Wydawnictwo: Challenge Classics
Nr katalogowy: CC 72524
Nośnik: 1 CD
Data wydania: październik 2011
EAN: 608917252422
Nr katalogowy: CC 72524
Nośnik: 1 CD
Data wydania: październik 2011
EAN: 608917252422
Kreutzer-Sonata’ and other works for violoncello & piano
Challenge Classics - CC 72524
Wykonawcy
Jelena Oci,cvioloncello
Federico Lovato, piano
Jelena Oci,cvioloncello
Federico Lovato, piano
Nagrody i rekomendacje
Utwory na płycie:
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 2 in C major)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 8 in E flat major)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 9 in d minor)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 10 in c minor)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 1 in C major)
Beethoven/Czerny:
Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Adagio sostenuto - Presto)
Beethoven/Czerny:Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Andante con variazioni)
Beethoven/Czerny:
Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Presto)
Hindemith:Cello Sonata op. 11, no. 3 (Mäßig schnelle Viertel. Mit Kraft)
Hindemith:
Cello Sonata op. 11, no. 3 (Langsam)
Hindemith:
Cello Sonata op. 11, no. 3 (Sehr Lebhaft)
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 2 in C major)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 8 in E flat major)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 9 in d minor)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 10 in c minor)
Bach/Moscheles:
5 studies in melodic counterpoint op. 137a
(preludes from Bach’s “Well-Tempered Clavier” with cello obligato) (Prelude no. 1 in C major)
Beethoven/Czerny:
Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Adagio sostenuto - Presto)
Beethoven/Czerny:Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Andante con variazioni)
Beethoven/Czerny:
Violin Sonata no. 9 (‘Kreutzer’) op. 47 in A major (Presto)
Hindemith:Cello Sonata op. 11, no. 3 (Mäßig schnelle Viertel. Mit Kraft)
Hindemith:
Cello Sonata op. 11, no. 3 (Langsam)
Hindemith:
Cello Sonata op. 11, no. 3 (Sehr Lebhaft)
THE MUSIC On this CD, Jelena Ocic and Federico Lovato perform five of ten preludes that the great 19th century pianist Ignaz Moscheles adapted from Bach’s „Well Tempered Clavier“ and Carl Czerny’s version of the „Kreutzer“ Sonata for Piano and Violoncello by Beethoven.
The Sonata for Violoncello and Piano op. 11 no. 3 of 1919 by Paul Hindemith has been described as one of the young Hindemith’s key works. His stylistic horizon has widened and he has clearly taken his distance to Late Romantic models such as Richard Strauss, whose „Alpine Symphony“ Hindemith called “A whopping piece of hocus-pocus!” And, even more drastic: „The man has really gone off the rails. Rather be hanged than ever write such music!” (to Emmy Ronne-feldt, 14 Nov. 1917). Within the context of modernism at this time, the stylistic experiments of the young Hindemith are infused far more by impressions of Johannes Brahms’ musical idiom and some of Max Reger’s contemporaries. Earlier models are also echoed: Mozart, and above all Bach.
Her chamber music partners have been Bernard Greenhouse, Konstanty Bogino, Ulrike-Anima Mathé, Federico Lovato, Friedemann Eichhorn, Vladimir Mendelssohn, Yuri Gandelsman, José Gallardo, etc…. She concertizes internationally as a soloist with chamber and philharmonic orchestras and as recitalist in Eastern and Western Europe, in the United States and Asia. Numerous composers (Cornell, Dott, Sorg, Prohaska, etc.) have dedicated works to her. At the Musikhochschule in Mannheim, where she is a member of the faculty since 2004, she is spearheading projects in performance for cellists, and in the composition and interpretation of new music for cello for composers. Federico Lovato received his diploma as a pianist from the Conservatorio “Benedetto Marcello” of Venice, having studied there with his father, Giorgio Lovato, and Enzo Mabilia. His postgraduate soloist training brought him to the renowned academy “Incontri col Maestro” at Imola (Italy) to study under the auspices of Piero Rattalino, after which he immediately initiated his career as concert pianist, appearing with most major Italian orchestras and winning numerous awards in national and international competitions. He has held recitals in all Italy and much of Europe, performing in such venues as the “Gasteig” in Munich, the “Teatr Mały” in Warsaw, Milan’s “Teatro alle Erbe”, Bologna’s “Sala Mozart”… His career as a chamber musician parallels that as a soloist and has been enriched by the guidance of musicians as Bernard Greenhouse, Michael Flaksman and the Trio di Parma. Frequent participation in festivals of note, at which he collaborates with musicians of prestigious renommée in the most varied ensembles, has led him to develop a notably large repertoire that extends from early classicism to the most recent forms of expression. For instance, with his “Archipelago Quartet” (two pianos and two percussionists) he premiered six new works commissioned by the Italian Third Program (“RAI Tre”) in a broadcast concert. Federico Lovato, in addition to being a significant emerging pianist on the European musical scene, also has a diploma as a cellist and is active in the area of pedagogy and as artistic director of the orchestra “I Solisti in Villa”, located in northern Italy. In duo with Jelena Ocic , Federico Lovato has given recitals in Europe and the United States, as well as two evenings broadcast live on Croatian Radio.
The Sonata for Violoncello and Piano op. 11 no. 3 of 1919 by Paul Hindemith has been described as one of the young Hindemith’s key works. His stylistic horizon has widened and he has clearly taken his distance to Late Romantic models such as Richard Strauss, whose „Alpine Symphony“ Hindemith called “A whopping piece of hocus-pocus!” And, even more drastic: „The man has really gone off the rails. Rather be hanged than ever write such music!” (to Emmy Ronne-feldt, 14 Nov. 1917). Within the context of modernism at this time, the stylistic experiments of the young Hindemith are infused far more by impressions of Johannes Brahms’ musical idiom and some of Max Reger’s contemporaries. Earlier models are also echoed: Mozart, and above all Bach.
Her chamber music partners have been Bernard Greenhouse, Konstanty Bogino, Ulrike-Anima Mathé, Federico Lovato, Friedemann Eichhorn, Vladimir Mendelssohn, Yuri Gandelsman, José Gallardo, etc…. She concertizes internationally as a soloist with chamber and philharmonic orchestras and as recitalist in Eastern and Western Europe, in the United States and Asia. Numerous composers (Cornell, Dott, Sorg, Prohaska, etc.) have dedicated works to her. At the Musikhochschule in Mannheim, where she is a member of the faculty since 2004, she is spearheading projects in performance for cellists, and in the composition and interpretation of new music for cello for composers. Federico Lovato received his diploma as a pianist from the Conservatorio “Benedetto Marcello” of Venice, having studied there with his father, Giorgio Lovato, and Enzo Mabilia. His postgraduate soloist training brought him to the renowned academy “Incontri col Maestro” at Imola (Italy) to study under the auspices of Piero Rattalino, after which he immediately initiated his career as concert pianist, appearing with most major Italian orchestras and winning numerous awards in national and international competitions. He has held recitals in all Italy and much of Europe, performing in such venues as the “Gasteig” in Munich, the “Teatr Mały” in Warsaw, Milan’s “Teatro alle Erbe”, Bologna’s “Sala Mozart”… His career as a chamber musician parallels that as a soloist and has been enriched by the guidance of musicians as Bernard Greenhouse, Michael Flaksman and the Trio di Parma. Frequent participation in festivals of note, at which he collaborates with musicians of prestigious renommée in the most varied ensembles, has led him to develop a notably large repertoire that extends from early classicism to the most recent forms of expression. For instance, with his “Archipelago Quartet” (two pianos and two percussionists) he premiered six new works commissioned by the Italian Third Program (“RAI Tre”) in a broadcast concert. Federico Lovato, in addition to being a significant emerging pianist on the European musical scene, also has a diploma as a cellist and is active in the area of pedagogy and as artistic director of the orchestra “I Solisti in Villa”, located in northern Italy. In duo with Jelena Ocic , Federico Lovato has given recitals in Europe and the United States, as well as two evenings broadcast live on Croatian Radio.
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