uk MALVERN 115th Season CONCERT CLUB 2017-18 FOUNDED 1903 BY SIR EDWARD ELGAR OM Ever since its first concert on 31 October 1903, MALVERN CONCErt CLUB has been a cornerstone of musical life in Worcestershire. It was founded by Sir Edward Elgar, and the Club’s first Secretary (for over 38 years) was his close friend the local architect Arthur Troyte Griffith, whom Elgar had immortalised in Variation No. VII, Troyte, in his Enigma Variations. 114 years later, today’s Concert Club is proud to continue that tradition of bringing the best chamber music to this part of the country. Although we’re called a ‘club’, anyone can join - and anyone can attend concerts without joining. Besides their high quality, our concerts offer excellent value Thursday 21 September 2017 7.30pm for money. Single tickets are available to non-members, but membership of Malvern Concert Club offers six concerts Trio Apaches for less than the price of four - an exceptional bargain at Matthew Trusler violin Thomas Carroll cello £12 a concert (only £2.50 for students under 21) – with Ashley Wass piano no booking fees. Our main concerts are Saint-Saëns Piano Trio No.1 in F, Op.18 held in The Forum, Malvern Theatres; the Sally Beamish Dance the Beginning of the World subscription series are on Thursdays at WORLD PREMIERE of a MALVERN CONCERT CLUB COMMISSION 7.30pm, with an extra daytime concert on Brahms Piano Trio No.1 in B, Op.8 (1889 version) Sunday 18 February at 3.00pm, for which Trio Apaches, comprising three of the UK’s most respected special ticket arrangements apply.
    [Show full text]
  • Keyboard Music
    Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No.
    [Show full text]
  • Peter Donohoe Piano Raphael Wallfisch Cello
    Volume II SOMMCD 256 DDD PROKOFIEV serGEI PROKOFIEV (1891-1953) PIANO SONATAS PIANO SONATAS nos. 9 &10 volume II SONATINAS nos.1 &2 Sonatas nos. 9 &10 CeLLO Sonata Sonatinas nos.1&2 Peter Donohoe piano Raphael Wallfisch cello Sonata No. 9, Op. 103 in C major (21:33) Sonatina No 1, Op. 54 in E minor (9:12) CELLO SONATA 1 1. Allegretto 6:44 9 1. Allegro moderato 3:08 2 2. Allegro strepitoso – Andantino – Allegro strepitoso 2:56 bl 2. Adagietto 3:29 3 3. Andante tranquillo 6:38 bm 3. Allegretto 2:34 4 4. Allegro con brio, ma non troppo presto 5:13 Sonatina No. 2, Op. 54 in G major (8:52) Sonata No. 10 (fragment), Op. 137 in E minor bn 1. Allegro sostenuto 3:25 5 Allegro moderato 0:57 bo 2. Andante amabile 2:15 bp 3. Allegro ma non troppo 3:11 Sonata for Cello & Piano, Op. 119 in C major (23:13) 6 1. Andante grave 11:01 Total duration 64:05 7 2. Moderato 4:40 8 3. Allegro ma non troppo 7:30 Peter Donohoe piano Recording location: Turner Sims Concert Hall, University of Southampton on 15th and 16th April 2014 Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor Front Cover Photographs: Peter Donohoe by Sussie Ahlburg; Raphael Wallfisch by Benjamin Ealovega Raphael Wallfisch cello Design & layout: Andrew Giles © & 2014 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU PROKOFIEV PIANO SONATAS volume II Amongst Prokofiev’s friends during those last years were the pianist Sonatas nos.
    [Show full text]
  • Download Booklet
    TCHAIKOVSKY Tchaikovsky’s contemporaries tell us that he for his ardent expression of emotion, which led was good enough to become a concert pianist, him to avoid superficial virtuosity. Schumann’s SOLO PIANO WORKS if he had chosen to follow that path. But he piano music was often very challenging to preferred to focus on composition, and rarely play, but it was personal and intimate even performed in public concerts. His interest in the so: the difficulties emerged from the spirit piano is mainly to be found in his many pieces of the piece, and not from any external desire for the instrument, and since most of these to impress the ladies (a charge levelled at CD1 CD2 were suitable for amateurs with solid skills, Liszt, rather uncharitably). Tchaikovsky adhered Two Pieces Op. 1 they sold well and played an important role closely to Schumann’s intimate approach 1 Scherzo à la Russe in Bb Major Op. 1 No. 1 [6.24] 1 Aveu Passionné, Op. Posth. [3.01] in building up his fame. Writing for concert outside the occasional showy flourish. 2 Impromptu in E-Flat Minor, Op. 1 No. 2 [6.08] soloists was a more difficult task, and even Sonata No. 2 in G Major, Op. 37 Tchaikovsky’s most sympathetic critic, Hermann But this is not to say that Tchaikovsky’s piano 3 Capriccio in G-Flat Major, Op. 8 [5.25] 2 I. Moderato e risoluto [11.56] Laroche, while praising the melodic beauty music was derivative, since he developed 3 II. Andante non troppo quasi Moderato [8.50] of the piano music, suspected that the his own unmistakable style, with boundless Six Pieces on a Single Theme, Op.
    [Show full text]
  • LUDWIG VAN a Beethoven Festival
    LUDWIG VAN A Beethoven Festival LUDWIG VAN A Beethoven Festival Celebrating the music and legacy of Beethoven, Three special weekends are dedicated to Beethoven’s Ludwig van is about transformation. With Europe chamber music, string and piano repertoire. The on the brink of revolution, and the ideals of the RNCM Chamber Music Festival rings in the New Year Enlightenment giving way to a new Romantic spirit, by focusing on the complete string quartets, piano Ludwig van Beethoven transformed Western classical trios and other chamber music, with performances by music forever. From his earliest musical experiments to artists and ensembles that include the Talich Quartet, his final, ground-breaking artistic statements, you can the Gould Piano Trio and the Endellion Quartet. hear the changing times in these sounds; and many Later in 2013, the RNCM Strings Weekend presents of these scores are transformed through transcription the complete violin and cello sonatas alongside and arrangement, by Beethoven himself, by his supporting masterclasses and lectures, and in the contemporaries and those that followed him. Summer the RNCM Keyboard Weekend undertakes a complete cycle of the 35 piano sonatas, headlined With over 100 events spanning eight months, Ludwig by François-Frédéric Guy, alongside performances by van is one of the largest Beethoven festivals the UK RNCM alumni Martin Roscoe, Peter Donohoe, Jin Ju, has seen in many years. Featuring not one, but two Ronan O’Hora and Graham Scott. symphony cycles, and performances of the complete string quartets, piano trios, violin, cello and piano We also look at how Beethoven’s music has been sonatas, the festival also looks at how Beethoven’s reinvented in 21st Century Beethoven, a festival- music has influenced art, literature, dance, jazz, within-a-festival featuring performances by the BBC comedy and film, and how modern-day composers Philharmonic at Mediacity and the RNCM New have responded to the man and his music.
    [Show full text]
  • The Stoller Hall Chetham's Library Chetham's School of Music Autumn
    The Stoller Hall Chetham’s Library Chetham’s School of Music Autumn and Winter 2019-2020 From intimate chamber music to orchestral grandeur, from folk and jazz to rock and pop ... you’ll find something here to inspire you! This autumn and winter, The Stoller Hall invites you to share in a rich programme of events across three beautiful and contrasting venues. The Stoller Hall itself is a flawless and intimate space where you can immerse yourself in live music, whilst its smaller sister the Carole Nash Hall welcomes a growing folk programme in a cosy and informal environment. And we’re delighted to be working more closely with Chetham’s Library, to share their programme of literary and heritage events in Manchester’s oldest surviving buildings, dating to 1421. Prices listed include booking fees of up to £2 on all purchases. www.stollerhall.com 0333 130 0967 (2-4pm, Monday to Friday) Free seats available for personal assistants Talk to us about our Access Scheme An Evening with Richard Jobson of The Skids Thursday 5 September, doors 7pm Admission: £22 Meet and Greet: £49.50 Special guests Bruce and Jamie Watson of Big Country From school punk to modern day film producer, Richard Jobson has lived a full and colourful life. Four albums as lead singer and songwriter with The Skids included hit singles such as the immortal Into The Valley. Joining Richard onstage are Bruce and Jamie Watson of Big Country, who perform their own set before stepping out alongside Richard for acoustic renditions of his genre-defining back catalogue.
    [Show full text]
  • Biography (Pdf)
    Peter Donohoe piano “I cannot imagine a living pianist capable of improving upon Donohoe’s outstanding artistry” Robert Matthew-Walker, Musical Opinion Website www.peter-donohoe.com ​ Contact Costa Peristianis, [email protected] ​ ​ Peter Donohoe was born in Manchester in 1953. He studied at Chetham’s School of Music for seven years, graduated in music at Leeds University, and went on to study at the Royal Northern College of Music with Derek Wyndham and then in Paris with Olivier Messiaen and Yvonne Loriod. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique. In recent seasons Donohoe has appeared with Dresden Philharmonic Orchestra, BBC Philharmonic and Concert Orchestra, Cape Town Philharmonic Orchestra, St Petersburg Philharmonia, RTE National Symphony Orchestra, Belarusian State Symphony Orchestra, and City of Birmingham Symphony Orchestra. He has undertaken a UK tour with the Russian State Philharmonic Orchestra, as well as giving concerts in many South American and European countries, China, Hong Kong, South Korea, Russia, and USA. Other past and future engagements include performances of all three MacMillian piano concertos with the BBC Scottish Symphony Orchestra; a ‘marathon’ recital of Scriabin’s complete piano sonatas at Milton Court; an all-Mozart series at Perth Concert Hall; concertos with the Moscow State Philharmonic Orchestra, St Petersburg Symphony Orchestra and the London Philharmonic Orchestra at Royal Festival Hall; and a residency at
    [Show full text]
  • Chetham's International 'Online' Summer School & Festival for Pianists
    20th Chetham’s International ‘Online’ Summer School & Festival for Pianists Chetham’s Junior Online Piano Academy 8–13 August 2020 Chetham’s International Online Piano Summer School 14–20 August 2020 | Part 1 20–26 August 2020 | Part 2 Introduction It gives us enormous pleasure to welcome you all to the twentieth Chetham’s hen plans started in In addition to daily technical resources autumn 2019 we had no and films, we have some exceptionally idea of lockdown and touching and memorable concerts from the devastating effects past summer schools to enjoy watching WCovid- 19 would have on the world. The in the evenings as well as workshops decision to move online was taken and talks. It all adds up to an energising, after Kathryn had a sudden brainstorm inspirational and supportive programme in March- and the result is what you of events for pianofiles of every are about to experience in the coming description. days! Moving online has proved to be a popular decision, and in total, with the junior academy pianists included, we have over 280 participants enrolled. “we are absolutely determined to make We have been deeply touched and moved by the the course in 2020 as memorable, fun commitment to the course shown by our extraordinary faculty of over sixty world class pianist-teachers. They loving and helpful as always” really have shown exceptional generosity and goodwill There are many individuals and organisations to whom in offering to teach from their homes online. This we are indebted. Huge thanks to Forsyth’s Music Shop means that the ‘Chetham’s piano experience’ – though for not only providing their wonderful premises as a unquestionably rather different in 2020- remains as fabulous location for filming the technique films in, but vibrant, enriching, varied and inspirational as ever.
    [Show full text]
  • Arvo Pärt's Te Deum
    Arvo Pärt’s Te Deum : A Compositional Watershed STUART GREENBAUM Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by thesis and musical composition) July 1999 Faculty of Music The University of Melbourne Abstract A critical analysis of Arvo Pärt’s Te Deum (1984-85) is conducted in light of his tintinnabuli style. The origin of this style is traced back to 1976, placing Te Deum in the middle of the tintinnabuli period. Te Deum is a major work lasting nearly half an hour, written for three choirs, strings, prepared piano and tape. The introduction to the thesis provides an overview of the composer and styles with which he is aligned. Definitions of minimalism, spiritual minimalism and tonality are contextualised, with reference to Pärt’s compositional technique, aesthetic and development. The work is analysed syntactically and statistically in terms of its harmonic mode, its textural state and orchestration, its motivic construction, and the setting of the Te Deum text. The syntactic function of these parameters are viewed in dialectical terms. Analysis is conducted from the phenomenological standpoint of the music ‘as heard’, in conjunction with the score. Notions of elapsed time and perceived time, together with acoustical space, are considered in the course of the analysis. The primary sound recording is compared to other sound recordings, together with earlier versions of the score and revisions that have accordingly taken place. The composer, Arvo Pärt, was interviewed concerning the work, and the analysis of that work. Pärt’s responses are considered in conjunction with other interviews to determine why he pursued or tackled some questions more than others.
    [Show full text]
  • Download Booklet
    Beethoven Piano Sonatas A conversation between performer and producer Mike George – In some ways, this seventh volume and determination to “forge a new path.” How does maybe this he did learn from Haydn! Another novel intense. The lengthy coda helps to make this one of of your survey of Beethoven’s piano sonatas takes off this perhaps less obvious revolution manifest itself feature is the use of the extremely remote key of the most extended slow movements in all Beethoven. where the previous volume, which included Opp 27 to you? B major for the second theme, a device Beethoven MG We’re in much darker territory with the next and 28, left off. Only a year separates Op 28 from MR It’s not surprising that a perfectionist like Bee- was to repeat in the Waldstein Sonata a couple of Sonata in this Op 31 set, though. the three that comprise Op 31 yet Beethoven found thoven should express dissatisfaction with his past years later. MR Indeed we are! Apart from Op 31 No 2, himself in a very different place, didn’t he? compositions, or that he would be trying to “forge MG That key relationship is something that gave Beethoven only wrote one other full-scale work Martin Roscoe – In 1802, the year Beethoven wrote a new path” from this point forward as, throughout Schubert a lot of freedom of tonality in his writing. in the key of D minor, the Ninth Symphony, with his Op 31 Sonatas, he was certainly in a particularly his life, he was constantly pushing boundaries But there’s an even stronger reason to believe that its titanic first movement and relentlessly demonic dark place: in October that year he wrote the and experimenting with musical language and this Sonata was important to Schubert too.
    [Show full text]
  • Piano and Harpsichord
    Piano and Harpsichord Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Contents: Karrah O’Daniel-Cambry Biography Opera and Marketing Manager [email protected] Reviews Repertoire YouTube Video Links Mailing Address: 1000 South Denver Avenue Photo Gallery Suite 2104 Tulsa, OK 74119 Website: http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Antonio Piricone – Biography First Prize at the Van Wassenaer Concours (Amsterdam, 2009), the most prestigious competition of early chamber music in the industry, Antonio Piricone, was awarded in March 2011 of Clementi Award in England, the coveted prize for researching original repertoire on historical keyboards. His interpretative skills, versatility, sense of style and technical qualities distinguish him both as a soloist, recitalist and as a chamber musician and make Antonio an Italian musician of the younger generation whose personal approach, both as a pianist and an exponent on historical keyboard instruments, is commanding increasing attention internationally. After his initial studies in Catania (IT) on modern piano, Antonio furthered his musical education at the Royal Conservatoire The Hague (NL), specializing in Early Music, Performance Practice and Historical Keyboard instruments and most recently with Andreas Staier
    [Show full text]
  • Tasmin Little & Martin Roscoe
    TASMIN LITTLE & MARTIN ROSCOE The Stoller Hall Tuesday 13 October 7.30pm IN PARTNERSHIP WITH MANCHESTER CHAMBER CONCERTS SOCIETY IN SUPPORT OF HELP MUSICIANS UK PROGRAMME Tasmin Little violin Martin Roscoe piano C SCHUMANN Three Romances, Op. 22 (10’) i Andante molto ii Allegretto: Mit zartem Vortrage iii Leidenschaftlich schnell BEETHOVEN Violin Sonata No. 5 in F major, Op. 24 ‘Spring’ (24’) i Allegro ii Adagio molto espressivo iii Scherzo: Allegro molto iv Rondo: Allegro ma non troppo Interval (15’) BEACH Romance, Op. 23 (6’) FRANCK Sonata in A major (28’) i Allegretto ben moderato ii Allegro iii Recitativo - Fantasia: Ben moderato iv Allegretto poco mosso C SCHUMANN Three Romances, Op. 22 Clara Schumann is known today mainly as the wife of composer Robert Schumann and the intimate friend of Johannes Brahms. In her 61-year concert career, however, she was considered one of the most distinguished pianists of her day, and was highly influential in programming new works by contemporary Romantic composers. She was also a prolific composer in her early years, at a time when women composers were frowned on by the music world. As she grew older, she lost confidence in herself as a composer, writing “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose – there has never yet been one able to do it.” Clara began to compose again in the summer of 1853, having written little since 1846 and the period of her Piano Trio. The Three Romances were among the last pieces that Clara ever wrote, the Romance being one of Clara’s favourite character genres.
    [Show full text]