63 Results for : penderecki
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Kosmogonia
PIANO DIARIES OF A MUSICAL ALCHEMIST Every single composition on this CD represents a time capsule from my life. Each piece I played and recorded on a different piano, in a different city, and in a different period of my life. In all of the pieces I applied the method I call 'preparation in real time'-the personal performance practice I often use in my live performances. It implies using devices, easily movable objects, and different fingerings to temporarily shift the instrument's timbre from that of the piano to that of a harpsichord or clavichord. For instance, in Genesis (2009) and Kosmogonia (Cosmogony) (2005), following the proverb 'necessity is mother of invention,' I came up with a vibrating glove. When placed on the piano strings, the electromagnets stuffed into the glove's fingertips helped create the sostenuto-sounding strings, mockup flute sounds, and bass clarinet I needed. Mappa della Memoria, for acoustic baby grand piano, was recorded live during my recital at the Bogliasco Foundation in Genoa, Italy, where I held a composer's residency in 2004. Based on the eponymous work by the ingenious Italian visual artist Mario Fallini, the Memory Map is a fitting piece to start this album with. Like a traveler who retraces his own footsteps, Fallini draws his version of the iconic medieval allegory of memory, traditionally depicted as a portly matron in elaborate dress, by 'stitching' the titles of his own works in each fold of her sumptuous attire. Sonatina No.1 was composed in 1996 and recorded in 1997 on an upright piano after I rescued it from the local bar and somehow fit it into the kitchen of my studio apartment in Manhattan. I dedicated this piece to Morpho, a large, mysterious South American butterfly with iridescent wings who lives for only a day before being sealed for eternity into a pendant by a jewelry maker. Sonatina No.2 and Sonatina No.3 were composed in 2004 and recorded on an amplified Chinese-made baby grand piano I purchased at a liquidation sale at the San Francisco Opera. In the already-mentioned Genesis, I wondered what it sounded like when God went about making the world. During my college years, while sitting in the symphony orchestra and counting numerous empty bars in my harp parts, I entertained the idea of getting a job in a planetarium. I recalled that fantasy many years later in Kosmogonia, where I explore the ways to depict in sound the mindboggling theory of the ever-expanding universe. This album is dedicated to my dad, Dr. Vladimir Jordano MD. Victoria Jordanova Los Angeles, May 2012 Notes by Dean Suzuki Victoria Jordanova, an American composer born in Kragujevac, Serbia, is probably best known for her magnificent Requiem for Bosnia for broken piano, harp and child's voice. The current CD is her first for piano since the release of the Requiem in 1994. Unlike the Requiem, which exists only as a recording and cannot be performed live (the namesake broken piano no longer exists), Kosmogonia is comprised of works that can be performed in concert. Born in Serbia, a longtime San Francisco resident, and now living in Los Angeles, Jordanova's aesthetic forebears include West Coast American experimentalists and mavericks, Henry Cowell and John Cage. She is inspired by their innovative piano compositions, and especially by Cowell's 'string piano' (when performers bypass the piano's keyboard and play directly on the strings, variously plucking, strumming, rubbing and otherwise manipulating them), as well as his generous use of tone clusters, and Cage's 'prepared piano,' inspired by and extrapolated from Cowell's string piano, in which items such as screws, bolts, bits of rubber and other materials are inserted and wedged between the strings, thus dramatically transforming the instrument's timbre. It should be no surprise that other important influences on Jodanova include Krzysztof Penderecki and György Ligeti, both composers who experimented with and explored sound masses, unorthodox timbres, and unconventional musical textures and techniques. In an undergraduate class taught by composition professor Dr. Jere Hutcheson, Jodanova encountered Penderecki's Kosmogonia (1970) (a work that inspired her own work of the same title found on this CD), Threnody for the Victims of Hiroshima (1960) and Ligeti's Atmospheres (1961). The music left her awestruck. Such inspiration is borne out when Jordanova states that she uses a computer and MIDI-instruments to compose, 'But whenever I really want to test an idea, only the piano will do. I open it, knock on it, touch every part of it, play it inside and out, amplify it to hear it's softest whispers, and present it with all kinds of toys and devices to coax every possible sound out of it. And it always gives back more than I expect, surprising me with new sounds and possibilities.' Jordanova's wide-open ears are on a never-ending quest for new sounds, timbres and sonorities. She says, 'Some of the best times of my life were spent with pianos. I have played many pianos in my life and I've never found one I didn't like. From the old upright, which never could be tuned properly, that I rescued from a local bar and worked on in my Manhattan apartment, to the one that fell down two flights of stairs in the French-American International School in San Francisco, which I used to record my Requiem-all gave me something unique. Sometimes I feel that there is more at play than a mere material object, as in the medieval concept of Anima mundi--a pure, ethereal spirit diffused throughout all nature that animates all matter in the same sense in which the soul was thought to animate the human.' She concludes with a rather cunning and insightful proposal: 'Maybe the piano participates in my compositions as much as I do.' In her Sonatina no. 1 for upright antique piano, Jordanova coaxes beautiful sounds from an instrument that would have horrified Chopin and would be considered beneath contempt by contemporary concert pianists (can one imagine Lang Lang performing on an upright piano, much less an antique one?). Instead of regarding the faults of the antique piano as shortcomings, she views them as opportunities for sonic exploration. Indeed, the Sonatina would be a completely different and much less successful work were it played on a pristine concert grand. Those familiar with the string piano and prepared piano, and with works by composers such as Stephen Scott who also use extended techniques on the instrument, including 'bowing' the strings (for example, strands of rosined nylon fishing line are threaded under the strings then drawn back and forth to excite the strings), will recognized the instrument as a piano, but may be bewildered by the manner of sound generation in Genesis and Kosmogonia. These compositions require a vibrating glove, in which small electromagnets are placed in the fingertips. Jordanova does not insert her hand in the glove to stroke or massage the strings. Rather, she uses the glove as a holder for the electromagnets, which are placed directly on the strings. Further manipulation, including use of the keyboard, sustain pedal and touching the string with the fingers, changes the overtone structure for the purpose of discovering new timbres and advancing the music. The amplification employed in several works on this CD is used only to precisely reveal the subtleties and nuances of the piano, rather than to increase power and volume. By running the sound from the microphone directly into the computer input, the normal recording studio problems of trying to accurately capture acoustic sound are circumvented. The amplification and recording techniques allow the listener to hear everything--harmonics, partials and other acoustic phenomena--in a way that would not be possible using traditional recording methods. As a result, one hears the music differently and in a way that enhances Jordanova's compositions and reveals her special gifts. Dean Suzuki Associate Professor of music- Shop: odax
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Music for Solo Cello
Cassado: Suite for solo cello I. Preludio - Fantasia II. Sardana (Danza) III. Intermezzo e danza finale Ysaye: Sonate Op. 28 for solo cello I. Lento e sempre sostenuto II. Poco allegretto e grazioso III. Adagio IV. Allegro Tempo fermo Ligeti: Sonate for solo cello I Dialogo II Capriccio Kodaly: Suite Op. 8 for solo cello I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace ---------------- When Johann Sebastian Bach composed his six cello suites around the year 1720, they were labeled "6 Suites a Violoncello Solo senza Basso." This curious title can be explained by the fact that it was a novelty at the time to write for cello alone, an example that would not be followed any time soon: not counting the various solo cello studies, capriccios, and other pieces composed by cellists for educational purposes, one needs to wait nearly two centuries before finding important repertoire in the medium. The famous Catalan cellist Pau Casals (1876-1973) was partially responsible for the rebirth of the solo cello repertoire: his "discovery" of Bach's cello suites at the beginning of his career and his subsequent efforts to propagate them helped convince the younger generation of composers to write for solo cello. The four works presented on this CD illustrate the rise of the modern solo cello repertoire. Common characteristics of this collection include a powerful rhetorical discourse, a rhapsodic character, and a complete technical mastery in writing for the instrument. That the four composers represented here had an excellent knowledge of the cello came from their own practical experience: Zoltán Kodály and György Ligeti had studied cello before becoming composers, the famous Belgian violinist Eugène Ysaÿe was competent enough to play the cello part in private chamber music evenings, and Gaspar Cassadó, Casals's student, was a celebrated cello virtuoso. Kodály's Sonata for Solo Cello, Op. 8 (1915) and Cassadó's Suite for Cello Solo (1925) are colored with regional flavor. As early as 1905, Zoltán Kodály (1882-1967) had traveled with Bartók to record the peasant and popular music of Central Europe. Reminiscences of these ethnomusicological travels are present in Kodály's sonata, not only in the imitation of traditional instruments (violin, percussion, cimbalom, etc.) and their modes of playing, but also in the poetic description of the landscapes in which the music was born. Perhaps in a more folkloric way but still with much panache and poetry, Gaspar Cassadó (1897-1966), in his Suite for Solo Cello, imitates flamenco singing and guitar playing. He also quotes the Catalan sardana dance with it's introduction for flabiol (Catalan piccolo recorder), it's grotesque cobla (traditional Catalan ensemble), and indispensable nostalgic solos played by the tible (Catalan shawm). Like Fritz Kreisler, Cassadó was accused of musicological crimes: he attributed some of his own compositions to famous composers of the past such as Frescobaldi, Couperin, Boccherini, and Schubert, calling them "transcriptions." A good example of Cassadó's skill in pastiche can be found in the second movement, Sardana, at the expression marking burlesco: here he literally forces the cellist to imitate the approximate intonation of a traditional village ensemble by writing a series of unisons in such wide fingering spans that no cellist can play them in tune. We should not forget to mention that the first theme of Cassadó's suite is an embellishment of the opening of Kodály's sonata, a nod to the older Hungarian composer. György Ligeti (1923-2006) wrote the two movements of his Sonata for Solo Cello at a five-year interval. The first part, composed in 1948 for a young cellist with whom he was secretly in love, consists of a musical dialogue between a woman and a man. The composer's gift was not reciprocated, however, and the work was left unperformed until Ligeti added a second movement in 1953 in response to a famous female cellist (with whom he was not in love, as the composer tells us), who commissioned a full sonata from him. During the communist period, the Hungarian Composer's Union refused to allow the work to be published or performed on the grounds that the second movement was too modern. This might amuse us today, because the work - composed under the influence of Kodály and Bartók - is much more traditional than Ligeti's later compositions. Like Cassadó and Casals, the violinist Eugène Ysaÿe (1858-1931) was a great admirer of Bach's solo works and among the first to include them on his concert programs. Ysaÿe shows his devotion to Bach in his Violin Sonata No. 2 "Obsession," where he quotes the opening of the Partita for Solo Violin in E-major. Although there are no direct quotations from Bach's solo violin works in Ysaÿe's Sonata for Solo Cello, Op. 28 (1923), we sense nevertheless that the famous violinist was more familiar with Bach's writing for solo violin than solo cello. This can be heard in the many chords and detailed contrapuntal writing, in Bach's solo cello works, chords are less frequent and the polyphonic lines are distributed in a more arpeggiated fashion. Ysaÿe's cello sonata, not as well-known as his six sonatas for violin but sharing many of the same difficulties, includes the composer's own fingerings. The work was dedicated to the Belgian cellist Maurice Dambois, with whom - along with pianist Yves Nat - Ysaÿe had formed a trio. While Pau Casals played a crucial role in the development of the solo cello repertoire at the beginning of the twentieth century, cellists such as Siegfried Palm and Mstislav Rostropovich inspired the following generations of composers. One needs only to reflect on composers such as Dallapiccola, Zimmermann, Henze, Scelsi, Britten, Sessions, Penderecki, Xenakis, Dutilleux, Ginastera, and Berio to understand the richness and diversity of the modern solo cello repertoire, which we hope to present to you in future recordings. NICOLAS DELETAILLE - TRANSLATION THOMAS SVATOS Nicolas Deletaille After having received his musical education in Belgium and in the USA, Nicolas Deletaille has begun his professional life as a concert performer. In the same time, he has recorded the Bach six Cello Suites, the Beethoven five Cello Sonatas, major works from the solo repertoire (Kodály, Cassadó, Ysaÿe, Ligeti) as well as chamber music CDs (Schubert, Dvorák, Franck, Tchaikovsky,...) Nicolas Deletaille has also earned distinction as an arpeggione player by recording the Schubert arpeggione sonata in the rare original arpeggione version with the vienese maestro Paul Badura-Skoda on an original 1820 pianoforte. Nicolas Deletaille has collaborated extensively with composers of our time. He has given approximately 50 world premiere creations, most of which were pieces written for him by composers from Belgium, France, Taiwan, USA, Italy, England, Switzerland, Korea, Norway and Canada. Nicolas Deletaille is currently a faculty member of the Eastern Mediterranean University, TRNC. Français Quand Johann Sebastian Bach composa ses six suites pour violoncelle vers 1720, elles furent baptisées « 6 Suites a Violoncello Solo senza Basso ». Ce titre curieusement redondant s'explique par l'originalité d'écrire à cette époque pour violoncelle seul. Cet exemple ne sera d'ailleurs pas suivi de longtemps : mis à part d'innombrables études, caprices et autres exercices de virtuosité, écrits par les violoncellistes eux-mêmes dans un but purement pédagogique, il faudra attendre que le célèbre violoncelliste catalan Pau Casals se fasse l'ambassadeur des Suites de Bach lors de ses tournées de concerts à l'aube du XXe siècle pour que des compositeurs se montrent peu à peu enclins à écrire des œuvres importantes pour violoncelle seul. Les quatre œuvres reprises sur ce CD, composées au cours de la première moitié du XXe siècle, s'inscrivent dans la cadre de ce développement du répertoire pour violoncelle seul. Elles ont en commun un discours rhétorique puissant, un c- Shop: odax
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Pre-Romantic Europe.
Alain Daboncourt, flute Judy Chin, piano 'In a flute concert of soaring lyricism and artistic panache that recalled the great playing of Marcel Moyse and Jean-Pierre Rampal, Daboncourt's marvelously fluid playing and soaring sound were stunningly presented, with impeccable style, elegance and passion.' 'Alain Daboncourt is a truly remarkable French flutist." 'The beauty of Alain Daboncourt's phrasing, which never sacrifices the melodic line to easily mastered brilliant ornamentation, confers life and naturalness to the works on these two Eroica CDs.' Alain Davoncourt resides in a small village near his native French hometown of Briançon. He leads an active concert life, performing a widely eclectic repertoire, from Bach to Penderecki and Takemitsu, including recital programs, chamber music, as well as more than eighty concertos. As a soloist he currently plays in the United States, Argentina, Brazil, Uruguay, France, Italy, Switzerland, Russia, the Ukraine, Lithuania, Romania, Poland, India, Vietnam, China, Taiwan, Indonesia, and the Middle-East He regularly appears in major concert halls, including Taipei National Concert Hall, St Petersburg Philharmonic, Vilnius Philharmonic, Torino's Teatro Alfieri, Salle Gaveau in Paris, and Italy's RAI Auditorium,. He has recorded 12 CDs.- Shop: odax
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Brahms: Sonatas for Piano & Viola Schumann: March
Yariv Aloni, Viola & Jamie Syer, Piano Yariv Aloni is acclaimed by critics for his "impeccable technical accomplishments, exquisite phrasing and superb viola playing", and as "the ideal soloist, with a huge, singing tone and a rare depth and nobility of feeling". Born on a kibbutz in Israel, he began studying the violin at the age of eight and turned to the viola when he was sixteen. He studied viola with David Chen at the Rubin Academy of Music in Jerusalem, Daniel Benyamini, principal violist of the Israel Philharmonic Orchestra and Michael Tree, violist of the Guarneri String Quartet. With an emphasis on chamber music he also studied at the Jerusalem Music Centre with distinguished visiting faculty from around the world including Isaac Stern, Ilona Feher, and the Amadeus and Guarneri String Quartets. A finalist of the François Shapira competition in Tel-Aviv, his awards include the Israel Broadcasting Authority award for chamber music performance and numerous scholarships from the American-Israel Cultural foundation. In 1985 he was invited to join Isaac Stern and Pinchas Zuckerman in a gala concert at Carnegie Hall in New York. As a founding member of the Aviv Quartet and subsequently a member of the Penderecki String Quartet he has performed in major concert halls throughout Europe and North America. With a special affinity to inspire young people Yariv was the artistic director of the Courtenay Youth Music Centre for ten years and is the associate music director for the Greater Victoria Youth Orchestra. He taught viola and Chamber music at Sir Wilfrid Laurier University in Waterloo, Ontario, and is currently teaching chamber music at the University of Victoria, British Columbia. Mr. Aloni has recorded for the United, Marquise, Tritonus, and CBC labels as well as independent CD labels. He appears regularly with the Vetta Ensemble in Vancouver and performs in numerous chamber music festivals and recitals series. Also a conductor, he is the founder and music director of the Galiano Ensemble of Victoria and the Victoria Chamber Orchestra. He is playing on a viola made by Joseph Curtin in 2001. Jamie Syer "a superb concert that made a big impression", Edinburgh Academy, "infectious enthusiasm", Peeblesshire News, Scotland "the programme brought much pleasure, especially the Canadian works", IUFM, Dijon, France "Syer's sense of spirit and style soars", Calgary Herald Jamie Syer is a Canadian piano soloist, chamber music performer, conductor, clinician and teacher. He is the recipient of an Alberta Government Achievement Award, and winner of the national CBC Talent Competition. He studied at the Yale University School of Music, where he completed his Doctoral degree in 1987. Jamie Syer is Head of the Keyboard Department at the Victoria Conservatory of Music, and a faculty member in the School of Music, University of Victoria. Previously, he has taught at the University of Calgary, the University of Regina, Mt Allison University, and at the Mount Royal College Conservatory. For ten seasons he was Artistic Director of New Works Calgary, a group dedicated to performing new and recent music by contemporary composers. At the Victoria Conservatory of Music, Jamie Syer is Artistic Director of the Collegium Program for Young Musicians-a project that offers an enriched curriculum for talented young pianists and instrumentalists. With his wife, violinist Laurie Syer, he directs Strings & Keys: a summer program for young pianists and string players which attracts students annually from across Canada. Together, Jamie and Laurie have completed several concert tours in Europe, performing in Scotland, Ireland, Hungary, France, and England. Closer to home, Jamie has performed in Calgary, Regina, Edmonton, and Victoria, and other Canadian centres. He was soloist in two concertos with the Sidney Classical Orchestra, and presented a concert of music based on Canadian stories and legends for New Works Calgary. His most recent solo concert Second Thoughts featured works of Bach, Ravel, and Liszt. His CD recording piano among friends includes repertoire of Bach, Beethoven, Chopin, as well as twentieth-century repertoire by William Bolcom and Quenten Doolittle. Dr. Syer is an active adjudicator and clinician throughout Canada, having adjudicated for the Canadian Music Competitions, and many local and provincial festivals.- Shop: odax
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Coleccion Antologica de Grabaciones en Concierto 2: Poulenc, Penderecki, Gorecki, Bernstein, Hindemi
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VCPF- Great Cello Music of the 20th Century
Album Description Internationally acclaimed cellist Cecylia Barczyk teams up with colleague Reynaldo Reyes, pianist, in the new CD 'VCPF,' a selection of the best modern cello works. VCPF is the first and only available CD recording of Krzysztof Penderecki's Capriccio per Siegfried Palm, Suite Francaise by Poulenc, Sonata for Cello Solo by Prokofiev, and VCPF by Gordon Cyr, which was composed especially for Barczyk and Reyes. Also included are Witold Lutoslawski's Grave, and Sonata for cello and Piano by Elliott Carter. Elliott Carter attended Cecylia Barczyk's New York Debut at Alic Tully Hall, and wrote, 'Thank you very much for the beautiful performance of my Cello Sonata at your Tully Hall recital on February 7, 1981. Like all the performances on your program, it contained cello playing of the highest quality, rhythimic vitality, and loveliness- when needed-and also moments of sensuously expressive playing that was highly communicative and effective. I am most gratefrul for your devotion and understanding of my work, and your ability to put it across to the audience. CECYLIA BARCZYK CELLIST Cecylia Barczyk has achieved international recognition as a complete artist, successful teacher, and great humanitarian. She has given concerts, recitals, and master classes throughout Europe, Asia and both North and South America, including appearances with prominent orchestras in Baltimore, Berlin, Budapest, Prague, London, Sofia, Bucharest, Moscow, St. Petersburg, Boston, New York, Tel Aviv, Beijing, Shanghai, Taiwan, Tokyo, Seoul, Jakarta, Salvador, Warsaw, and Cracow. Ms. Barczyk has frequently performed on radio and television in the USA and abroad. Her recordings, particularly of works by Bach, Chopin, Rachmaninoff, Lutoslawski, Penderecki, Carter, Crumb, and Rozycki, have been highly valued by experts and greatly appreciated by music lovers in many lands. Over the years, Cecylia Barczyk has received numerous awards, honors and distinctions. She won top prizes in prestigious music competitions including the Danczowski Cello Competition (Poznan), the Pablo Cassals International Cello Competition (Budapest), the Tchaikovsky International Cello Competition (Moscow), the Aldo Parisot International Competition (Brazil), the J.S. Bach International Competition (Leipzig), the Cassado International Cello Competition (Florence), and the W.C. Byrd Young Artists Competition (Michigan). For her musical and pedagogical achievements, she has received many awards and honors from professional, cultural, and government institutions in the U.S.A., Poland, Germany, Korea, Mexico, China, and Indonesia. The American String Teachers Association awarded her the title Best Teacher of the Year (1995). The Tianjin Conservatory of Music, China granted her the title Distinguished Honorary Professor. The International Friends of the Cello Association granted her the Award for Great Achievements in Cello Music, The International Music Consortium honored her with the Paderewki Medal for Achievements in Music), and the Minister of Culture of the Republic of Poland gave Cecylia Barczyk the Medal for Outstanding Contributions to Society and Culture. Cecylia Barczyk began studying cello at a young age and soon drew attention of great teachers. Among her mentors were Marian Miendlar, Kazimierz Wilkomirski, Natalya Gutman and Aldo Parisot. Upon graduating with highest honors from the Silesian School of Music in Bytom and the Chopin Academy of Music in Warsaw, she received a grant for postgraduate studies at the Tchaikovsky Conservatory of Music in Moscow. In 1977, on the invitation of Professor Parisot, she came to the U.S.A. to study and work at the Yale School of Music. Since 1983, Cecylia Barczyk is Professor of Cello at The University of Maryland System - Towson University, continuing her solo career while educating young cellists from virtually every part of the globe. Several of her students have won national/international prizes, e.g. Rafal Kwiatkowski, winner of the Young Concert Artists International Competition and winner of the international cello competitions in Munich, Santiago, and Helinski. Since 1986, she has also been the Director of the International Cello Festival at Towson University. Barczyk's recordings by Muza, ICRecords, Melodya, CRS, Dux, Nexus etc (e.g. VCPF, Belle Epoque, Music for Peace in the Middle East, In the Wonderland of Music) ) have been enthusiastically received by the public and reviewers. She has also been the moving power of the World Cello Congresses in St.. Petersburg and Baltimore. Recently, Cecylia Barczyk toured Germany, Switzerland, Poland, Jordan, Egypt, Thailand, Israel, Indonesia, Canada, Scandinavia, Korea, and Japan. In 2003 she was appointed Music Director of the International Music Institute at Coolfont, USA. FROM REVIEWS: 'One could write a long story about Cecylia Barcky's unrestrained technique, beautiful sound, musical sensitivity, and unlimited creativity...She is a virtuoso in every way!' The Warsaw Life (POLAND) 'Cecylia Barczyk played with an appealing intensity...' The New York Times (USA) 'The concert was a musical heaven. She deeply impressed the audience with her vituosity.' China Music P.R. (CHINA) 'She is the Grande Dame of classical music...' Gwiazda Polarna (USA) 'Cecylia Barczyk is not only a magnificent cellist, but also a most eminent teacher.' The Jakarta Post (INDONESIA) 'Barczyk carried it all off with an ease and grace that would compare with a young Pablo Casals... She let her flair for showmanship come to the surface so that it came off with a spectacular series of fireworks that was little short of miraculous... She was bewitching that left one gaping in disbelief.' Waterbury American (USA) 'Her cello sounded like an oratorical sppech full of dramatic and sublime declamation, like a chant filled with lofty poetry and deep philosophy.' Sovietskaya Cultura (RUSSIA) 'Thank you very much for the beautiful performance of my cello sonata at your Tully Hall recital...It contained cello playing of the highest quality...It was most highly communicative and effective...I am most grateful for your devotion and understanding of my work and your outstanding ability to put it across to the audience.' Elliott Carter (USA) 'At the Japan Teleman Monthly concert she proved herself a brilliant virtuoso.' Mainichi (JAPAN) 'What a wonderful performance!' Times (England) 'Cecylia indeed is a top cellist and teacher. We all admire her achievements and humility.' Aldo Parisot (USA) 'Her performance was awesome...her closing number by the Polish composer left me breathless...' The Leader Post (CANADA) ''Cecilca', as Rostropovich respectfully has called her, deeply impressed the audience from the first moment of touching her cello... Indeed the concert has demonstrated both the extraordinary mastery of the cello as well as the superintelligence and emotionally balanced communicative personality of Cecylia Barczyk... She is the world's First Lady of the Cello.' Simon Krosky, (RUSSIA) 'Ms. Barczyk, 'Lord and Master' of her instrument, gave a most scintillating renedition of the Dvorak Concerto... She delivered her solo lines with expressive sensitivity, technical virtuosity, a passionate singing tonal coloring, and an obviously ardent and intelligent communication...' The Manila Times (THE PHILIPPINES) 'Barczyk is a lyrical rather than a bold cellist... She played with sympathy, intensity, touching sincerity, and great authority...' The Washington Post (USA) 'Barczyk gave an outstanding interpretation of Chopin's works at the Schauspielhaus concert.' Berliner Morgenpost (GERMANY) 'It was Cecylia Barczyk's love for her instrument that gave birth to the International Cello Festival in Maryland... Obviously her virtuosity is personal as well as musical.' The Baltimore Sun (USA) 'Cecylia Barczyk is a superb musician. Her playing is both dynamic and intelligent.' Die Union Dresden (GERMANY) 'Magnificent interpretation of Bach! Excellent techn- Shop: odax
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Streichquartette
Witold Lutoslawski, whose centenary is celebrated in 2013, wrote his one and only string quartet in 1964 and it has since maintained an eminent position in the international repertoire. Krzysztof Penderecki (born 1933) was the most talked-about Polish composer in the early 1960s and remains an important presence in contemporary music. His three string quartets (1960, 1968 and 2008) are key works in the history of the post-war Polish quartet.- Shop: odax
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