Renowned soloist Goran Krivokapic shares his knowledge with the young French guitarist Cyprien N'Tsai in this master class featuring a Rondo brillante ?by Spanish composer Dionisio Aguado y Garcia , whose music calls to mind Beethoven while exploring the?enormous technical possibilities of the guitar as a classical solo instrument.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein.
Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book "Cello, Bow and You: Putting It All Together", was published by the Oxford University Press.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein.
Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book "Cello, Bow and You: Putting It All Together", was published by the Oxford University Press.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein.
Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book "Cello, Bow and You: Putting It All Together", was published by the Oxford University Press.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein.
Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book "Cello, Bow and You: Putting It All Together", was published by the Oxford University Press.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein.
Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book "Cello, Bow and You: Putting It All Together", was published by the Oxford University Press.
Tamir Akta , is a graduate of the Talma Yelin school of arts, a recipient of the America Israel cultural Foundation scholarship 1987-1995, and winner of the 1991 Interlaken Classics Competition, the Selmer Trumpet Competition and the young soloist Trumpet competition. Tamir completed his academic training in the Paris Conservatory. Musical education is close to his heart. He views it as calling and an obligation to train the next generation of musician in Israel. In addition to his performing schedule and composing projects, Tamir teaches trumpet and supervises an elementary school music education project in Raanana. As a composer, Tamir has been writing for seven years and performing his own works in the concert halls of Israel and Europe.
Tamir Akta , is a graduate of the Talma Yelin school of arts, a recipient of the America Israel cultural Foundation scholarship 1987-1995, and winner of the 1991 Interlaken Classics Competition, the Selmer Trumpet Competition and the young soloist Trumpet competition. Tamir completed his academic training in the Paris Conservatory. Musical education is close to his heart. He views it as calling and an obligation to train the next generation of musician in Israel. In addition to his performing schedule and composing projects, Tamir teaches trumpet and supervises an elementary school music education project in Raanana. As a composer, Tamir has been writing for seven years and performing his own works in the concert halls of Israel and Europe.
Video 1 - The Art of Concert Preparation
Lecture by Edna Golandsky
CHOPIN, F.: Ballade No. 4 in F minor, Op. 52
Master class conducted by Edna Golandsky
Performance by Andrew Eitel
Video 2 - The Art of Concert Preparation
DEBUSSY, C.: Pour le piano: III. Toccata
Master class conducted by Edna Golandsky
Performance by Yuka Munehisa
LISZT, F.: 2 Legends, S175/R17: No. 2. St Francois de Paule marchant sur les flots
Master class conducted by Edna Golandsky
Performance by Mariko Sato
Video 3 - The Art of Concert Preparation
BEETHOVEN, L. van: Piano Sonata No. 21 in C major, Op. 53, "Waldstein": I. Allegro con brio
Master class conducted by Edna Golandsky and Ilya Itin
Performance by John Wickelgren
Jazz master class conducted by Danilo Perez
Performance by Antonio Madruga
These recordings, the first issue of the Golandsky Institute's Discovery Series , provides an in-depth perspective on rhythmic playing and highlights its role in artistic performance.
Edna Golandsky builds on the fundamental principles of the Taubman Approach to show how the correct use of rhythm brings music to life and makes it more expressive. Enjoy the rhythmic aliveness of her demonstrations from these staples of the piano repertoire:
- Chopin: Mazurka No. 13 in A minor, Op. 17, No. 4
- Chopin: Ballade No. 1 in G minor, Op. 23
- Mozart: Piano Sonata No. 12 in F major, K. 332
- Schubert: 4 Impromptus, Op. 90, D. 899: Nos. 2 and 4.
Sergiu Carstea is an accomplish trumpet player from Moldova who completed his post-graduate studies in Paris' well known Conservatoire National Superieur de Musique. He has played solo and in an orchestras for over 2 decades.Since 1978, Sergiu has been a professor trumpet at a handful of Romanian and Moldovan universities, high schools and conservatories. He also gives master classes in higher education institutions throughout Europe and in Canada.
In this master class, Father Sean Duggan teaches a student how to achieve breakthrough performance in playing Bach's French Suite No. 6.
DakApp is thrilled to present a masterclass by the superb swiss virtuoso Sebastian Jacot exploring Carl Philipp Emanuel Bach's Flute Concerto in D Minor alongside the talented french flutist Chloe Dufossez.
In this seminar, Father Sean Duggan teaches a student how to achieve breakthrough performance in playing Bach's 3-Part Inventions.
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Bach's Sinfonia No. 7, BWV 793. Topics covered include:
- Student with a history of injury
- Sound control
- 2-note slurs
- Minimizing motions
- Bringing out inner lines
- Interdependence of color
- Voicing
Cellist and conductor Enrico Dindo is a longtime connoisseur of the Bach Cello Suites and in this master class recorded at the Museo del Violino in Cremona in 2016, the master cellist shares his vision of the Suite No. 1 in G , guiding his student Giacomo Cardelli with insight and patience through the interpretation of this beloved work, one of the best known pieces ever written for the instrument.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a student of Mstislav Rostropovich. She is an active performer and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds a position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
Grammy nominated conductor, cellist and conductor Dmitry Yablonksy was born in Moscow into a musical family. At the age of 9 he gave his orchestral debut playing Haydn's cello concerto. He emigrated with his mother, pianist Oxana Yablonskaya to New York where he studied with Lorne Munroe, Aldo Parisot and David Soyer at the Curtis Institute of Music. His Tchaikovsky Piano trio recording for Erato/ Warner with Repin and Berezovsky won numerous awards. Dmitry transcribed and edited works for cello, which was released by International Music Company and Dover Publications. Naxos released his recording of all 40 Popper etudes for solo cello in the fall of 2008, which received great critical acclaim. He organizes many festivals all over the world, including the Gabala Music Festival in Azerbaijan.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a Mstislav Rostropovich student. She is an active performer, and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds the position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
Mischa Maisky has devoted his whole life to cello. He now shares his insights into J.S. Bach's Suite No.2 in D Minor in a class that will delight all users eager to learn from such an inspiring artist.
Minor tonality, dramatic environment, and above all, you're alone. This makes this short composition a very important piece to have in your repertoire, also because, in every audition or competition that you'll happen to participate, you'll be requested to play Bach . Zvi Plesser teacher focuses very much on sound control, and deep composition understanding, dedicating the Tutorial A to bow technique.
Jean-Guihen Queyras, one of today's most influential interpreters of Bach's solo cello repertoire, gives a master class on the Suite No. 3 in C Major to student Jee-Hye Bae. Probably the most popular of Bach's works for solo cello, the C Major suite is beloved for its nobility, ebullience, and transparent contrapuntal invention. Six dance movements follow an improvisatory prelude: Allemande, Courante, Sarabande, Bourr?e 1, Bourree 2, and Gigue.
Rich, pure and inviting chords, perfectly showcasing the natural warmth and resonance of the Cello, perfectly taught and examined under all aspects: the technique of playing, sound, best positions and fingering.
DakApp is proud to present this extraordinary masterclass on the monumental Partita No. 2 in C Minor, BWV 826 for piano by Johann Sebastian Bach , with the legendary Hungarian-British soloist Sir Andras Schiff and the young talented pianist Martin James Bartlett, exclusively recorded by DakApp at the Verbier Festival Academy 2018.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Uri Vardi has specialized in the Feldenkrais Method , for which he received the 1999 UW-Madison Arts Institute Faculty Development Award. He completed a Feldenkrais Practitioners Training and was certified by the Feldenkrais Guild of North America and by the International Feldenkrais Federation as a Feldenkrais practitioner in 2003. For the last five years, Vardi has created a new course at UW - Madison: "Feldenkrais for Performing Artists". In 2012, Vardi was awarded the UW Art Institute Emily Mead Baldwin Award to create a Program for Somatic Education in the Performing Arts at UW-Madison.
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
Miriam Fried has been recognized for many years as one of the world's preeminent violinists. A consummate musician - equally accomplished as recitalist, concerto soloist or chamber musician - she has been heralded for her "fiery intensity and emotional depth" (Musical America) as well as for her technical mastery. Her supreme blend of artistry and musicianship continues to inspire audiences worldwide.
A noted pedagogue, Miriam Fried is on the faculty of New England Conservatory and is invited to give master classes throughout the world. Miriam Fried plays a particularly noteworthy violin, a 1718 Stradivarius that is said to have been the favorite of its 18th century owner, the composer-conductor Louis Spohr .
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
This very efficient method for auto training is based on the awareness of our motor schemes and reorganizing of muscle reactions to achieve a full-range connection between mind and body.
Uri Vardi has specialized in the Feldenkrais Method, for which he received the 1999 UW-Madison Arts Institute Faculty Development Award. He completed a Feldenkrais Practitioners Training and was certified by the Feldenkrais Guild of North America and by the International Feldenkrais Federation as a Feldenkrais practitioner in 2003. For the last five years, Vardi has created a new course at UW - Madison: "Feldenkrais for Performing Artists".
DakApp is pleased to present this new masterclass on the fantastic Concerto for Violin and Orchestra No.1 by Bela Bartok . This time, the marvelous Latvian soloist and chamber musician Eva Bindere dissects this beautiful piece alongside the talented young violinist Magdalena Geka.
In this master class, Edna Golandsky analyzes popular segments of Beethoven's 32 Variations in C Minor, WoO 80 . The video begins with a discussion about the learning process and the student begins playing at 8:43. Topics covered include:
- Fingering
- Grouping
- Shaping
- Leaps
- Chord passages
- Impact of movements on technical issues
The first part of the Beethoven's 32 Variations on a same 8 bars theme, differing in character, technical difficulty, and dynamics. Students can see how they have some freedom about tempos and pedals, but have to follow some rules as well, especially when preparing for a competition. Main goals: 1) Changes in the atmospheres 2) Different Tempo choices 3) Use of pedals (not mentioned in the 1st print) 4) What to practice most.
Master Teacher Ricardo Castro gives you a full explanation with many topics. For example, how to technically keep the atmosphere, as well as how to use the dynamics of the piece. He also gives a parallel vision about Beethoven's harmony in his symphonies; main goals of the lesson: 1) Concept of single note speed 2) Connection between brain and fingers 3) Physical control of the playing atmosphere 4) Refining legato.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
Beethoven's sonatas Op. 2 were his calling card in Vienna as a composer. At that point - 1795 - he was already famous as a keyboard virtuoso, but the transition to fame as a composer was not obvious, and he took great care with the first works he published, a set of three trios (Op. 1) and three sonatas (Op. 2).
The F minor sonata , opening the opus, is laconic in its musical language and form, but highly expressive in its emotional content. The first movement sets the tone: very personal and sincere; but reserved, its emotional outbursts never overpowering. It is followed by a serene second movement showing Beethoven already on a quest for lyrical, poetic beauty. The third movement is a hybrid minuet and scherzo, starting off as a melancholy, somewhat stylized dance, which changes its character drastically towards the end. And it is the finale which is perhaps the most striking movement of the four. Beethoven takes the closing chords of the first movement and puts them above a stormy whirlwind of sound, at times furious, at times impassioned, at times haunted and driven. A beautiful middle section, repeated twice, serves as a point of calm, but can only delay the inevitable return of the storm and the final collapse.
Boris Giltburg is lauded worldwide as a deeply...
The other sonata of the pair, No. 10 in G major , is a real hidden gem. The outpouring of loving emotion in the first movement - outwardly tender, yet full of inner ardour - presents a Beethoven we haven't really encountered so far in the cycle. The personal nature of the music is reflected in the parlando ('speaking') effect - music which seems to imply spoken words - particularly in the second theme, with its many repeated, entreating notes. None of those were necessarily new or original, but the sincerity of emotion and the lack of theatricality make the music particularly endearing.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Looking back at the sonatas Nos. 8-11, the Sonata No. 11, Op. 22 is the grandest of the four in its scope, probably the most challenging one technically, but curiously also the most conservative in its spirit and musical language. The elegant minuet and the easy-flowing, good-natured finale are even reminiscent of the sonatas Opp. 2 and 7, written 4-5 years earlier.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
If Sonata No. 11 was a closing, summarising chapter of Beethoven's early sonatas, then Sonata No. 12 is a door leading to exciting, hitherto unexplored musical worlds. The structural innovation is easy to point out: out of the Sonata?EUR(TM)s four movements, none are in actual sonata form. Instead, Beethoven brings together a moderately slow opening movement (a theme with variations), a blazing scherzo, a funeral march and a quicksilver finale to form a fascinating story arc.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Whatever depths of evocative storytelling we encountered in Sonata No. 12 , they come to a glorious culmination in the sister-sonatas Op. 27, Nos. 1 and 2 . They create two worlds, as opposing as they are complementary, similarly rich in atmosphere, and possessing a similar power to transport us elsewhere immediately upon hearing their opening bars.
Beethoven's critics had previously reproached him for writing sonata forms too close to fantasies, too irregular, too free. With Op. 27, it is as if Beethoven decided to show what he could achieve when explicitly attempting to meld a sonata and a fantasy. Both works in that opus are subtitled Sonata quasi una fantasia - sonata in the spirit (or manner) of a fantasy. A fantasy was a free-form musical composition, commonly consisting of several loosely linked sections with abrupt shifts of tempo, mood and key. Interestingly, it is the less famous, unnicknamed Sonata No. 13 which adheres more closely to this ideal. Its four movements, performed without a break, show the ease of transition we might expect from an improvisation, or free associative thinking - or a dream.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to...
Seen as part of Op. 27, the Moonlight is like a dark shadow born in the afterglow of No. 13's light. To No. 13's myriad of moods it juxtaposes a single-minded unity of colour and expression, concentrated and powerful. It contrasts No. 13's loosely joined sections with a linear progression of defined, clearly structured movements. And to the wealth of positive, kind and benevolent emotions radiating from No. 13, it answers with a uniquely perceptive exploration of the darker corners of personal feeling.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
A freshness emanates from the opening of the Pastoral Sonata ; its pulsing bass is akin to a beating heart, bearing the promise of a continuous, unstoppable flow.
Whether or not the nickname 'Pastoral' was approved by Beethoven himself, it is wonderfully fitting - the music strongly evokes nature, especially in the first and last movements. There is an unhurried gentleness throughout, climaxes are broad and harmonious, and the many 'simple' chords (triads and their inversions) lend the music an aura of stability and calmness which we rarely associate with Beethoven.
But more than a simplistic depiction, to me the first movement is an exploration of the mystery of life, from its first beginnings, evoking a sense of wonder and requiring utmost love and care, to the rich abundance of life's full bloom, captured by Beethoven in multifaceted, sensitive, breathing strokes. And through it all, the pulsing bass weaves in and out, speaking of Life's never-ending continuity.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for...
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The two previous trilogies in Beethoven's sonata cycle - the three sonatas, Op. 2 and the three sonatas, Op. 10 - both had the third sonata in the group as their focal point and climax. Whether this is the case in our Op. 31 is less certain. On the one hand, Sonata No. 18 is the only one in the opus to be written in four movements, like most of Beethoven's Grandes Sonates (Opp. 7, 22, 26 and 28). On the other, the Sonata is so easy-going, so light-spirited, so full of sunshine, that it feels much more like a release after Tempest's dark tension than a further intensification.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
If the first sonata of Op. 2 showed us a laconic, tense and passionate Beethoven, here in the A major sonata he is charming, good natured, outgoing, eloquent. The form, too, is gradually becoming larger, the textures more generous, the writing more pianistic. The first movement, energetic and at places blazingly virtuosic, contains an unexpected and inspired second subject in the minor key, lending a personal, urgent note to the music. (It also contains a fiendishly difficult canon-like section in the development...) The second movement is a stately procedure, with a very slow, yet steady pulse. There's a feeling of great depth and awe there, but also of elegance and beauty. The third movement is a lovely minuet, gentle and, apart from the more animated trio, carefree. The rondo finale contrasts a wonderfully flowing refrain with more ebullient episodes as well as a highly dramatic middle section. The repeats of the refrain (five in number!) become increasingly varied and ornamented, showing Beethoven's easy ingenuity and delight in exploring the material in an improvisatory way.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of...
From two of Beethoven's lesser sonatas (Nos. 19-20) to one of his greatest - Sonata No. 21, Op. 53 , known as Waldstein , after its dedicatee, Count von Waldstein, a close friend and early patron of Beethoven. It is very tempting to talk of watershed moments - perhaps only visible to us in hindsight - but the Waldstein, its every note radiant with inspiration, is surely a landmark in Beethoven's development, as well as in the development of the sonata genre in Beethoven's hands.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
In this master class, Edna Golandsky teaches a student how to achieve breakthrough performance in playing the first movement of Beethoven's Piano Sonata No. 21 in C Major, Op. 53, "Waldstein" . Topics covered include:
-Shaping of chord passages
-Scale shaping
Nestled between two titans - the Waldstein and the Appassionata - is an unusual, enigmatic two-movement work. Beethoven's contemporaries and later generations of critics didn't think much of it, and it remains seldom performed today. The Sonata was Beethoven's first serious look at the possibilities of a two-movement form (if we disregard the two 'for the drawer' Sonatas, Op. 49 ), which he went on to explore in the increasingly poetic Opp. 78, 90 and finally 111.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Beethoven , in his core, is a composer of light, his music uplifting and life-affirming. But in a few works he addressed the darkness with a mastery just as absolute, giving us within the sonata cycle the Pathetique, Moonlight , and perhaps most vivid of all, the Appassionata . These three are without doubt among the most popular of his works, attesting to some irresistible attraction these dark soundscapes must exert on us. Perhaps it is also an attestation to Beethoven's mastery of dramaturgy and his profound, relatable humanity: he knows how to grip us in a dark narrative, but we constantly feel that he lived through the same experience as us, felt the same emotions, possibly more strongly than we do. Trusting him, we willingly lower our defenses and submit ourselves to this white-knuckle ride.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Piano masterclass by international soloist and pedagogue Pavel Gililov on Ludwig van Beethoven's Appassionata has been released.
Beethoven's No. 23 Op.57 is regarded not only as one of his finest and most tempestuous piano sonatas, if not as the most technically challenging one.
DakApp is proud to present this fantastic masterclass on the Sonata for Piano in F Minor Op. 57, No. 23 by Ludwig van Beethoven with the legendary Hungarian-British soloist Sir Andras Schiff and the talented young pianist Giuseppe Guarrera, exclusively recorded by DakApp at the Verbier Festival Academy 2018.
Gulsin Onay graduated at the Paris Conservatoire, at the age of 16, winning the prestigious "Premier Prix du Piano". She won many prizes in top international competitions, including the Marguerite Long-Jacques Thibaud (in Paris) and the Ferruccio Busoni (in Bolzano).
Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan. Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.
In this masterclass, Piano student Doruk Gorkem Tokur go from the peaceful Andante con moto of the second movement to the Allegro of the third movement, with its Perpetuum Mobile very precisely examined by teacher Gulsin Onay . Special topics treated: 1) Peaceful sound performance 2) Piano to Forte attacks 3) Not written accents.
The darkness which held us in its grip in the Appassionata could not be counteracted more completely than it is by the sound of Sonata No. 24's opening. Like a hymn rising above the deep octaves in the left hand, these four bars seem to come directly from the heart, devout and almost in awe of being in the presence of something exceedingly pure and beautiful. They lead into the loveliest of first movements, poetic, lyrical and simple in its emotional colour. The key of F sharp major, unique in Beethoven's output, lends the music a special luminosity, a constant sense of striving upwards, which is reflected by the music's frequently residing in the upper part of the keyboard. This is not a detached, crystalline weightlessness, though, as the music is suffused with warmth throughout.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The genesis of this sonata is closely tied with that of Sonata No. 24 , as both were commissioned by Muzio Clementi , an Italian-born, London-based pianist, composer and publisher. The contract for those and other works was signed on 20 April 1807, with Beethoven agreeing to compose the two sonatas 'in an unspecified time and at his leisure'. This finally happened in the second half of 1809, and both sonatas were published by Clementi in mid-1810.
The G major sonata, Op. 79 , is a work light both in spirit and in technical difficulty, recognized as such by Beethoven , who asked the German publisher to call it Sonata facile ('Easy Sonata') or Sonatine .
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Sonata No. 26 is the only programmatic one of the entire cycle. It was created during the War of the Fifth Coalition in 1809, in which the Austrian Empire and its allies (Britain, Portugal and Spain) fought the French Empire under Napoleon and its German allies, chiefly Bavaria. It depicts the departure, absence and return of Archduke Rudolph, Beethoven's longtime patron and student, who together with much of the Viennese aristocracy fled Vienna at the approach of Napoleon in May 1809. Beethoven may have begun the sonata before that (it might even not have been planned with Rudolph in mind, but rather meant to depict a more universal emotion), but it was definitely completed during Rudolph's absence, and presented to him as a gift upon his return to Vienna in early 1810.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Over four years separate this short two-movement sonata from its predecessor, Les Adieux, Op. 81a . These years saw the creation of the Seventh and Eighth Symphonies , the Archduke piano trio , Violin Sonata No. 10 and the overtures to Egmont and Fidelio , among other works, but none for piano solo. The sonata was dedicated to Beethoven's friend and patron Count Moritz von Lichnowsky, and was for a long time believed to contain an extra-musical narrative, similar to Les Adieux - namely the story of the count's marriage to the opera singer Josepha Stummer, after the death of his first wife, against the wishes of his family.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The beautiful opening phrase conceals an unexpected fact: Beethoven starts the sonata off-key, on the dominant (E major). This start in medias res contributes to the openness and questioning character of many of the phrases, and later in the movement Beethoven develops this idea, systematically avoiding a resolution into the home key of A major. This turns out to be part of the sonata's design - Beethoven masterfully builds up a subconscious need for a resolution throughout the movements and manages to delay the appearance of a strong A major until much later in the sonata - the opening of the finale. This also fits with the development of the sonata form in Beethoven's late period, with the last movement increasingly becoming the main weight-bearer and focal aim of the entire work.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
If Op. 101 is a sonata that inspires love at first hearing, the next sonata in the cycle, Op. 106 - the Hammerklavier - rather tends to inspire awe and admiration at first. It towers above the rest like a musical Mount Everest, alluring and dangerous, dwarfing all others through its complexity and colossal scope. In performing it, one experiences Beethoven's titanic compositional struggle in every note, his vision in this particular work constantly driving him to test the extremes of size and intensity, to push the limits of piano technique beyond anything he attempted before. Later, as one comes to grips with the material, some of the admiration is replaced with love - but the awe always remains.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
As with the 3 Trios Op. 1, also among the 3 Sonatas Op. 2, it was the final, third work which was to be the culmination of the opus. After the passion and darkness of the F minor sonata, and the easy, warm eloquence of the A major sonata, Beethoven turned to C major for a work of explosive brilliance. Virtuosity is the core trait of the music, whether serious or humorous, thundering or quick-fingered. One can imagine Beethoven proclaiming with happy self-assuredness: "look what I can do at the piano, no holds barred!" And yet there's nothing empty or ostentatious here: the technical brilliance rests upon a glowing musical foundation, and there's so much atmosphere, colour and narrative throughout to complement the passagework. The slow movement, too, stands out in its emotional maturity and often exquisite beauty - its deep musicality wonderfully balancing the fireworks of the fast movements.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The last three sonatas were neither the last piano pieces Beethoven would write - he followed them with the Diabelli Variations, Op. 120 and the 6 Bagatelles, Op. 126 - nor were they his final works in the sonata form - those would be the late string quartets. But after Op. 111 Beethoven's path did not lead him back to the piano sonata genre. In strong contrast to the Hammerklavier , where the bulging, straining creative muscles are evident in every note, the last three sound like an uninhibited stream of inspiration, captured mid-flow by Beethoven and shaped and moulded by him until they appear to us as near miraculous acts of effortless creation. Whereas the Hammerklavier feels probing, exploring, challenging, the last three are completely at ease with themselves, reflecting not the struggles of a creative genius trying to unfetter himself from all convention, but the poetic utterances of a composer who has gone so far ahead of us that one cannot but feel awe facing these inimitable musical worlds, and gratitude at having been granted access to them.
Much unites the three sonatas, besides the overall sense of transcendence suffusing the music. Structurally, they all lead towards their respective finales. All three incorporate large vocally-imagined movements or...
A note per note analysis about how to play Beethoven's important and demanding Piano Sonata , how to connect phrases, how to manage the intensity of the sound and how to improve student's performance.
Sander Sittig continues what he started on the first and second movement, with his very detailed analysis of the score, with special topics dedicated to the Molto espressivo dynamics and distribution of attention for different voices expressing at the same time.
The last three sonatas were neither the last piano pieces Beethoven would write - he followed them with the Diabelli Variations, Op. 120 and the 6 Bagatelles, Op. 126 - nor were they his final works in the sonata form - those would be the late string quartets. But after Op. 111 Beethoven's path did not lead him back to the piano sonata genre. In strong contrast to the Hammerklavier, where the bulging, straining creative muscles are evident in every note, the last three sound like an uninhibited stream of inspiration, captured mid-flow by Beethoven and shaped and moulded by him until they appear to us as near miraculous acts of effortless creation. Whereas the Hammerklavier feels probing, exploring, challenging, the last three are completely at ease with themselves, reflecting not the struggles of a creative genius trying to unfetter himself from all convention, but the poetic utterances of a composer who has gone so far ahead of us that one cannot but feel awe facing these inimitable musical worlds, and gratitude at having been granted access to them.
Much unites the three sonatas, besides the overall sense of transcendence suffusing the music. Structurally, they all lead towards their respective finales. All three incorporate large vocally-imagined movements or...
The last three sonatas were neither the last piano pieces Beethoven Variations, Op. 120 and the 6 Bagatelles, Op. 126 - nor were they his final works in the sonata form - those would be the late string quartets. But after Op. 111 Beethoven's path did not lead him back to the piano sonata genre. In strong contrast to the Hammerklavier, where the bulging, straining creative muscles are evident in every note, the last three sound like an uninhibited stream of inspiration, captured mid-flow by Beethoven and shaped and moulded by him until they appear to us as near miraculous acts of effortless creation. Whereas the Hammerklavier feels probing, exploring, challenging, the last three are completely at ease with themselves, reflecting not the struggles of a creative genius trying to unfetter himself from all convention, but the poetic utterances of a composer who has gone so far ahead of us that one cannot but feel awe facing these inimitable musical worlds, and gratitude at having been granted access to them.
Much unites the three sonatas, besides the overall sense of transcendence suffusing the music. Structurally, they all lead towards their respective finales. All three incorporate large vocally-imagined movements or episodes - a 'song with the most heartfelt emotion' in...
In this master class, Ilya Itin teaches a student how to achieve breakthrough performance in playing the first movement of Beethoven's Piano Sonata No. 32 in C minor, Op. 111.
In 1796, a year after the successful publication of the three sonatas Op. 2, Beethoven composed the Grande Sonata for Pianoforte, Op. 7 . By the Grande designation, Beethoven wanted to single it out as a special work, which didn't need other sonatas to be published as an opus. Later, he would give the same epithet to the Pathetique , the Waldstein and the Hammerklavier .
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
C minor: by far the most iconic Beethoven key. It's the key of the Fifth Symphony , the Third Piano Concerto, the Coriolan Overture, the Pathetique, etc., etc. - so much, in fact, that 'C minor mood' became a semi-official term in Beethoven literature. It's temptingly easy for us to connect the brooding scowl on Beethoven's portraits and busts to the dramatic, stormy, high-intensity music he wrote in this key: works full of deep pathos and possessed by a relentless, sometimes demonic drive.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The F major sonata, Op. 10 No. 2 , is the short, bright, fun-infused interlude between the dark passion and enchanted lyricism of the C minor sonata, Op. 10 No. 1 , on one side and the mature masterpiece which is the D major sonata, Op. 10 No. 3 , on the other.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
DakApp is proud to present this fantastic masterclass on the Sonata for Piano in F Major Op. 10, No. 2 by Ludwig Van Beethoven with the phenomenal Hungarian British soloist Sir Andras Schiff and the talented young pianist Alexandra Stychkina, exclusively recorded by DakApp at the Verbier Festival Academy 2018.
Similar to the trios Op. 1 and the sonatas Op. 2, it's the third work of the sonatas Op. 10 - the sonata No. 7 , in D major - which Beethoven intended as the high point of the trilogy. He returns there to the expanded, four-movement structure of his first four sonatas, and abandons - perhaps with the exception of the finale - the concise, sometimes even abrupt manner of composition he used in the fast movements of sonatas Nos. 5 and 6.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
The Pathetique! One of Beethoven's most-loved and most popular works, it sent shockwaves throughout the music world of the late 18th century, and its gripping power hasn't diminished in the 220 years since. The immediacy and intensity of emotion is staggering, right from the opening C minor chord. And just in the first-page introduction we are confronted with pain and pathos, nobility and hope, despair and crushing of said hope - a cry straight out of Beethoven's heart and soul, hurled at us without any protective barriers. I can barely imagine the impact this music must have had on its first listeners.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Op. 14 - the utterly lovely, fresh, charming couple of short sonatas, are not just an antithesis but an antidote to the Pathetique , as if Beethoven needed to cleanse his spirit with limpid tones after the extreme dark intensity of the preceding sonata. Both are chamber works in nature, content with a restrained emotional and aural palette, for once not straining against the boundaries of the instrument. Beethoven seems more relaxed here, softer, at times genuinely happy.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
Boris Giltburg is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.
DakApp is proud to present this extraordinary chamber music masterclass with the legendary Hungarian-British soloist Sir Andras Schiff, exclusively recorded by DakApp at the Verbier Festival Academy 2018. Alongside the talented young musicians Pauline Chenais, Magdalena Geka and Angele Legasa from the Trio Sora, Maestro Schiff shares his outstanding vision on the Trio in E-Flat Major for Piano, Violin and Cello Op. 70 No. 2 by Ludwig van Beethoven .
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe.
Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices. In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices. In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices. In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices. In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
Luigi Boccherini was a Cello virtuoso player from Lucca, Italy. The cello being his own instrument, it is not surprising to learn that Boccherini composed over 30 sonatas for cello and basso continuo. From these the six Sonatas published in England in 1771, and later transcribed with accompaniment by modern piano, are considered his most important work as regards Cello, and Maria Tchaikovskaya choose the Cello Sonata No. 3 to show the essence of his composing concepts through interpretation Topics: 1. The taste of the composer and how to express it - 2. How to play Forte and Piano in a Largo movement - 3. When to use shifts and when not to use them
Luigi Boccherini was a Cello virtuoso player from Lucca, Italy. The cello being his own instrument, it is not surprising to learn that Boccherini composed over 30 sonatas for cello and basso continuo. From these the six Sonatas published in England in 1771, and later transcribed with accompaniment by modern piano, are considered his most important work as regards Cello, and Maria Tchaikovskaya choose the Cello Sonata No. 3 to show the essence of his composing concepts through interpretation Topics: 1. The taste of the composer and how to express it - 2. How to play Forte and Piano in a Largo movement - 3. When to use shifts and when not to use them
Luigi Boccherini was a Cello virtuoso player from Lucca, Italy. The cello being his own instrument, it is not surprising to learn that Boccherini composed over 30 sonatas for cello and basso continuo. From these the six Sonatas published in England in 1771, and later transcribed with accompaniment by modern piano, are considered his most important work as regards Cello, and Maria Tchaikovskaya choose the Cello Sonata No. 3 to show the essence of his composing concepts through interpretation Topics: 1. The taste of the composer and how to express it - 2. How to play Forte and Piano in a Largo movement - 3. When to use shifts and when not to use them
Marco Pierobon is an accomplished Italian trumpet player and professor. He won first prize in international competitions of Passau, Germany, Imperia and Aqui Terme. For nearly a decade, Marco is the "Principal Trumpet" of the Maggio Musicale Fiorentino Orchestra of Florence and the Accademia di Santa Cecilia Orchestra of Rome, and has collaborated with the Chicago Symphony Orchestra and the Filarmonica della Scala Orchestra. Since 2007, Marco is trumpet professor at the Conservatories of Bolzano and Reggio Emilia, Italy.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
Brahms's Sonata for Cello and Piano No. 2 in F Major, Op. 99 is a great example of soloist repertoire of the instrument which the Frenchman Francis Gouton breaks down in great detail for site users.
Gramophone declared him "a prince among viola players"... Ukrainian violist Maxim Rysanov works with student Timothy Ridout on the first three movements of Brahms's Clarinet (or Viola) Sonata No. 1, Op.120 . Originally composed for the clarinet in the 1890s, Brahms himself arranged and supervised publications of the work for viola. The profoundly beautiful sonata quickly became one of the most popular of the viola's solo repertoire.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
An important lesson, which brings back to the principles of playing, like the habits in pressing the keys, determine the metronomic tempo for every note and many more precious pieces of advice.
My Twentieth Century is a descendant of Arnold Schoenberg's Pierrot Lunaire - without the chanteuse and in a more vernacular musical and poetic idiom. According to our plan, I have integrated Tom's text within the musical architecture of the composition by having the performers occasionally leave their accustomed roles as musicians and speak the lines of the poem to us, and to each other, as if in a heightened conversation. Tom completed the poem My Twentieth Century' shortly before he died suddenly in July of 2001. My Twentieth Century is dedicated to his memory.
https://www.martinbresnick.com/programnotes/mytwentieth.htm
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
A beloved figure of classical composers is the broken diminished-7th chord. John Bloomfield will use examples from the music of Mozart, Haydn, and Beethoven to show how to negotiate this type of passage. Topics covered include:
- Fingering
- Black/white key combinations
- Forearm rotation
- Using lateral motion effectively
- Shaping
Klaidi Sahatci is the first Concertmaster of the Tonhalle-Orchestra Zurich and professor at the Conservatorio della Svizzera Italiana in Lugano. Born in Albania, he began his musical studies at the age of six. In 1992 he moved to Italy where he was admitted at the Conservatorio Di Musica G. Verdi in Milan and studied with Salvatore Accardo at the Walter Stauffer Academy in Cremona.
Sahatci was the first Concertmaster of the Orchestra of the Teatro alla Scala in Milan and the Zurich Chamber Orchestra. He regularly plays chamber music and as a soloist. His career as a soloist started in 1994 with the RAI Orchestra.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
4 Young Artists from Juilliard, Royal College, Paris Conservatory and Beijing Conservatory are invited to London to participate in an inspired masterclass given by International Solo Violinist Yi-Jia Susanne Hou - in collaboration with the Royal Philharmonic Orchestra.
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a specific section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Chopin's Ballade No. 1. in G Minor, Op. 23. Topics covered include:
- Correct seat height
- Walking hand and arm
- Grouping
- Rhythm
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Chopin's Ballade No. 3 in A Flat-Major, Op. 47. Topics covered include:
- Chords
- Wrist height
- Chords and single notes
- Leaps
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Chopin's Ballade No. 4 in F Minor, Op. 52. Topics covered include:
- Rotation
- Double thirds
- Sound production
- Preventing twisting
- Arpeggios
Ricardo Castro is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich.
Castro is the founder of NEOJIBA (State Centers of Youth and Children's Orchestras of Bahia), a pioneering program in Brazil and project inspired by El Sistema in Venezuela. Castro was Invited by the Government of the State of Bahia, to create The Youth Orchestra of Bahia (YOBA), of which he is the founder, principal conductor and artistic director. The YOBA Orchestra gives yearly around 30 concerts in the USA and Europe. In 2013 he was the first Brazilian to receive the Honorary Membership of the Royal Philharmonic Society London.
Ricardo Castro is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich. Castro is the founder of NEOJIBA (State Centers of Youth and Children's Orchestras of Bahia), a pioneering program in Brazil and project inspired by El Sistema in Venezuela. Castro was Invited by the Government of the State of Bahia, to create The Youth Orchestra of Bahia (YOBA), of which he is the founder, principal conductor and artistic director. The YOBA Orchestra gives yearly around 30 concerts in the USA and Europe. In 2013 he was the first Brazilian to receive the Honorary Membership of the Royal Philharmonic Society London.
Another very important lesson about the method developed by Moshe Feldenkrais , around 1950, which is followed today by thousands of successful pianists. Featuring Fryderyk Chopin's Opus 10 Etude No. 4 .
Quite demanding and technical composition, in which student, Beste Tanagardigil have to play fast and precise, respecting the accents, with an extended series of modulations. Aims of the masterclass: 1) Left-hand harmony lead 2) Forte and legato at speed 3) Accents and Clarity.
Ricardo Castro is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich. Castro is the founder of NEOJIBA (State Centers of Youth and Children's Orchestras of Bahia), a pioneering program in Brazil and project inspired by El Sistema in Venezuela. Castro was Invited by the Government of the State of Bahia, to create The Youth Orchestra of Bahia (YOBA), of which he is the founder, principal conductor and artistic director. The YOBA Orchestra gives yearly around 30 concerts in the USA and Europe. In 2013 he was the first Brazilian to receive the Honorary Membership of the Royal Philharmonic Society London.
Since 1988 London Master Classes has been presenting some of the world's most distinguished performers as master teachers offering intensive classical music master classes for vocal, violin, cello, piano and conducting.
Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.
Conductor Benjamin Zander shares his experience on the worldwide concert platform with students from St. Cyprian's Church.
Trombonist and founding member of the Mahler Chamber Orchestra Mark Hampson works with student Alejandro Garcia in an illuminating masterclass on Ferdinand David's Trombone Concertino in E-flat Major, Op.4 . Dedicated to trombonist and friend of the composer Karl Traugott Queisser , the work received its extremely successful premiere in 1837 with the dedicatee as soloist, the composer as concertmaster, and their friend Mendelssohn as conductor of Leipzig's Gewandhaus orchestra.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
Since 1988 London Master Classes has been presenting some of the world's most distinguished performers as master teachers offering intensive classical music master classes for vocal, violin, cello, piano and conducting.
Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.
This master class featuring Ralph Kirshbaum shows the world-renowned cellist at work, passing on his expertise to the next generation.
Composed in 1915, it's the only Cello Sonata that Debussy left us. It expresses beautiful harmonic progressions and utilises a rich palette of different timbres. Peter Szabo comes along many topics recursively in the three tutorial, and the main goals are:
1. Melodies on one string
2. Fingers posture
3. Technical problems solving
4. Style for the Cadenza
5. Balancing Piano and Cello
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Debussy's Danse, "Tarentelle styrienne". Topics covered include:
- Diagnosing where the problem is
- Grouping by direction
- Left hand staccato: minimizing motion, talking about repeated chords, and letting notes send you
- Leaping in both hands
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
The wonderful French soloist Cello Concerto Op. 104 in B minor by Antonin Dvorak , an essential work in the solo literature of the instrument.
It was March 1894 when Antonin Dvorak attended a concert in New York, in which his New World Symphony was programmed alongside the Cello Concerto by Victor Herbertt, an Irish colleague from the Conservatory who was also a very popular cello player in the USA. Impressed by his playing and inspired by the instrument's role in the music, Dvorak was then determined to create his own piece for Cello, a task he started once he was back from his summer retreat in Bohemia.
Although this was Antonin Dvorak's last composition written in the United States, the Concerto Op.104 is fully inspired by the composer's native slavic tradition, hence the emotional and nostalgic nationalistic character of the work. Completed on February 1895, the third movement contains a final coda, quoting the song Leave Me Alone in the memory of his sister-in-law Josefina Kaunitzova, the composer's love from his young days.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence.
Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence.
Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence.
Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
The second part of Amit Peled masterclass on Dvorak's Cello Concerto second movement is a detailed examination of sections and phrases, with focused teaching in sound performance and technique about how to translate all of the intentions into an impressive performance.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli, Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
The United States Army Field Band has produced a series of instructional videos for distribution to music educators nationwide. These videos cover a wide range of topics, including a brief history of each instrument and methods for improving tone, technique, intonation, and ensemble.
The United States Army Field Band has produced a series of instructional videos for distribution to music educators nationwide. These videos cover a wide range of topics, including a brief history of each instrument and methods for improving tone, technique, intonation, and ensemble.
The United States Army Field Band has produced a series of instructional videos for distribution to music educators nationwide. These videos cover a wide range of topics, including a brief history of each instrument and methods for improving tone, technique, intonation, and ensemble.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Legende , the famous solo work for Trumpet and Piano by Enescu , where the main feature is the constant evolving character of the music, as shown by the simple listing of dynamics indications which follow each other: Doux, Grave, Hesitante, Pathetique, Gracieux, Agite, Chantant, Vif, Furieusement, Reveur.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli, Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
This video provides a fascinating exploration of the role played by "hidden lines" and illuminates the way they profoundly influence the nature of artistic performance. Taken from lectures by Edna Golandsky during the 2006 Summer Symposium at Princeton University, demonstrations include excerpts from the following:
- Schubert's Sonata in B-flat Major, D. 960
- Chopin's Etude in E Major, op. 10, no. 3
- Haydn's Sonata in E-flat Major, Hob. XVI/49
- Chopin's Ballade in F minor, op. 52
- Beethoven's Sonata in A-flat Major, op. 110
- Rachmaninoff's Prelude in G-sharp minor, op. 32, no. 12.
In this video taken from a live lecture in New York City, Mary Moran discusses the skills needed for a successful performance of this exciting, late intermediate piano piece. On the technical side, she explains:
- How to play grace notes
- Staccato technique in single notes and chords
- Legato and staccato leaps
- Grouping chords and octaves
- Interdependence of hands
She also discusses many of the physical skills required for a top-notch musical performance:
- Tonal balance
- Voicing chords
- Shaping the musical line
- Pedaling
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York.
This concerto was composed for Antonin Kraft, a cellist of Prince Nikolaus Esterhazy orchestra. Although the composition sounds relaxed and lyrical, it's quite demanding for the orchestra, and for this motivation, it was put in doubt that Haydn was the real composer; but then in 1951, an autographed score was discovered in 1951, making the experts believe that the composition is indeed authentic.
The Hungarian-born British pianist Peter Frankl is visiting professor at the Yale School of Music within Yale University and Honorary Professor of the Liszt Academy of Music in Budapest. He studied at the Liszt Academy of Music in Budapest, with Professors Lajos Hernadi, Kodaly and Weiner. Peter made his name on the international circuit as a young pianist in the 60's. He has performed with the leading orchestras in the United Kingdom, USA and Europe and appeared with conductors such as Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Pierre Boulez and Riccardo Chailly. Among his many solo, orchestral and chamber music recordings are the complete Schumann and Debussy piano works.
Peter Frankl is a passionate teacher with a lot of humor. He encourages young pianists to be versatile and daring to find their own and unique way of performing.
Haydn was one of his era's keyboard virtuosos, and loved to write piano sonatas (more than 60!) for piano players. His Sonata in A-Flat Major has a very interesting second movement named Adagio , with a very refined structure and development, discussed by Peter Frankl and piano student Wouter Bergenhuizen.
The master violist Lawrence Power works with student Lea Hennino in a masterclass at the Italian Institute of Paris on one of the most significant pieces of the viola repertoire: Paul Hindemith's Viola Sonata No. 4, Op. 25 . Composed in 1922, the tightly-constructed sonata puts viola and piano in an equal dialogue, conversing in Hindemith's captivating, rhythmically-driven musical language.
In the first segment of this lesson, Mary Moran works with a young student on many concepts from her book Basic Alignment and Rotation including balance and alignment on each finger, single rotation, and avoiding stretching and curling fingers. In the Brahms segment, she discusses technical ideas that apply particularly to four-hand duet playing including torso adjustment and tonal balance.
The lessons in this video are on ??cossaise by Hummel (from Suzuki Piano Book 2) and on Hungarian Dance No.5 in F-sharp Minor for Piano Four-Hands by Brahms.
A hymn to happiness and hope in the future, as it was written in December 1803 and performed for the first time in new year's January 1st 1804. Originally, Hummel's Trumpet Concerto was written in E Major, but it's often performed in E-flat Major, because it makes the fingering less difficult with modern E-flat and B-flat trumpets, that's why Marco Pierobon also choose E-flat Major for the masterclass.
The masterclass is based on how to play Cantabile , so Marco Pierobon , the teacher shows how to use at the best the features of modern trumpet to achieve a beautiful slow flow of the music, and how to make it enjoyable for the audience, expressing colours and contrasts at the best.
The third movement of the important concerto is a Rondo , so it has the cadence of a dance, and in addition the ending momentum. So Marco Pierobon dedicates part of the masterclass to the technique of breathing and interpretation in order to be light as a dance but impressive in all of the passages, with special topics in the tutorial B about how to play a wonderful tune rather then trying to be loud and how to build the tension for the Finale.
Highly acclaimed British author and pianist Paul Roberts was guest speaker at the 2005 Golandsky Institute Summer Symposium at Princeton University. The Institute's Distinguished Presenters Series is privileged to include among its offerings this fascinating lecture/demonstration by one of the world's leading interpreters of French piano music.
Mary Moran's presentation on how to teach and play the Khachaturian Toccata .
Well-used technical exercises enable cellists to master great cello works. Yet many pieces still contain their own peculiar stumbling blocks, and there are many obstacles that can only be overcome with a certain expertise.
In her book and video project Using Technique and Imagination to achieve Artistic Expression, "Quintessence" in three parts, the famous cellist Maria Kliegel opens up a new avenue that is intended to help advanced cellists over these obstacles. Through her experience as a concert performer, recording artist, and teacher, she has gathered considerable knowledge about specific aspects and pitfalls of cello technique. Using numerous examples from the cello repertoire, the book is a distillation of her experience, while the videos provide a demonstration of the cello techniques described in the book. She also plays and analyses the "infamous" passages from the Cello Concertos by Haydn (D) and Schumann and from Tchaikovsky's Rococo Variations. Frequent sources of errors are exposed, tricks are shown, and various tips on how to get more out of practising are given along with helpful interpretative suggestions.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
Series of masterclasses with the complete 42 Etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
Complete 42 Etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko. Composed in 1796, these ?tudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of caprices has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
A series of masterclasses with the complete 42 etudes ou caprices by Rodolphe Kreutzer (1766-1831) dissected by the international solo violinist Natalia Lomeiko.
Composed in 1796, these etudes were written to show the possibilities of the today universally adopted Tourte bow, staging the development of the modern bowing technique and strengthening each individual finger in the left hand. Since then, this set of capriches has become the core book in the study of the intermediate and advanced technique and is used by violin and viola players from all over the world.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Since 1988 London Master Classes has been presenting some of the world's most distinguished performers as master teachers offering intensive classical music master classes for vocal, violin, cello, piano and conducting.
Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.
The great American Baritone, Sherrill Milnes shares his knowledge of singing in opera houses and music centers of the world encompassing all areas of vocal repertoires.
The Liberation of Sound was produced to invite and encourage vocalists at all levels to discover new ways of working with rather than against their body, which is, after all, the instrument of a singer - an instrument that needs to be treated with care. It includes a series of practical exercises to effectively demonstrate the various possibilities the tongue rotation technique offers to vocalists.
In addition to the tutorial, this video includes clips from the performance training course the author specifically developed for vocalists, showing that this new-found freedom is not only limited to the voice. It also includes aspects of body expression as well, and this video demonstrates how vocalists can complement the voice with body language when performing on stage. Ideally, the result is a well-toned, relaxed singer with an authentic, individual vocal sound and a strongly identifiable style of expression. This is a path well worth following.
Denis Zhdanov was born in Magadan, Siberia. He started his piano studies at 8 and began his cello studies at 11. He studied with Prof. Galina Zubareva in the Central Music School in Moscow. Denis won the International A. Rubinstein competition (Moscow 1997) and was awarded in the same year by the Vladimir Spivakov Foundation. Denis won First Prize and Audience Prize at the International Brahms Competition and at the International Aram Khachaturian competition.
Gulsin Onay graduated at the Paris Conservatoire, at the age of 16, winning the prestigious "Premier Prix du Piano". She won many prizes in top international competitions, including the Marguerite Long-Jacques Thibaud (in Paris) and the Ferruccio Busoni (in Bolzano). Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan.
Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.
The Hungarian-born British pianist Peter Frankl is visiting professor at the Yale School of Music within Yale University and Honorary Professor of the Liszt Academy of Music in Budapest. He studied at the Liszt Academy of Music in Budapest, with Professors Lajos Hernadi, Kodaly and Weiner. Peter made his name on the international circuit as a young pianist in the 60's. He has performed with the leading orchestras in the United Kingdom, USA and Europe and appeared with conductors such as Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Pierre Boulez and Riccardo Chailly. Among his many solo, orchestral and chamber music recordings are the complete Schumann and Debussy piano works.
Peter Frankl is a passionate teacher with a lot of humor. He encourages young pianists to be versatile and daring to find their own and unique way of performing.
CORNERSTONE LESSON LISZT An exhaustive masterclass about differences and similarities amongst four important Praeludium ; some parts are interpreted in different ways and compared to each other. Master Teacher Peter Frankl is a visiting Professor at the Yale School of Music and Honorary Professor of the Liszt Academy of Music. .A frequently asked Jury member at international competitions. Frankl studied at the Liszt Academy of Music in Budapest, with Professors Lajos Hernadi, Kodaly and Weiner.
Girl was written for the Yale New Music Workshop which took place in Connecticut in June-July 2017.
It is based on the Iranian folk melody Dokhtare Boyer Ahmadi , meaning the girl from the town of Boyer Ahmadi. In the central section of the piece this melody comes to the surface and is clearly outlined by the cello, later joined by violin.
All other parts of the piece also derive from this melody but in a much more fractured way. As a result, Girl is an exploration of folk melodies as collective memorialisation, considering how memories are warped, altered, fragmented and ultimately re-imagined across time and space. - https://www.soosanlolavar.com/girl/
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
Described as "a Renaissance man and a magnetic creative force", Dmitry Sitkovetsky proves the description correct in this master class. As a violinist, he shares his knowledge of all the technical demands of Mendelssohn's monumental and widely beloved Violin Concerto in E Minor . As a conductor, he knows how to convey to his student Ksenia Dubrovskaya that the violin, though it is the solo instrument here, is always engaged in a dialogue with the orchestra. As an acclaimed arranger (his transcription for string trio of Bach's Goldberg Variations is frequently performed around the world), Sitkovetsky has unique insight into the ways in which harmony defines many of the decisions that must be made when performing. Mendelssohn's concerto is a passionate work, loaded with lyricism and melody-but its full substance lies also in the layers that Sitkovetsky is able to peel away and examine.
Recognized as one of the leading violinist of his generation, Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008. Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe.
Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe.
Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices . In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Icelandic clarinet virtuoso Dimitri Ashkenazy works with student Salvador Navarro on one of Mozart's most beautiful compositions for clarinet, the Concerto in A Major , touching on the importance of articulation, presence, ornamentation, and dynamics. First performed in Prague in 1791, it was composed for and premiered by Mozart's friend and frequent collaborator Anton Stadler . The solo part commonly played today is an adaptation of the original for basset clarinet, an instrument that plays a third lower than the more common B-flat clarinet.
Masterclass by the Swiss virtuoso and Gewandhausorchester 1st Principal Flute Sebastian Jacot exploring the Mozart's Flute Concerto in G Major alongside the talented french flutist Chloe Dufossez.
The G Major Concerto was commissioned in 1777 by Ferdinand De Jean, an amateur German flutist and wealthy surgeon who worked for the VOC (Dutch East India Company) and who offered the generous sum of 200 florins in exchange for three flute concertos and four flute quartets.
Mozart, still a promising young composer, accepted the offer but, distracted by other projects, procrastinated and did not fully complete the terms of the agreement. He did, in fact, deliver a couple of Flute Quartets and two Flute Concertos, being the No. 1, KV 313 in G Major the only original concerto composition. The second one, finished by the deadline, is a flute transcription from his Oboe Concerto in C Major KV 314 . Consequently, De Jean paid only 96 florins to Mozart instead of the agreed full fee.
Former Principal Flute of the Los Angeles Philharmonic Jim Walker has dedicated himself to flute pedagogy and jazz since 1984. In this master class, he works with student flutists Hye Ryung Lim and Seung Jeon on the three movements of Mozart's Flute Concerto in D Major . A favorite concerto of the flute repertoire, the work was first composed in C Major for oboe, and later reworked as part of a commission for three flute concertos by Ferdinand Dejean, a surgeon with the Dutch East India Company (of which Mozart would complete only two!).
Since 1988 London Master Classes has been presenting some of the world's most distinguished performers as master teachers offering intensive classical music master classes for vocal, violin, cello, piano and conducting.
Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.
A master class following one of Britain's leading pianists. Norma Fisher has international success on the concert and chamber music platform, and now shares her experiences and talent with her students.
A leading conductor and violin professor at Salzburg's prestigious Mozarteum, Lavard Skou Larsen gives a master class on Mozart's exuberant Violin Concerto No. 3 with student Ignacio Rodriguez. Mozart referred to the work in his letters as the Concerto de Strassburg because of the popular tune called the "strasbourgeoise" that he used for the theme of the final movement.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008.
Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
A renowned violinist of China, Vera Tsu Wei-Ling is Professor and Master Tutor of the Central Conservatory in Beijing and Shanghai Conservatory. She is a jury member of many prestigious competitions worldwide.
Born in Shanghai, Tsu began studying at the Central Conservatory in Beijing in 1977, as a part of the first-generation of college students after the Cultural Revolution. During the distinguished international violin master Isaac Stern's the first visit to China in 1979, as a sophomore, Tsu performed for Mr. Stern and was featured in the overwhelming Oscar-winning documentary From Mao to Mozart: Isaac Stern in China. Tsu went to the USA in 1980, where she continued her study with Dorothy DeLay and Rafael Bronstein. From November 2000, Tsu was appointed the professor of violin of the Central Conservatory in Beijing. In September 2014, she was appointed Professor of Violin of Shanghai Conservatory. Ms. Tsu has given master classes in the U.S, Argentina, Japan, Taiwan, Hong Kong and throughout mainland China. At the same time she maintains an active career as both a soloist and a chamber musician on music stages in China and abroad.
Associate Principal of the Los Angeles Philharmonic, Jim Wilt is a musician and trumpet player of incredible practical experience and expertise who has established his music school Colburn as a dominant force in the trumpet community.
In this master class, he works with student Josh Rogan on Neruda's Trumpet Concerto in E-flat Major , one of the mainstays of the trumpet solo repertoire.
Beautiful movement from the Czech composer Johann Baptist Georg Neruda . The movement is not too long and it's not too difficult, so teacher Ram Oren uses it to focus on Meter all along the masterclass, with special topics about Syncopation in Tutorial A and Trills in Tutorial B.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
A teacher in Munich and former solo double bassist of the Berliner Philharmoniker, Nabil Shehata works with student Iker Sanchez on orchestral excerpts for double bass from Beethoven's Symphonies Nos. 2 and 9 and Mozart's Symphony No. 40 . These challenging passages include some of the most recognizable themes from these symphonic masterpieces and are prepared by bassists the world over for auditions.
Saraste directs the LEAD! Foundation, which aims to the support the next generation of conductors and aspiring orchestra leaders through technical and musical training, plus mentorship and guidance in navigating the classical music industry. At the Haute Ecole de Musique de Lausanne, Saraste helps instrumentalists and conductors-in training refine their interpretation of three monuments of the symphonic repertoire: Beethoven's Fourth, Sibelius's Third , and Stravinsky's Symphony in C .
Saraste directs the LEAD! Foundation, which aims to the support the next generation of conductors and aspiring orchestra leaders through technical and musical training, plus mentorship and guidance in navigating the classical music industry. At the Haute Ecole de Musique de Lausanne, Saraste helps instrumentalists and conductors-in-training refine their interpretation of three monuments of the symphonic repertoire: Beethoven's Fourth, Sibelius's Third , and Stravinsky's Symphony in C .
Saraste directs the LEAD! Foundation, which aims to the support the next generation of conductors and aspiring orchestra leaders through technical and musical training, plus mentorship and guidance in navigating the classical music industry. At the Haute Ecole de Musique de Lausanne, Saraste helps instrumentalists and conductors-in-training refine their interpretation of three monuments of the symphonic repertoire: Beethoven's Fourth, Sibelius's Third , and Stravinsky's Symphony in C .
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli, Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York.
Pianists sometimes find it confusing to organize the two hands together when each has a different rhythm to play. John Bloomfield shows a sure-fire way to understand how both hands work interdependently when playing any kind of polyrhythm.
Topics covered include:
- Strategies
- Putting the passage into the hands
- Transitioning to tempo
- Trills
Maria Tchaikovskaya , the former assistant to legendary Mstislav Rostropovich, brings the most genuine tradition legacy of the 20th century, with her thousand nuances and pieces of advice to play a great recital piece from David Popper. The difficulty is intermediate, and Maria uses the occasion to focus on a series of critical topics to interpret this basically Dance piece.
Topics: 1. Dance tempo with variations to entertain your audience - 2. From "Happy and Joyful" to "Powerful and Precise" - 3. Fingerings to keep sustained - 4. Wrist fundamentals in bowing
Grammy nominated conductor, cellist and conductor Dmitry Yablonksy was born in Moscow into a musical family. At the age of 9 he gave his orchestral debut playing Haydn's cello concerto. He emigrated with his mother, pianist Oxana Yablonskaya to New York where he studied with Lorne Munroe, Aldo Parisot and David Soyer at the Curtis Institute of Music. His Tchaikovsky Piano trio recording for Erato/ Warner with Repin and Berezovsky won numerous awards. Dmitry transcribed and edited works for cello, which was released by International Music Company and Dover Publications. Naxos released his recording of all 40 Popper etudes for solo cello in the fall of 2008, which received great critical acclaim. He organizes many festivals all over the world, including the Gabala Music Festival in Azerbaijan.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
Celebrated cellist Christian-Pierre La Marca gives a master class to Paul Heyman, one of the cellists of the first year (the Mozart class) of the Academie Musicale Philippe Jaroussky, which opened its doors in September 2017 at La Seine Musicale. Joined by Karine Selo at the piano, they work on the first movement of Prokofiev's Sonata for Cello and Piano .
One of the most sought after cello pedagogues, Israeli cellist Amit Peled is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences.
Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.
Klaidi Sahatci is the first Concertmaster of the Tonhalle-Orchestra Zurich and professor at the Conservatorio della Svizzera Italiana in Lugano. Born in Albania, he began his musical studies at the age of six. In 1992 he moved to Italy where he was admitted at the Conservatorio Di Musica G. Verdi in Milan and studied with Salvatore Accardo at the Walter Stauffer Academy in Cremona.
Sahatci was the first Concertmaster of the Orchestra of the Teatro alla Scala in Milan and the Zurich Chamber Orchestra. He regularly plays chamber music and as a soloist. His career as a soloist started in 1994 with the RAI Orchestra.
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve a breakthrough performance in playing a specific section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of Rachmaninoff's Prelude in G sharp minor, Op. 32, No. 12. Topics covered include:
- Leaps
- Rotation
- Combining different technical elements
Ricardo Castro is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich. Castro is the founder of NEOJIBA (State Centers of Youth and Children's Orchestras of Bahia), a pioneering program in Brazil and project inspired by El Sistema in Venezuela. Castro was Invited by the Government of the State of Bahia, to create The Youth Orchestra of Bahia (YOBA), of which he is the founder, principal conductor and artistic director. The YOBA Orchestra gives yearly around 30 concerts in the USA and Europe. In 2013 he was the first Brazilian to receive the Honorary Membership of the Royal Philharmonic Society London.
Ricardo Castro is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich. Castro is the founder of NEOJIBA (State Centers of Youth and Children's Orchestras of Bahia), a pioneering program in Brazil and project inspired by El Sistema in Venezuela. Castro was Invited by the Government of the State of Bahia, to create The Youth Orchestra of Bahia (YOBA), of which he is the founder, principal conductor and artistic director. The YOBA Orchestra gives yearly around 30 concerts in the USA and Europe. In 2013 he was the first Brazilian to receive the Honorary Membership of the Royal Philharmonic Society London.
One of the most technically challenging piano concertos in the standard classical repertoire is Rachmaninov's third Concerto in D Minor and the first movement is quite long with many tricky and demanding parts.
The variety of phrases, intensity, and techniques are so many that, as professor Onay says, "it sounds like a concert by itself", but still it's only one movement. Referring to Rachmaninov's Piano Concerto No. 3 Intermezzo movement.
Gulsin Onay graduated at the Paris Conservatoire,at the age of 16, winning the prestigious "Premier Prix du Piano". She won many prizes in top international competitions, including the Marguerite Long-Jacques Thibaud (in Paris) and the Ferruccio Busoni (in Bolzano).
Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan. Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.
Feldenkrais Method for auto training is based on the awareness of the motor schemes and reorganizing of muscle reactions, improving the sound through a full-range connection between mind and body. Uri Vardi goes through specific topics regarding violin on Ravel's Tzigane
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivateshis students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
The most renown composition from Saint-Saens , moreover made famous by Mikhail Fokine, who used it to create the ballet solo choreography The dying swan . Amit Peled goes through every shade of this very poetic piece, with special topics about different vibrato and technique for sound.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a Mstislav Rostropovich student. She is an active performer, and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds the position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book Cello, Bow and You: Putting It All Together, was published by the Oxford University Press.
In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book Cello, Bow and You: Putting It All Together, was published by the Oxford University Press.
Janna Gandelman is the concertmaster of the Jerusalem Symphony Orchestra and teaches at the Jerusalem Conservatory of Music. Janna Gandelman was born in Kishinev, Moldavia in 1967. At the age of 5 she started to play violin, taking lessons with Professor Weiner. Already at a very young age she has won numerous competitions still in the Soviet Union, National Violin Competition, Stoliarsky School Competition, International competition of USSR and Auer Competition. After immigration to Israel in 1979 she has continued her studies with legendary violin pedagogue, Professor Bondarenko, who was David Oistrach's assistant. Janna plays on Nicolas Lupot violin from 1799 loaned generously by the Yehuda Zisapel Foundation.
Celebrated pianist David Kadouch gives a master class to Juliette Journaux, one of the pianists of the first year (the Mozart class) of the Academie Musicale Philippe Jaroussky, which opened its doors last September at La Seine Musicale. Together they work on Saint-Saens's Mazurka No. 3 .
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes a section of the first movement of Schubert's Piano Sonata No. 13 in A major, Op. 120, D. 664. Topics covered include:
- Leaps
- Fingering
- Rotation
- Grouping
- Interdependence
Denis Zhdanov was born in Magadan, Siberia. He started his piano studies at 8 and began his cello studies at 11. He studied with Prof. Galina Zubareva in the Central Music School in Moscow. Denis won the International A. Rubinstein competition (Moscow 1997) and was awarded in the same year by the Vladimir Spivakov Foundation. Denis won First Prize and Audience Prize at the International Brahms Competition and at the International Aram Khachaturian competition.
In this master class, Barcelona horn professor and Mahler Chamber Orchestra soloist Josee Vicente Castelloo begins his work with student Alma Sarsola in demonstrating and trying out different warm-up exercises, which they then apply to Schumann's Adagio and Allegro in A-Flat Major, Op. 70 . Originally composed with the aim of giving amateur musicians more music to perform at home, the piece's technical challenges and artistic beauty have made it one of the most beloved works of the horn's solo repertoire.
In this advanced seminar, Robert Durso shows simple solutions to problematic passages using the Taubman Approach. See how almost every category of solution is used as he works from beginning to end in this detailed presentation. Topics covered include:
- Leaps
- Rotation
- Walking arm
- Interdependence
- In and out
- Grouping
- Redistribution
- Shaping
- Octaves
- Torso
- Legato playing and sounding
Uri Vardi studied at the Rubin Academy in Tel Aviv, was an Artist Diploma student at Indiana University, and earned his Master's degree from Yale University. His teachers have included Janos Starker, Aldo Parisot, Eva Janzer, and Uzi Wiesel. Born in Szeged, Hungary, Vardi grew up on kibbutz Kfar Hahoresh, Israel. Vardi has recorded and toured widely with the Israel Chamber Orchestra and was a founding member of the Sol-La-Re String Quartet. He has served as Assistant Principal Cellist of the Israel Chamber Orchestra and Principal Cellist of the Israel Sinfonietta. In 1990, following an extensive teaching and performing career in Israel, Vardi was appointed professor of cello at the University of Wisconsin-Madison. In addition to his work at Wisconsin, Vardi has taught and conducted master classes at numerous music schools.
Uri Vardi has specialized in the Feldenkrais Method, for which he received the 1999 UW-Madison Arts Institute Faculty Development Award. He completed a Feldenkrais Practitioners Training and was certified by the Feldenkrais Guild of North America and by the International Feldenkrais Federation as a Feldenkrais practitioner in 2003. For the last five years, Vardi has created a new course at UW - Madison: " Feldenkrais for Performing Artists". In 2012,...
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a Mstislav Rostropovich student. She is an active performer, and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds the position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a Mstislav Rostropovich student. She is an active performer, and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds the position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a Mstislav Rostropovich student. She is an active performer, and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds the position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
In each Problem Solving in Action video, Edna Golandsky teaches a student how to achieve breakthrough performance in playing a section of a piece in his or her repertoire. In this video, Golandsky analyzes the Schumann Piano Sonata No. 2 in G Minor, Op. 22. Topics covered include:
- Starting out with a natural technique, getting injured, and then getting back on track
- Tone production
- Leaps
- Repeated octaves, staccato technique for octaves
- Shaping
- Pedaling
Sander Sittig from the Netherlands teaches chamber music, piano accompaniment and artistic research at the Rotterdam Conservatory "Codarts University for The Arts". After winning prizes at several international piano competitions he embarked on a career that took him all over Europe, the Far East and the USA often as a partner of famous violinists such as Shlomo Mintz, Ilya Grubert and Liza Ferschtman. Sittig recorded solo compositions by Mozart and chamber music on CD and performs regularly for radio and television. His recitals are famous for his lively and informative talks, often with multimedia support. Sander took part in the peace music project "Violins of Hope". His engagement to the music and young people is devoted and committed.
Peter Szabo from Hungary is the principal cellist of the Budapest Festival Orchestra and gives Masterclasses worldwide. As solo cellist of the World Orchestra for Peace, founded by Sir George Solti, he received in 2010 the UNESCO Artist for peace. In that same year he was awarded the Franz Liszt Prize for artistic accomplishments given by the Hungarian State.
In 2010, Peter Szabo has founded the Sinfonietta Pannonica Chamber Orchestra, of which he is the artistic director and conductor. Szabo studied at the Music Academy in Kolozsvar (Klausenburg) and at the Ferenc Liszt Academy in Budapest with Ferenc Rados, Gyorgy Kurtag and Laszlo Mezo where he graduated "Cum laude" in 1991.
Denis Zhdanov was born in Magadan, Siberia. He started his piano studies at 8 and began his cello studies at 11. He studied with Prof. Galina Zubareva in the Central Music School in Moscow. Denis won the International A. Rubinstein competition in Moscow 1997 and was awarded in the same year by the Vladimir Spivakov Foundation. Denis won First Prize and Audience Prize at the International Brahms Competition and at the International Aram Khachaturian competition.
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky, has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
Hagai Shaham teaches at the Buchmann-Mehta School of Music at Tel Aviv University and he is Artist in Residence at Stony Brook University, New York. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham's awards include first prizes at the ARD Munich Competition and the Israel Broadcasting Authority Competition. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.
Have you seen our Masterclass on Stamitz D Major Concerto with Wolfram Christ? One of the greatest orchestral musicians in history dissects this important piece and gives you the best advice for your next audition and recital. Watch this masterclass with Maite Abasolo and pay attention to the invaluable tips from Maestro Christ.
Oboist and conductor Lucas Macias Navarro and student Veronica Cruz turn their attention to one of the 20th century's greatest contributions to the repertoire of their instrument: Richard Strauss's Oboe Concerto in D Major . The concerto was one of Strauss's last compositions, inspired by the great American oboist John de Lancie's visit to his home in Germany when de Lancie was part of the American army in April 1945.
Klaidi Sahatci is the first Concertmaster of the Tonhalle-Orchestra Zurich and professor at the Conservatorio della Svizzera Italiana in Lugano. Born in Albania, he began his musical studies at the age of six. In 1992 he moved to Italy where he was admitted at the Conservatorio Di Musica G. Verdi in Milan and studied with Salvatore Accardo at the Walter Stauffer Academy in Cremona.
Sahatci was the first Concertmaster of the Orchestra of the Teatro alla Scala in Milan and the Zurich Chamber Orchestra. He regularly plays chamber music and as a soloist. His career as a soloist started in 1994 with the RAI Orchestra.
Klaidi Sahatci is the first Concertmaster of the Tonhalle-Orchestra Zurich and professor at the Conservatorio della Svizzera Italiana in Lugano. Born in Albania, he began his musical studies at the age of six. In 1992 he moved to Italy where he was admitted at the Conservatorio Di Musica G. Verdi in Milan and studied with Salvatore Accardo at the Walter Stauffer Academy in Cremona.
Sahatci was the first Concertmaster of the Orchestra of the Teatro alla Scala in Milan and the Zurich Chamber Orchestra. He regularly plays chamber music and as a soloist. His career as a soloist started in 1994 with the RAI Orchestra.
A First Prize winner of the International Pablo Casals Competition in Budapest (1968), Maria Tchaikovskaya was a student of Mstislav Rostropovich. She is an active performer and as a teacher, she served as the assistant to the late Rostropovich. Currently, she holds a position of professor at the Moscow State Conservatory. She frequently gives Masterclasses worldwide.
Accomplished violinist Genevieve Laurenceau gives a master class to Yaore Talibart, one of the violinists of the first year (the Mozart class) of the Academie Musicale Philippe Jaroussky, which opened its doors last September at La Seine Musicale. Joined by Theodore Lambert at the piano, they work on Meditation , the first movement of Tchaikovsky's Souvenir d'un lieu cher .
One of the greatest pedagogues on his instrument today, virtuoso violinist Boris Garlitsky works with student Dmitry Udovichenko on Tchaikovsky's Violin Concerto in D Major .
In this master class, Garlitsky and Udovichenko explore together the impact of the Russian violin school on the only violin concerto Tchaikovsky ever wrote. The incredible masterwork, composed in 1878 and premiered by its dedicatee Adolf Brodsky, is one of the most technically-challenging of the violin concerto repertoire.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008. Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
Recognized as one of the leading violinist of his generation, Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008. Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
In this video, Senior Faculty member and Senior Director Robert Durso shares concepts and practical solutions to the challenges of learning and teaching forearm rotation. Designed with teachers and students in mind, various pitfalls are discussed in the application of rotational training. Practical solutions and teaching strategies are analyzed and discussed in an effort to support learning outside of the private lesson environment.
One of the last students of the great harpist and composer Marcel Tournier , Elizabeth Fontan-Binoche is a living legend of her instrument. In this master class, she explores her former teacher's Sonatine for Harp, Op. 30 with harpist Louisic Dulbecco. Published in 1924, the work for solo harp is one of Tournier's many contributions to the repertoire of his instrument.
In 2003, after a career spanning nearly forty years, Julia Varady discreetly retired from the public stage. She now dedicates her time to teaching. While for most great singers the transition from performing to teaching generally follows signs of vocal deterioration, Julia Varady's voice has never been so dazzling. She constantly sings in full voice during her classes, with the same intensity and generosity of spirit that made her one of the very finest lyric sopranos of our time.
Bonus feature:
The complete master class with Julia Varady (110 mins)
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli , Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli , Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli , Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, we brought you closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli , Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky 'One of the most outstanding Israeli violinists.' Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
Born in 1975 in Russia to a family of musicians, Isaac Stern has called Sergey Ostrovsky "One of the most outstanding Israeli violinists." Sergey Ostrovsky , has built an active and successful career as Aviv Quartet's first violinist, a soloist, violin and chamber music Professor of Haute Ecole de Musique de Geneve (Neuchatel Branch) and a first concertmaster of Orchestre de la Palau des les Arts de Comunidad Valenciana in Spain.
As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.
The celebrated countertenor Philippe Jaroussky gives a voice master class to students of the Mozart class, the first year of the Academie Musicale Philippe Jaroussky, which opened its doors in 2017 at La Seine Musicale and has continued drawing young talents together every year since.
With his precision of articulating every word Dietrich Fischer-Dieskau set permanent standards. Als "best Singer of Lieder of the World" (Times) he filled of course every concert hall. After 45 years he terminated his concert activities and is since very busy as a conductor, reciter, author of books and teacher.
The film Meister-Singer produced at the Musik- und Singschule Heidelberg, is about the classical Kunstlied and composers such as Franz Schubert, Hugo Wolf, Johannes Brahms, Gustav Mahler or Johann Strauss . Four long days Dietrich Fischer-Dieskau taught eight singing students. He not only gave suggestions but even let resound every now and then his "Heldenbariton". Also the participants of master course describe their impressions of this worldwide re-known interpreter of Lieder.
2018 marked the 25th anniversary of the Verbier Festival, an exciting milestone for Verbier's artists and audiences alike! For the first time, DakApp brought the audience closer to the musicians than ever before with ten master classes led by incredible artists, including Barbara Frittoli, Thomas Quasthoff, the Quatuor Ebene, Richard Goode and others.
Virginie Robilliard from France is currently teaching at the Haute Ecole de Musique de Lausanne in Switzerland. She is regularly invited to give master classes all over the world. Born into a family of musicians, she gave her first public concert at the age of five. She studied at the Conservatoire National Superieur de Musique et de Danse de Lyon and graduated in the Juilliard School as a scholarship student of Dorothy Delay. She made her New York debut at the age of 19. Her international career has included appearances in Asia, South America, Europe, Canada and the United States. Virginie Robilliard plays a Jean-Baptiste Vuillaume 1869.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices . In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices . In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts (ZHdK) and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices.
In 2010, he performed in the Concertgebouw Amsterdam with the Netherlands Symphony Orchestra and recorded live both Paganini Violin Concertos. They were released on Challenge Records and won the prestigious Edison Award.
Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in 2008. Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world. He regularly visits the US where he is giving master classes in Los Angeles, San Francisco, Oberlin College Ohio and Juilliard School of Music in New York. His guest master classes included visits at Curtis, Peabody, Yale, Cleveland, Oberlin, Manhattan Schools, as well as in China, Japan and Israel and all over Europe. Gyorgy Pauk has received several public honors in Britain and Hungary; also, he is Professor Emeritus of the Franz Liszt Academy in Budapest. Gyorgy Pauk has been playing on his Massart Stradivarius of 1714, the Master's Golden Period.
