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La Chapelle Rhénane

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Founded in 2001 by tenor Benoît Haller, the Chapelle Rhénane is an ensemble of solo singers and instrumentalists. The team is dedicated to revisiting the great works of the European vocal repertoire. Its ambition is, through concerts and recordings, to reveal in these works the emotion, humanity and modernity capable of appealing to a wide contemporary audience. The challenge constantly taken up by the Chapelle Rhénane is to demonstrate that so-called classical music does not belong to the past, that it is not a collection of sound monuments to be contemplated with distance and respect, that it is not the preserve of a learned and privileged elite.

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La Note Brève

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La Note Brève is an early-music ensemble, a close-knit group of singers and musicians who specialise in the repertoire and share a desire to promote the music of the Middle Ages and the Renaissance. La Note Brève revisits music from many centuries ago using the latest musicological methods, working from period treatises and facsimiles and playing on period instruments. Since its creation, La Note Brève has performed at the most important festivals in France and Europe. It also has a long-standing partnership with the Musée des Tissus in Lyon, the city where the ensemble was first founded.

website La Note Brève

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La Quintina

La Quintina | direction Jérémie Couleau

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La Quintina

Fondé en 2019, l’ensemble tire son nom d’un idéal de la musique Sarde. La quintina est cette cinquième voix produite, sans être chantée, par les harmoniques de chanteurs en état de grâce. Ce sommet musical et esthétique constitue un héritage vivant d’une culture européenne dont les origines remontent au Moyen Âge et à la Renaissance. Réunis autour de Jérémie Couleau, les musiciens de La Quintina font revivre certaines polyphonies oubliées sans se limiter dans le temps ni dans l’espace.

website La Quintina

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Photo 2 Laterna Magica pour CD Mimesis

Laterna Magica

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Photo 2 Laterna Magica pour CD Mimesis

In the present recording, the Laterna Magica ensemble extends the intentions of one of the greatest Italian opera composers by offering previously unpublished arrangements of famous Handel arias reworked for two recorders and basso continuo. Even more than Bach, Handel drew his inspiration from the repertoire, unscrupulously plagiarising themes or entire passages without making major changes, with the aim of giving new life to the original, integrating it perfectly under a new garb, without stylistic hiatus.

website Laterna Magica

 

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L.Cabasso - n°1 - ok

Laurent Cabasso

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L.Cabasso - n°1 - ok

Laurent Cabasso studied at the Conservatoire National Supérieur de Musique de Paris (with Yvonne Loriod, Jean Hubeau and Christian Ivaldi) where he obtained First Prizes in Piano and Chamber Music, the year he turned eighteen. He then went on to advanced studies with Nikita Magaloff, György Sebok, György Sandor and Norbert Braïnin. He also studied with Désiré N’Kaoua, and later in London with the famous piano teacher Maria Curcio-Diamand, who was an Arthur Schnabel’s disciple. After winning prizes at several international competitions (Geza Anda Prize in Zurich in 1982, Tokyo in 1983, finalist at the Clara Haskil Competition in Vevey in 1987), he embarked on a major international career. He gives regular recitals and concerts in such centres as Paris (Théâtre des Champs-Élysées, Salle Pleyel, Philharmonie), Zurich (Tonhalle), Amsterdam (Concertgebouw), Geneva (Victoria Hall) and Salzburg (Festspielhaus), and appears at festivals like La Roque d’Anthéron, Piano aux Jacobins, la Folle journée de Nantes, Besançon, and Montpellier, as well as in America and Asia. He also takes part in concerts as soloist with orchestras including the Suisse Romande, Monte-Carlo, Zurich, Capitole de Toulouse, Ensemble Orchestral de Paris, Lausanne Chamber Orchestra, Orchestre National de Lyon, Orchestre National de France and the Orchestre National de Lille with conductors such as Charles Dutoit, Ferdinand Leitner, Serge Baudo, Armin Jordan, Tibor Varga, Jean-Claude Casadesus, Emmanuel Krivine, Michel Plasson…

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L Ramezan

Layla Ramezan

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L Ramezan

For many years, Iranian pianist Layla Ramezan has been searching for and creating links between her Persian heritage and the contemporary music that is a part of her daily life.

As a concert pianist, Layla performs regularly in France and Switzerland, as well as in many places further afield. She has recently appeared in recitals at the Collège des Bernadins in Paris, Carnegie-Mellon University in Pittsburgh, Victoria Hall in Geneva, Royal Irish Academy in Dublin, Aga Kahn Museum in Toronto, Roodaki Hall in Tehran, Hafez Hall in Shiraz, and at major festivals such as the Athénéennes in Geneva, the Schubertiade in Sion and the Alba Music Festival in Italy. Her con-certs have been broadcast on Radio France, RFI, Radio Suisse Romande, NPO Radio Netherlands and CBC Radio Canada, Deutschlandfunk Kultur, WDR 3 Kultur and Norway Radio.

Along with her solo projects, Layla has had the privilege to work with many prominent musicians such as William Blank, Helmut Deutsch, Jean-Claude Pennetier and Philippe Albera and has per-formed with Jean-Marc Luisada, Eliane Reyes, Christophe Beau, Brigitte Balleys and Trio Chemi-rani . She has also worked closely with composers such as Tristan Murail, Luis Naon, Nicolas Bolens and Michael Jarrell.

As the pianist in the contemporary music ensemble “Matka” which is based in Geneva, she is the driving force behind several intercultural musical projects, bringing together Iranian, French, Swiss and American composers for global conferences, residencies and concerts. Layla was a member of the jury for the tenth edition of the Youth National Festival of Music in Tehran. She is a founder and the Artistic Director of the Barbad Piano Prize in Shiraz, Iran. As well as her interest in promot-ing her own cultural heritage, she has played for the United Nations in Geneva for a special event to raise awareness of violence against women organized by ten African ambassadors.

Layla is currently preparing a four-part CD series on the Paraty label for her project, 100 years of Iranian Piano Music. The first CD of this quartet, Iranian Composers from 1950, was released in January 2017 and the second one, Sheherazade has been released in May 2019.

Layla’s sound, her phrasing, her sensitivity to rhythm and a refined interpretation are the feature qualities of her piano playing. Her unique point of view has been formed by the intersection of two cultures, in both of which she feels comfortable. Layla is continually searching for new ways to ex-press herself by allowing the oriental and occidental influences to inspire and complement each other.

Layla started her piano studies in Tehran with Mustafa-Kamal Poutorab, Raphael Minaskanian and Debar Hakimova before moving to Paris in 2000 to study at the École Normale de Musique de Par-is “Alfred Cortot” with Jean Micault and Devi Erlih with a scholarship. She also studied with Jacquel-ine Bourgès-Maunoury and Christophe Bukudjian at the Conservatoire National de Saint-Maur des Fossés, where she obtained a diploma of Music Studies with high distinction. She then moved to Lausanne, Switzerland, where she currently lives, obtaining two Master’s degrees in Interpretation and Collaborative Piano from the Haute École de Musique with Christian Favre and Marc Pantillon.

Layla Ramezan is a Laureate of the Engelberts Foundation for Art and Culture in Switzerland and the Albert Roussel Foundation in France.

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Photo: Marco Borggreve

Le Parnasse français

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Photo: Marco Borggreve

The Parnasse français ensemble, formed in 2000 by Louis Castelain, specializes in early music from the sixteenth to eighteenth centuries. The ensemble varies in size, from a larger form (with a choir, orchestra, and soloists) when the program consists of grands motets, to just an orchestra or a small number of musicians for madrigal or motet programs.

One of the unique aspects of the Parnasse français is that every concert includes at least one world re-premiere, which is the fruit of musicological research conducted in various library archives. Louis Castelain thus reconstructs scores based on manuscripts, recomposing the music as necessary when parts are missing. As a reflection of this work and of the Parnasse français performances, the ensemble has its own collection of scores (the “Maîtres du Parnasse français” collection) at the Centre de Musique Baroque de Versailles publishing house.

Since 2001, the Parnasse français has been invited to perform in many festivals (including the Festival de Sablé, the Grandes Journées Charpentier in 2004 and the Grandes Journées Lully in 2008, the Automne musical du Centre de Musique Baroque de Versailles, the Oudemuziek Utrecht, and the Festival de Pontoise). Its concerts have been broadcast on television (for the Arte channel, specifically the documentaries Lully l’incommode and Rameau l’incompris magnifique, and Maestro, about music during Henri IV’s time), on the radio (including for the stations France Musique, Radio Classique, and Radio Suisse Romande), and have been recorded (the Grands motets de Mondonville and Campra by MBF).

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Les Lunaisiens

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Lunaisians ? Of a sentence that is simple, but not banal (coming as it does from Raymond Queneau), we have made our commitment, and taken our ensemble’s name.

What is the sentence?

‘The Lunaisians are the inhabitants of the moon…’

We seized upon this inescapable definition, as beautiful as it is playful; to define and claim the artists we wish to be: Lunaisians.

Our creed: to meet, through music and through words (since we are singers of words) the multitudinous creations that abound in the musical repertoire; to open the borders between eras and shine as much on a madrigal by Gesualdo as on a pirouette of Offenbach’s, a Bach chorale or Béranger’s songs.

True, Lunaisians are great dreamers, since like Pythagoras they dream of the ‘music of the spheres’… But it was starting from a dream that led men to walk on the moon.

Already, several festivals and institutions have accompanied this ensemble as they serve their apprenticeship to this musical dream.  These include the Paris Opéra Comique, the Cité de la musique, the Utrecht Festival, the Centre de musique baroque de Versailles, Venice’s Palazetto Bru Zane, the Pontoise, Prague, and Île de France Festivals, the Conservatoire de Genève, the region of Picardy, etc…

Artistic Director : Arnaud Marzorati

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Lillian Gordis

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Born in 1992, Lillian Gordis discovered the harpsichord at the age of 9. At Pierre Hantaï’s encouragement, she moved to France at 16, where she was his private student from 2009 to 2013. She was also mentored by Skip Sempé and Bertrand Cuiller. In 2018, she received a master’s degree in performance, summa cum laude, from the Université Paris-Sorbonne and the Pôle Supérieur de Paris-Boulogne.She has been an invited soloist on France Musique’s radio show, Génération Jeunes Interprètes, and regularly performs as a soloist in festivals in France, across Europe and the United States. She plays in a duo with Jérôme Hantaï and maintains regular chamber music engagements.

Lillian is a four-time laureate of the Fondation Royaumont (2013, 2015-2017) and is supported by the Fondation d’entreprise Safran. Her first solo album, dedicated to sonatas of Domenico Scarlatti, is appearing in 2019 for Paraty (Harmonia Mundi-PIAS)

 

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Magdalena couverture

Magdalena Baczewska

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Magdalena couverture

Born in Poland, Magdalena Baczewska has enjoyed a multifaceted career as a pianist, harpsichordist, educator, recording artist, producer, and an administrator. She has performed with the San Francisco Symphony, China National Symphony, among others. She has also appeared in concert with violinist Joshua Bell. Baczewska has toured Europe performing Bach’s Goldberg Variationson the piano and the harpsichord. She recorded the Variations together with R. Strauss’ Sonata op. 5, as a part of her critically acclaimed album, “A Tribute to Glenn Gould.” As artistic director of BlueSleep Music, Baczewska produced music for MetroNaps EnergyPod®, popularized by Google. In collaboration with BlueSleep®, a medical team specialized in research and treatment of sleep disorders, Baczewska recorded best-selling albums Music for Dreams (over 20,000 copies sold). Performances have taken her to Carnegie Hall (NYC), Davies Symphony Hall (San Francisco), National Center for Performing Arts (Beijing), Salle Cortot (Paris), Moores Opera House (Houston, TX), Merkin Hall (NYC), Steinway Hall (NYC), among others. As an avid educator, Baczewska has given piano master classes in the Central Conservatory (Beijing, China), Grassland International Music Festival (Hohhot, Inner Mongolia); International Keyboard Institute and Festival (NYC); New York Piano Festival (NYC). She is professor at Accademia Europea Villa Bossi in Varese, Italy. Baczewska is a laureate of international piano competitions (Chopin Competition at the Kosciuszko Foundation, Dorothy McKenzie Recognition Award, Prix du piano Ecoles d’Art Américaines Fontainebleau, Grand prix European American Music Alliance Paris, as well as the Outstanding Achievement Award from the Polish Minister of Culture. Baczewska holds degrees from Mannes College The New School for Music (BM, MM), and Manhattan School of Music (DMA). She is currently Director of the Music Performance Program and Lecturer in Music at Columbia University in the City of New York.

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