Amsterdam Cello Biennale’s opening days. Nevertheless, great news about great music travelled deep in the wilds of western China, (where I was stuck) thanks to web formational clips and daily photo posts to tempt the imagination.An unexpected turn of events kept this aficionado far from the hustle and bustle at Amsterdam’s ingenious multipurpose venue, Muziekgebouw aan ’t Ij during the excitement of the
Midway through the world’s greatest cellofest, I was treated to an evening concert featuring three famed cellists in a Brahms Soirée. True to the experimental nature of the Cello Biennale, the concert included lesser-known gems by Anton Webern and the prolific German-Dutch master Julius Röntgen. Starting the evening with a fanciful rendition of Röntgen’s contrapuntally satisfying sonata, Nicolas Altstaedt conveyed a fresh, transparency often missing in standard interpretations. Blessed with a larger-than-life stage personality, Altstaedt knows how to convince the public of the veracity of his interpretations. The confidence with which he conveyed three Webern selections, the Sonate voor cello and piano, Zwei Stücke and Drie kleine Stücke carried the fragile atonality to new heights. He stretched notes into silence proving to the listener that concise forms create their own eloquence. José Gallardo accompanied with guts and panache. Keep reading...Tweet
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Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!
Yevgeny Kutik, violin
John Novacek, piano
A song without words for the violin -- that is what Russian-American violinist Yevgeny Kutik wanted to create when he commissioned composer Timo Andres to write him a piece for violin and piano. This album features that work, plus works by Mendelssohn, Mahler, Prokofiev, Messiaen and Lera Auerbach.
Keeping current with new repertoire while maintaining a teaching or performing schedule is certainly a challenge. This has been a hard one for me to stay committed to throughout the years, but now in my forties, I can say that it has made a huge impact on my career and my ability to relate to my students.
As I became more involved with a few conductors and pianists more on a regular basis, their wishlists for repertoire became more known to me. I struggled with my own list of things I still wanted to sink my teeth into too. Then reality would set in. Did I have time for this? I teach 30-40 hours a week and that doesn’t count the administrative work to run the studio. I also have three kids, two of whom are still very young at 4 and 6. There are still 24 hours in a day right? But that thirst for new repertoire never dies, does it? Remember the absolute thrill you got hearing you were going on to a new piece when you were studying violin?
Sometimes artistic growth depends on new repertoire. Keep reading...
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