Lukas Geniušas

Lukas Geniušas
Lukas Geniušas (b. 1990), pianist – Second Prize (XV International Tchaikovsky Competition, 2015)

Wednesday, September 20, 2017

Lukas Geniušas plays Frédéric Chopin – XVI International Frederic Chopin Piano Competition in Warsaw, October 2010 (Audio videos)






















The XVI International Frederic Chopin Piano Competition was held in Warsaw, Poland from October 3-20, 2010. Prize winners' concerts were held October 21-23. First prize was given to Yulianna Avdeeva.

Prizes: Yulianna Avdeeva (1st Prize), Lukas Geniušas & Ingolf Wunder (2nd Prize), Daniil Trifonov (3rd Prize), Evgeni Bozhanov (4th Prize), François Dumont (5th Prize).

The jury panel for this competition includes Jan Ekier, Andrzej Jasiński, Piotr Paleczny, Martha Argerich, Bella Davidovich, Philippe Entremont, Nelson Freire, Adam Harasiewicz, Kevin Kenner, Michie Koyama, Katarzyna Popowa-Zydroń, Dang Thai Son, and Fou Ts'ong.

Throughout the competition, Ingolf Wunder was widely believed to be the best competitor as the audience favorite and leader in points. However, in the last stage of the competition, the judges scrapped the points system being used and evaluated the winner solely based on the final round. Although Wunder won the prize for Best Concerto (the final stage), he was not given the gold medal (awarded to Yulianna Avdeeva.) This created outrage among the Warsaw public, proclaiming the events a scandal similar to the Ivo Pogorelich case of the 1980 competition.

Source: en.wikipedia.org



LUKAS GENIUŠAS* plays FREDERIC CHOPIN

16th International Frederic Chopin Piano Competition in Warsaw, Poland, October 2010

* 2nd Prize & The Prize for The Best Performance of The Polonaise in F sharp minor, Op.44




Part I

Frédéric Chopin (1810-1849)

1. Étude in A flat major, Op.25 No.1
2. Étude in F minor, Op.25 No.2
3. Étude in F major, Op.25 No.3
4. Étude in A minor, Op.25 No.4
5. Étude in E minor, Op.25 No.5
6. Étude in G sharp minor, Op.25 No.6
7. Étude in C sharp minor, Op.25 No.7
8. Étude in D flat major, Op.25 No.8
9. Étude in G flat major, Op.25 No.9
10. Étude in B minor, Op.25 No.10
11. Étude in A minor, Op.25 No.11
12. Étude in C minor, Op.25 No.12
13. Barcarolle, Op.60
14. Fantasy in F minor, Op.49
15. Polonaise-Fantasy in A flat major, Op.61
16. Ballade in G minor, Op.23

Lukas Geniušas, piano

(HD 1080p – Audio video)




Part II

Frédéric Chopin (1810-1849)

1. Étude in A minor, Op.10 No.2
2. Mazurka in A minor, Op.59 No.1
3. Mazurka in A flat major, Op.59 No.2
4. Mazurka in F sharp minor, Op.59 No.3
5. Waltz in F major, Op.34 No.3
6. Waltz in A flat major, Op.42
7. Sonata in B flat minor, Op.35 Grave, Doppio movimento
8. Sonata in B flat minor, Op.35 Scherzo
9. Sonata in B flat minor, Op.35 Funeral March, Lento
10. Sonata in B flat minor, Op.35 Finale, Presto
11. Piano  Concerto in E minor, Op.11 Allegro maestoso
12. Piano  Concerto in E minor, Op.11 Romance, Larghetto
13. Piano  Concerto in E minor, Op.11 Rondo. Vivace

Lukas Geniušas, piano

Warsaw Philharmonic Orchestra
Conductor: Antoni Wit

(HD 1080p – Audio video)













Born in Moscow in 1990, Lukas Geniušas started piano studies at the age of 5 at the preparatory department of Frédéric Chopin Music College in Moscow, going on to graduate with top honours in 2008.

He was born into a family of musicians which played a major role in Lukas' swift musical development, in particular the mentorship of his grandmother, Vera Gornostaeva, the prominent teacher and professor at the Moscow Conservatory. This early development helped Lukas become the laureate of several major competitions including the Gina Bachauer Piano Competition in Utah, the Silver medal at the Chopin International Piano Competition in 2010. Two years later he received the German Piano Award in Frankfurt am Main. His most recent victory, and one of the most important, is the Silver Medal at the XV Tchaikovsky Competition in Moscow in 2015.

Lukas has appeared with numerous orchestras including the Hamburg Symphony, Duisburg Symphony, BBC Scottish Symphony, St Petersburg Philharmonic, Kremerata Baltica, Mariinsky Theatre Orchestra, Warsaw Philharmonic, and the City of Birmingham Symphony Orchestra, under the batons of conductors such as Valery Gergiev, Mikhail Pletnev, Andrey Boreyko, Saulius Sondeckis, Dmitry Sitkovetsky, Antoni Wit, Rafael Payare, Roman Kofman, and Dmitry Liss, to name but a few. His international career has taken Lukas to prestigious venues and festivals throughout the world, including the Rheingau, Ruhr and Lockenhaus Music Festivals, Piano aux Jacobins, the Auditorium du Louvre and Wigmore Hall, as well as to major concert halls in Russia and South America.

Highlights of the 2015/2016 season have included triumphant recitals at the Salle Gaveau in Paris and London International Piano Series, with the NHK Symphony Orchestra and Tugan Sokhiev as well as with Mikhail Pletnev and the Russian National Orchestra.  He recently performed at the La Roque d'Anthéron International Piano Festival and made his début at the Verbier Festival with solo and chamber recitals.

In the 2016/2017 season he returns to the Sala Verdi in Milan, Mariinsky-3 and the Great Hall of Moscow Conservatory, and performs début recitals at the Montreal Pro Musica series and Washington Phillips Collection. Important forthcoming engagements also include performances with Charles Dutoit and the Singapore Symphony Orchestra, with the Japan Philharmonic Orchestra under Alexander Lazarev in Yokohama, as well as with the Toronto Symphony Orchestra and the Orchestre Philharmonique de Radio France.

Lukas' musical interests are extensive and he explores a wide range of repertoire, from the Baroque to works by contemporary composers. His repertoire spans from Beethoven Piano Concerti through to Hindemith's "Ludus Tonalis" Cycle, as well as a strong interest in Russian repertoire such as Tchaikovsky, Rachmaninov and Prokofiev. Lukas is an avid chamber musician. He is an extremely inquisitive performer and enjoys working on new works by modern composers, as well as resurrecting rarely performed repertoire.

These aspects of his career are reflected in Lukas' critically acclaimed discography, which includes his most recent recordings of the complete Rachmaninov Preludes (Piano Classics), "The Emancipation of Dissonance" (works by Desyatnikov, Arzumanov and Ryuabov) and a CD of works for violin and piano with Aylen Pritchin (Melodiya) as well as earlier recordings of Chopin Études Op.10 and 25, and Brahms and Beethoven sonatas.

At the age of 15, he was awarded a "Young Talents" federal grant from the Russian Federation and two years later received the "Gifted Youth of the 21st Century" award. Lukas has since garnered much praise and many awards in recognition of his talent, also in his native Lithuania, where he gives concerts regularly and is recognized as an outstanding performer. Since 2015, Lukas has been a featured artist of "Looking at the stars" a philanthropy project based in Toronto, whose purpose is to bring classical music to institutions and organizations (prisons, hospitals and shelters) where people may not have an opportunity to experience it live in a traditional setting.

Source: geniusas.com

















See also

Lukas Geniušas plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.2 in G major, & Sergei Rachmaninov: Piano Concerto No.3 in D minor – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round

Lukas Geniušas plays Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage


Lukas Geniušas plays Johannes Brahms, Frederic Chopin & Sergei Prokofiev – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage


Lukas Geniušas plays Bach, Beethoven, Tchaikovsky, Rachmaninov, Chopin & Liszt – XV International Tchaikovsky Competition, 2015, Piano / Round 1


The winners of the XV International Tchaikovsky Competition, 2015


Monday, September 18, 2017

Lukas Geniušas plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.2 in G major, & Sergei Rachmaninov: Piano Concerto No.3 in D minor – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round
















The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years

The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.

The XV International Tchaikovsky Competition was held in Moscow and St Petersburg from June 15 to July 3, 2015, and was dedicated to the 175th anniversary of the great Russian composer.

In the competition participated more than 600 artists from 45 countries.

On the jury for piano was the distinguished pianists Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, and the founder and director of the Verbier International Festival and Academy, Martin Engström.

The pianists competing at the XV International Tchaikovsky Competition must perform one of Tchaikovsky's two first piano concertos.



In some circles, Tchaikovsky's Piano Concerto No.2 is thought to be superior to his ever-popular First, one of the most played and recorded concertos ever written. Still, defenders of the Second must concede to certain imperfections; the first two movements, for example, are rather long for their material. The latter, in fact, was heavily abridged by Rachmaninov's cousin, Alexander Siloti. The Concerto was actually published in this cut edition, which was for a time quite popular.

This mammoth three-movement work, performances of which typically exceed three-quarters of an hour begins with a proud theme first stated in the orchestra, then by the piano in big chords. A warm, romantic alternate theme, introduced partially by the clarinet, is taken up by the piano. Eventually Tchaikovsky introduces a brief cadenza, and soon afterward a massive cadenza appears, the main theme permeating it, often in subtle guises. A reprise initiated by the orchestra follows, with a brilliant coda closing the movement.

The second movement features lengthy solo appearances by the cello and violin, the former instrument introducing the main theme at the outset, soon joined by the violin, with the piano silent for the first four minutes or so. The lovely melody is at last taken up by the piano, and the mood seems to swim in serenity and beauty. Tension develops in the middle section in a long orchestral passage. The cello and violin return again, with the piano eventually reentering, but in an accompanimental role, and thereafter not really seizing center stage. While the piano has a limited role in this central panel, the music is imaginative and finely crafted.

The final begins with the piano playing an ebullient theme whose joyous ascending chords at the outset are followed by a playful descent. A busy second theme of strong Russian flavor quickly follows. The piano then delivers a lyrical variation on it that bleaches its ethnicity out and imparts a carefree, infectious joy. The whole movement bustles with energy and happiness, with brilliant piano writing and Tchaikovsky's typically imaginative orchestration.

Source: Robert Cummings (allmusic.com)



Rachmaninov premiered the Third Concerto in New York with the New York Symphony Orchestra, led by Walter Damrosch, on November 28, 1909. The following January he played it with the New York Philharmonic Orchestra, conducted by Gustav Mahler. For many decades, it was neglected by pianists and public alike, in favor of the more compact, more tuneful and structurally sounder Second Concerto. It is a deeper work, full of virtuosic hurdles and lengthy cadenzas. But it was undermined by cuts Rachmaninov was prevailed upon to make, which, in the short run, served to make it more programmable in concerts, but ultimately sabotaged its artistic value. Since the last quarter of the twentieth century, however, most performances of the concerto have been of the original version, which can run around 45 minutes. (Abridged renditions shaved as much as ten minutes off the score's total timing.)

The Third Concerto's first movement, marked Allegro ma non tanto, opens with the piano delivering a lively but solemn theme of Russian character, which then immediately begins to sprout new ideas. A yearning bridge passage leads to a rhythmic theme that slows and quickly takes on another melodic guise, a beautiful and typically Rachmaninovian one in its soaring and ecstatic manner. The main theme returns and a powerful development section yields to a lengthy cadenza, whose opening pages offer alternative versions for the soloist – a lighter, more athletic beginning or a darker more chordal one. A restatement of the main theme and brief coda close this generally subdued and reflective movement.

The second movement Adagio is formally rather unique, with the main theme dominating most of the movement, and a brief scherzo-like section appearing near the end. The mood ranges from the melancholy of the main theme by the oboe to the ecstatic glory of its big restatements by piano and orchestra in the middle part of the movement. After the playful scherzo-ish music, the piano is given a brief but brilliant cadenza that leads directly into the colorful finale.

This movement, marked Alla breve, offers a typical Rachmaninov fast theme on the piano right off: it is related to the first movement's alternate theme and is rhythmically buoyant and catchy in its repeated notes. A rhythmic chordal passage harkens back to the rhythm heard at the concerto's outset, and a lovely theme, related to the first movement bridge passage, is presented, hinting at triumphant resolution. Following a dramatic, suspenseful buildup near the end the theme makes one final and absolutely triumphant appearance, after which the brilliant coda closes the work. The middle section of this movement recalls both main themes from the first movement and was once the most heavily cut section of the concerto.

Today, this concerto carries the nickname of "Rach 3", and is the most popular choice among piano competition candidates wanting to perform a virtuoso display piece.

Source: Robert Cummings (allmusic.com)










Ο 15ος Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος ήταν αφιερωμένος στην 175η επέτειο από τη γέννηση του μεγάλου Ρώσου συνθέτη, πραγματοποιήθηκε στη Μόσχα και στην Αγία Πετρούπολη από τις 15 Ιουνίου έως τις 3 Ιουλίου 2015.

Στο πλαίσιο του τελικού του διαγωνισμού στην κατηγορία του πιάνου, ο Ρώσος πιανίστας Lukas Geniušas (γενν. 1990), ο οποίος μοιράστηκε τη δεύτερη θέση με τον κινεζικής καταγωγής Αμερικανό George Li, ερμήνευσε το Κοντσέρτο για πιάνο αρ. 2 σε Σολ μείζονα, έργο 44, του Πιότρ Ιλίτς Τσαϊκόφσκι, και το Κοντσέρτο για πιάνο αρ. 3 σε Ρε ελάσσονα, έργο 30, του Σεργκέι Ραχμάνινοφ. Τη State Academic Symphony Orchestra "Evgeny Svetlanov" διηύθυνε ο ταλαντούχος Ρώσος μαέστρος Alexey Bogorad.

Η συναυλία έλαβε χώρα στη Μεγάλη Αίθουσα του Ωδείου της Μόσχας, στις 29 Ιουνίου 2015.

Ο Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος πραγματοποιείται κάθε τέσσερα χρόνια, είναι ίσως ο σημαντικότερος διαγωνισμός στο χώρο της κλασικής μουσικής. Ο διαγωνισμός διοργανώθηκε για πρώτη φορά το 1958, περιλαμβάνοντας μόνο δύο κατηγορίες: του βιολιού και του πιάνου. Το 1962, στη δεύτερη διοργάνωση, προστέθηκε η κατηγορία του βιολοντσέλου, ενώ στην τρίτη διοργάνωση του διαγωνισμού, το 1966, προστέθηκε ακόμη η κατηγορία της φωνής.

Στον 15ο Διαγωνισμό, το 2015, συμμετείχαν περισσότεροι από εξακόσιοι καλλιτέχνες από 45 χώρες, οι οποίοι διαγωνίστηκαν και στις τέσσερεις κατηγορίες: πιάνο, βιολί, βιολοντσέλο και φωνή.

Την κριτική επιτροπή για την κατηγορία του πιάνου αποτελούσαν οι διακεκριμένοι πιανίστες Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, καθώς επίσης και ο Martin Engström, ιδρυτής και διευθυντής του Διεθνούς Φεστιβάλ και της Ακαδημίας του Βερμπιέρ.



Ο Πιότρ Ιλίτς Τσαϊκόφσκι ολοκλήρωσε το Κοντσέρτο για πιάνο αρ. 2 σε Σολ μείζονα, έργο 44, το 1880. Το αφιέρωσε στον Νικολάι Ρουμπινστάιν, ο οποίος επέμενε να του επιτραπεί να το εκτελέσει στην πρεμιέρα, θέλοντας με αυτόν τον τρόπο να εκφράσει τη μεταμέλειά του για τη σκληρή κριτική που είχε ασκήσει στον συνθέτη για το Πρώτο Κοντσέρτο του για πιάνο. Ωστόσο, ο Ρουμπινστάιν δεν έμελλε να το ερμηνεύσει ποτέ, καθώς πέθανε το Μάρτιο του 1881. Τελικά, η πρεμιέρα του έργου δόθηκε στη Νέα Υόρκη, στις 12 Νοεμβρίου του 1881, με σολίστ την Αγγλίδα πιανίστρια Madeline Schiller (1850-1911) και τη Φιλαρμονική της Νέας Υόρκης υπό τον Theodore Thomas. Η πρώτη παρουσίαση του Κοντσέρτου αρ. 2 στη Ρωσία πραγματοποιήθηκε στη Μόσχα το Μάιο του 1882. Την ορχήστρα διηύθυνε ο Αντόν Ρουμπινστάιν (1829-1894), ενώ στο πιάνο βρισκόταν ο μαθητής του Τσαϊκόφσκι, Σεργκέι Τανέγιεφ (1856-1915).



Ο Ραχμάνινοφ υπήρξε ένας από τους κορυφαίους πιανίστες όλων των εποχών, που οι ερμηνείες του άφησαν εποχή και προκαλούσαν ντελίριο ενθουσιασμού στις συναυλίες του. Ως συνθέτης προσέδωσε έναν βαθύ συναισθηματισμό στα έργα του και ανέπτυξε ένα εντελώς προσωπικό ύφος γραφής. Τα τέσσερα κοντσέρτα για πιάνο που έγραψε απαιτούν ιδιαίτερη δεξιοτεχνία από τον ερμηνευτή, κάτι απολύτως λογικό, αν αναλογιστούμε ότι τα έγραφε πρωτίστως για τον εαυτό του. Το τρίτο από αυτά το έγραψε το 1909 για την πρώτη του περιοδεία στις Η.Π.Α. και αποτελεί ένα από τα πλέον απαιτητικά κοντσέρτα του ρεπερτορίου. Παρουσιάζει ένα ιδιότυπο ύφος, ενώ θέτει δύσκολα τεχνικά προβλήματα στον πιανίστα, κυρίως στην cadenza του πρώτου μέρους. Έντονες είναι οι λυρικές μεταπτώσεις, ενώ αξίζει να σημειωθεί ο πρωταγωνιστικός ρόλος της ορχήστρας που είναι ισότιμος του πιάνου σε όλη τη διάρκεια του έργου. Ο πιανίστας θα πατήσει και τα 88 πλήκτρα του πιάνου στα σαράντα λεπτά μίας σκληρής αναμέτρησης με το έργο, που μπορεί να οδηγήσει ακόμη και σε ψυχοσωματική κατάπτωση, όπως συνέβη και στον Ντέιβιντ Χέλφγκοττ, στην ιστορία του οποίου βασίστηκε το φιλμ Shine (1996) του Σκοτ Χίκς.



XV International Tchaikovsky Competition, 2015, Piano / Final Round


Pyotr Ilyich Tchaikovsky (1840-1893)


♪ Piano Concerto No.2 in G major, Op.44 (1880) [
00:00]*


i. Allegro brillante e molto vivace
ii. Andante non troppo
iii. Allegro con fuoco


Sergei Rachmaninov (1873-1943)

♪ Piano Concerto No.3 in D minor, Op.30 (1909) [46:00]


i. Allegro ma non tanto
ii. Intermezzo. Adagio
iii. Finale. Alla breve


Lukas Geniušas, piano – Second Prize**

State Academic Symphony Orchestra "Evgeny Svetlanov"
Conductor: Alexey Bogorad

Great Hall of the Moscow Conservatory, June 29, 2015


(HD 720p)


* Start time of each work
** Second place was shared by Lukas Geniušas and George Li

















Born in Moscow in 1990, Lukas Geniušas started piano studies at the age of 5 at the preparatory department of Frédéric Chopin Music College in Moscow, going on to graduate with top honours in 2008.

He was born into a family of musicians which played a major role in Lukas' swift musical development, in particular the mentorship of his grandmother, Vera Gornostaeva, the prominent teacher and professor at the Moscow Conservatory. This early development helped Lukas become the laureate of several major competitions including the Gina Bachauer Piano Competition in Utah, the Silver medal at the Chopin International Piano Competition in 2010. Two years later he received the German Piano Award in Frankfurt am Main. His most recent victory, and one of the most important, is the Silver Medal at the XV Tchaikovsky Competition in Moscow in 2015.

Lukas has appeared with numerous orchestras including the Hamburg Symphony, Duisburg Symphony, BBC Scottish Symphony, St Petersburg Philharmonic, Kremerata Baltica, Mariinsky Theatre Orchestra, Warsaw Philharmonic, and the City of Birmingham Symphony Orchestra, under the batons of conductors such as Valery Gergiev, Mikhail Pletnev, Andrey Boreyko, Saulius Sondeckis, Dmitry Sitkovetsky, Antoni Wit, Rafael Payare, Roman Kofman, and Dmitry Liss, to name but a few. His international career has taken Lukas to prestigious venues and festivals throughout the world, including the Rheingau, Ruhr and Lockenhaus Music Festivals, Piano aux Jacobins, the Auditorium du Louvre and Wigmore Hall, as well as to major concert halls in Russia and South America.

Highlights of the 2015/2016 season have included triumphant recitals at the Salle Gaveau in Paris and London International Piano Series, with the NHK Symphony Orchestra and Tugan Sokhiev as well as with Mikhail Pletnev and the Russian National Orchestra.  He recently performed at the La Roque d'Anthéron International Piano Festival and made his début at the Verbier Festival with solo and chamber recitals.

In the 2016/2017 season he returns to the Sala Verdi in Milan, Mariinsky-3 and the Great Hall of Moscow Conservatory, and performs début recitals at the Montreal Pro Musica series and Washington Phillips Collection. Important forthcoming engagements also include performances with Charles Dutoit and the Singapore Symphony Orchestra, with the Japan Philharmonic Orchestra under Alexander Lazarev in Yokohama, as well as with the Toronto Symphony Orchestra and the Orchestre Philharmonique de Radio France.

Lukas' musical interests are extensive and he explores a wide range of repertoire, from the Baroque to works by contemporary composers. His repertoire spans from Beethoven Piano Concerti through to Hindemith's "Ludus Tonalis" Cycle, as well as a strong interest in Russian repertoire such as Tchaikovsky, Rachmaninov and Prokofiev. Lukas is an avid chamber musician. He is an extremely inquisitive performer and enjoys working on new works by modern composers, as well as resurrecting rarely performed repertoire.

These aspects of his career are reflected in Lukas' critically acclaimed discography, which includes his most recent recordings of the complete Rachmaninov Preludes (Piano Classics), "The Emancipation of Dissonance" (works by Desyatnikov, Arzumanov and Ryuabov) and a CD of works for violin and piano with Aylen Pritchin (Melodiya) as well as earlier recordings of Chopin Études Op.10 and 25, and Brahms and Beethoven sonatas.

At the age of 15, he was awarded a "Young Talents" federal grant from the Russian Federation and two years later received the "Gifted Youth of the 21st Century" award. Lukas has since garnered much praise and many awards in recognition of his talent, also in his native Lithuania, where he gives concerts regularly and is recognized as an outstanding performer. Since 2015, Lukas has been a featured artist of "Looking at the stars" a philanthropy project based in Toronto, whose purpose is to bring classical music to institutions and organizations (prisons, hospitals and shelters) where people may not have an opportunity to experience it live in a traditional setting.

Source: geniusas.com













































More photos


See also


Lukas Geniušas plays Frédéric Chopin – XVI International Frederic Chopin Piano Competition in Warsaw, October 2010 (Audio videos)

Lukas Geniušas plays Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage

Lukas Geniušas plays Johannes Brahms, Frederic Chopin & Sergei Prokofiev – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage


Lukas Geniušas plays Bach, Beethoven, Tchaikovsky, Rachmaninov, Chopin & Liszt – XV International Tchaikovsky Competition, 2015, Piano / Round 1


The winners of the XV International Tchaikovsky Competition, 2015










Saturday, September 16, 2017

Maurice Ravel: Boléro – London Symphony Orchestra, Valery Gergiev (HD 1080p)














Maurice Ravel's Boléro peformed by the London Symphony Orchestra conducted by Valery Gergiev. Recorded at Barbican Hall, London, on December 18, 2009.



Maurice Ravel's Boléro is easily its composer's most famous work. It is famous to historians and record-books for ostensibly containing the longest-sustained single crescendo anywhere in the orchestral repertory; it is famous to collectors of anecdotes for having been humorously dubbed a "piece for orchestra without music" by Ravel; and it is famous to musicians and music lovers for being both the most repetitive 15 minutes of music they are likely to play/hear and also one of the most absolutely well-composed 15 such minutes. But, though Ravel would almost certainly have objected to this particular kind of fame, Boléro is most famous for having served as the background music for an erotic interlude in a major Hollywood motion picture (10, starring Bo Derek and Dudley Moore).

Boléro was commissioned by the dancer Ida Rubinstein in 1928; she specifically requested a work with Spanish character. Ravel's original intention was to orchestrate sections of Albéniz's Iberia, but he could not obtain the rights. Ravel wrote his miniature ballet as a technical exercise in composition, seeking to grow an entire orchestral work out of only a single melodic idea. It never occurred to him that it might become a popular work; but it did of course, and two years later Ravel crafted a version for two pianos so that he might continue to reap the harvest he had unwittingly sown. The premiere itself (at the Theatre of the Paris Opera with Rubinstein and her troupe, on November 22, 1928) was so enthusiastically received, that the audience shouted for the encore of the final scene.

Boléro is, on the surface, an astoundingly simple piece. An ostinato rhythm in the percussion begins at the beginning and maintains its steady pulse throughout; likewise an ostinato bass pattern. Atop this firm foundation is placed a theme in two halves that is made into what more-or-less amounts to a set of variations. Instruments are added, harmonies are filled-out, the music grows louder and more rambunctious, and, in a grand climax, C major is abandoned for E (if only for a brief time); here, for the very first time, we get the unsettling impression that it is perhaps not a happy piece after all, but a most disquieting commentary on aspects of life in the Roaring Twenties (Ravel himself was quite disturbed by how quickly high society took up Boléro as its own). C major is quickly re-established, and pungent trombone glissandos lead the way to a hair-raising close.

Source: Rovi Staff (allmusic.com)



Maurice Ravel (1875-1937)

♪ Boléro (1928)

London Symphony Orchestra
Conductor: Valery Gergiev

Barbican Hall, London, December 18, 2009

(HD 1080p)































































More photos


See also

Maurice Ravel: Boléro – hr-Sinfonieorchester, Andrés Orozco-Estrada (HD 1080p)

Maurice Ravel: Boléro – Maya Plisetskaya

Friday, September 15, 2017

Documenta 14 faces deficit of €7 million – The state saved the quinquennial at the eleventh hour

54 blue lambs by Aboubakar Fofana. Athens. Photo by Stathis Mamalakis


















Adam Szymczyk Led documenta to the Brink of Bankruptcy With a Show That Went Vastly Over Budget

Documenta 14 director Adam Szymczyk has led the world-renowned art quinquennial to the brink of bankruptcy, after the exhibition ran significantly over budget. According to the German local newspaper HNA, which broke the story, the deficit amounts to roughly €7 million ($8.3 million).

The insolvency of documenta's parent company was narrowly averted when numerous creditors accepted deferral agreements for outstanding payments after the state of Hesse and the city of Kassel agreed to act as guarantors, writing a check for a €3.5 million loan ($4 million) at an emergency board meeting on August 30 to keep the exhibition up and running. The financial injection ensures the quinquennial can continue to run until its conclusion on September 17, and ensures that its employees will be paid.

In a statement published on the city's official website, the mayor of Kassel and chairman of the board of documenta's parent company Christian Geselle confirmed that the quinquennial was facing "financial constraints" and confirmed that the city of Kassel and the state of Hesse reached a deal to "guarantee the liquidity of the company" going forward, although the statement does not name figures.

"The board is aware of the extraordinary importance of documenta for the city of Kassel and the state of Hesse", Geselle said in the statement. "Documenta is inextricably linked to Kassel and we want documenta to continue to bring world class contemporary art to Kassel."

It's still unclear how the €37 million budget ($44 million) was squandered, as independent auditors are still examining the numbers. However, initial reports suggest that the exhibition's secondary venue in Athens was the root of the problem, with the Greek show costing more than anticipated. At the same time, ticket sales have failed to make up for the shortfall – and, halfway through its run time, projections show that a three percent decline in visitor numbers is expected in comparison to the previous edition.

At the moment, the reason for the near-bankruptcy appears to be a case of financial mismanagement by documenta officials. Adam Szymczyk's decision to stage the show in two different countries significantly inflated costs, while chief executive Annette Kulenkampff, a trained art historian and former publisher, did little to stop the director's spending. Meanwhile, the chair of the advisory board was until recently filled by former Kassel mayor Bertram Hilgen, who allegedly allowed the spending to continue in an effort to protect his legacy at the end of his political term. Now it's up to Hilgen's successor, Geselle, and the other board members to pick up the pieces and come up with a solution to documenta's financial problems.

A post-mortem is already scheduled at a second board meeting next week, where the independent auditors will present their findings, which will doubtless shed more light on what exactly went wrong.

Reached by email, a representative of documenta declined to comment, and referred artnet News to the statement by the mayor of Kassel.

Source: Henri Neuendorf, September 12, 2017 (artnet.com)


The Parthenon of Books by Marta Minujín. Friedrichsplatz, Kassel.
Photo by Roman März

















Τελικά η Αθήνα «έριξε» έξω την Documenta 14;

Σχόλια περί «χρεοκοπίας» της μεγάλης εικαστικής διοργάνωσης στον διεθνή Τύπο

Το υπέρογκο ποσό που απαιτεί η πραγματοποίηση της εκάστοτε documenta είναι κάτι γνωστό. Ο θεσμός έχει αναπτύξει τεράστιες οικονομικές απαιτήσεις τόσο ως προς την παραγωγή των έργων (οι καλλιτέχνες της μισθώνονται περίπου για 2 χρόνια ώστε να δημιουργήσουν ένα νέο έργο τους σε βάθος) όσο και ως προς τις επιμελητικές ανάγκες και φιλοδοξίες.

Η Documenta 14 ωστόσο ξεπέρασε κατά πολύ τις προηγούμενες διοργανώσεις. Ένας γρήγορος απολογισμός δείχνει ότι, αν η documenta του 2007 στοίχισε 19 εκατομμύρια ευρώ στην πόλη του Κάσελ, η Documenta 14 σχεδόν διπλασίασε το ποσόν φτάνοντας τον προϋπολογισμό των 37 εκατομμυρίων ευρώ. Και από το αρχικό ποσόν που είχε στα χέρια του ο διευθυντής Άνταμ Σίμτσικ, το αποτέλεσμα μάλιστα που προκύπτει είναι ένα έλλειμμα της τάξεως των 7 εκατομμυρίων ευρώ.

Ο δήμαρχος του Κάσελ και το ΔΣ της εταιρείας που είναι υπεύθυνη για την οικονομική διαχείριση της έκθεσης, επιβεβαίωσαν το οικονομικό πρόβλημα που προέκυψε από την φετινή documenta, αφήνοντας ανοιχτό το ενδεχόμενο ανάγκης ενός δανείου προκειμένου να καλυφθεί το έλλειμμα των 7 εκατομμυρίων. Το πρόβλημα ωστόσο περιορίζεται στο θέμα των οικονομικών της έκθεσης και δεν θέτει σε κίνδυνο το μέλλον της διεθνούς διοργάνωσης, αφού η πόλη αναγνωρίζει πλήρως τη σημαντικότητά της. «Η Documenta 14 συνδέεται με το Κάσελ και θέλουμε να συνεχίσει να φέρνει σύγχρονη τέχνη παγκόσμιας κλάσης στην πόλη μας», αναφέρει μία σχετική δήλωση.

Ωστόσο, ο διευθυντής της, Άνταμ Σίμτσικ θα κληθεί να εξηγήσει πού σπαταλήθηκε το υπέρογκο ποσόν των 37 εκατομμυρίων ευρώ. Πολλοί λένε ότι τα έξοδα της έκθεσης ανέβηκαν ιδιαίτερα επειδή μοιράστηκε στις δύο πόλεις (Κάσελ - Αθήνα), καθώς η documenta της Αθήνας ξεπέρασε το budget που αναμενόταν.

Τα καυστικά αστεία έχουν ξεκινήσει κάνοντας έναν παραλληλισμό ανάμεσα στην οικονομική κατάσταση της χώρας μας και την επικείμενη «χρεοκοπία» της documenta.

Μήπως αυτό ήταν τελικά το «μάθημα» που δώσαμε στην ευρωπαϊκή αυτή έκθεση; Πώς να ξοδεύει κανείς ελεύθερα, χωρίς δεσμεύσεις και λογικούς περιορισμούς;

Πηγή: tospirto.net, 15 Σεπτεμβρίου 2017


Artist Book by Daniel Knorr. Athens. Photo by Milos Bicanski















See also – Δείτε επίσης

Προπαγανδίζουν απόψεις κατά των εκλογών και καταγγέλλουν τη «μιζέρια της αντιπροσωπευτικής δημοκρατίας» οι διοργανωτές της Documenta 14

Και οι νεκροί εξεγείρονται κατά της Documenta 14 στο Α' Νεκροταφείο Αθηνών, δηλώνοντας «Ούτε στον τάφο δεν μπορείς να ησυχάσεις πια, γαμώ τον πολιτι(ζ)μό μας, γαμώ!»

Documenta 14: Το Κτήνος αποθρασύνεται – Γράφει η Ζωή Κωνσταντοπούλου

Wednesday, September 13, 2017

Lukas Geniušas plays Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage
















The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years.

The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.

The XV International Tchaikovsky Competition was held in Moscow and St Petersburg from June 15 to July 3, 2015, and was dedicated to the 175th anniversary of the great Russian composer.

In the competition participated more than 600 artists from 45 countries.

On the jury for piano was the distinguished pianists Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, and the founder and director of the Verbier International Festival and Academy, Martin Engström.

The pianists competing at the XV International Tchaikovsky Competition must perform, during the second round of the Competition, one of the seven piano concertos written by Mozart and selected by the Competition.



Mozart completed his Piano Concerto No.20 in D minor on February 10, 1785, and played the first performance the next evening in Vienna. Scoring adds a flute and two trumpets to winds, horns, timpani, and strings.

On February 11, 1785, Leopold Mozart arrived in Vienna after a wintry, bone-rattling, coach journey from Salzburg – his first visit to the capital in 12 years and his last. On the same night he attended an Akademie by his celebrated son, who had just turned 29 and was at the peak of his popularity in ever-fickle Vienna. Leopold wrote to daughter Nannerl that, in the Casino on the Mehlgrube, he beheld "a vast concourse of people of rank... The concert was incomparable, the orchestra excellent". After two arias by a singer from the Italian opera, there "came a new, superb piano concerto by Wolfgang, which the copyist was still writing when we arrived, and the rondo of which your brother hadn't time to play because he had to revise copies [of the orchestral parts]". This was the trailblazing D minor Concerto that survived the neglect of so much of Mozart's music during the nineteenth century. Beethoven, both smitten and influenced, played it publicly, with his own cadenzas in the first and last movements, where Mozart had improvised. No reports have survived of the audience's acceptance, but had they been hostile or even cool, surely Leopold would have reported this to Nannerl. His son's marriage without paternal permission in 1782 to Constanze Weber still rankled; so did their newfound independence. However, Papa's immediate and unreserved acceptance of Wolfgang's departures from tradition in the new concerto – beginning immediately with an agitated, subtly changing bass line beneath the throbbing syncopation of violins and violas – revealed a flexibility otherwise missing in his personal character. One can almost admire the manipulative Leopold for that.

In the first movement, Allegro (D minor, common time), Mozart's themes are motivic rather than conventionally melodic; more than two centuries later it remains a miracle that the soloist never plays exactly what the orchestra sets forth in the exposition, despite a rock-solid sonata structure throughout. When the piano finally enters in measure 77, it does so as an alien in a threateningly troubled land. Nor does the soloist take complete charge until the coda of the finale where, half-an-hour later, he coaxes the music into D major.

The second movement is a Romanza (B flat major, common time). Not to underrate Mozart's incomparable genius in music before this, nothing had equaled the unity of expression achieved in 1785 and after. Beyond integrating the outer movements, he made the slow movement part and parcel of the whole. This Romanza without tempo marking (but clearly Andante) is a rondo in ABACA form that plunges dramatically into G minor before the end couplet – a significant harmonic departure not just here but in the concerto's overall context.

Mozart returns to D minor ion the third movement (Allegro assai; alla breve). Until the coda, we hear one of Mozart's rare rondos in a minor key. More precisely, it is an extended sonata-rondo (ABACDA, plus coda), since C is a development, with the reprise in section D. The development again as before in the second movement seeks out G minor – the darkest key in Mozart's harmonic lexicon – before D major is finally allowed to break through, albeit a whitish and wintry sun.

Source: Roger Dettmer (allmusic.com)










Ο 15ος Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος ήταν αφιερωμένος στην 175η επέτειο από τη γέννηση του μεγάλου Ρώσου συνθέτη, πραγματοποιήθηκε στη Μόσχα και στην Αγία Πετρούπολη από τις 15 Ιουνίου έως τις 3 Ιουλίου 2015.

Στο πλαίσιο του δεύτερου γύρου – στο δεύτερο από τα δύο στάδια – του διαγωνισμού στην κατηγορία του πιάνου, ο Ρώσος πιανίστας Lukas Geniušas (γενν. 1990), ο οποίος μοιράστηκε τη δεύτερη θέση με τον κινεζικής καταγωγής Αμερικανό George Li, ερμήνευσε το Κοντσέρτο για πιάνο αρ. 20 σε Ρε ελάσσονα, K.466 του Βόλφγκανγκ Αμαντέους Μότσαρτ. Την Ορχήστρα Δωματίου Οι Σολίστ της Μόσχας διηύθυνε ο 27χρονος Βέλγος πιανίστας και αρχιμουσικός Ayrton Desimpelaere.

Το ρεσιτάλ έλαβε χώρα στη Μεγάλη Αίθουσα του Ωδείου της Μόσχας, στις 25 Ιουνίου 2015.

Ο Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος πραγματοποιείται κάθε τέσσερα χρόνια, είναι ίσως ο σημαντικότερος διαγωνισμός στο χώρο της κλασικής μουσικής. Ο διαγωνισμός διοργανώθηκε για πρώτη φορά το 1958, περιλαμβάνοντας μόνο δύο κατηγορίες: του βιολιού και του πιάνου. Το 1962, στη δεύτερη διοργάνωση, προστέθηκε η κατηγορία του βιολοντσέλου, ενώ στην τρίτη διοργάνωση του διαγωνισμού, το 1966, προστέθηκε ακόμη η κατηγορία της φωνής.

Στον 15ο Διαγωνισμό, το 2015, συμμετείχαν περισσότεροι από εξακόσιοι καλλιτέχνες από 45 χώρες, οι οποίοι διαγωνίστηκαν και στις τέσσερεις κατηγορίες: πιάνο, βιολί, βιολοντσέλο και φωνή.

Την κριτική επιτροπή για την κατηγορία του πιάνου αποτελούσαν οι διακεκριμένοι πιανίστες Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, καθώς επίσης και ο Martin Engström, ιδρυτής και διευθυντής του Διεθνούς Φεστιβάλ και της Ακαδημίας του Βερμπιέρ.



XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage

Wolfgang Amadeus Mozart (1756-1791)


♪ Piano Concerto No.20 in D minor, K.466 (1785)

i.Allegro
ii. Romance
iii. Allegro vivace assai

Lukas Geniušas, piano – Second Prize*

Moscow Soloists Chamber Orchestra
Conductor: Ayrton Desimpelaere

Great Hall of the Moscow Conservatory, June 25, 2015

(HD 720p)

* Second place was shared by Lukas Geniušas and George Li

















Born in Moscow in 1990, Lukas Geniušas started piano studies at the age of 5 at the preparatory department of Frédéric Chopin Music College in Moscow, going on to graduate with top honours in 2008.

He was born into a family of musicians which played a major role in Lukas' swift musical development, in particular the mentorship of his grandmother, Vera Gornostaeva, the prominent teacher and professor at the Moscow Conservatory. This early development helped Lukas become the laureate of several major competitions including the Gina Bachauer Piano Competition in Utah, the Silver medal at the Chopin International Piano Competition in 2010. Two years later he received the German Piano Award in Frankfurt am Main. His most recent victory, and one of the most important, is the Silver Medal at the XV Tchaikovsky Competition in Moscow in 2015.

Lukas has appeared with numerous orchestras including the Hamburg Symphony, Duisburg Symphony, BBC Scottish Symphony, St Petersburg Philharmonic, Kremerata Baltica, Mariinsky Theatre Orchestra, Warsaw Philharmonic, and the City of Birmingham Symphony Orchestra, under the batons of conductors such as Valery Gergiev, Mikhail Pletnev, Andrey Boreyko, Saulius Sondeckis, Dmitry Sitkovetsky, Antoni Wit, Rafael Payare, Roman Kofman, and Dmitry Liss, to name but a few. His international career has taken Lukas to prestigious venues and festivals throughout the world, including the Rheingau, Ruhr and Lockenhaus Music Festivals, Piano aux Jacobins, the Auditorium du Louvre and Wigmore Hall, as well as to major concert halls in Russia and South America.

Highlights of the 2015/2016 season have included triumphant recitals at the Salle Gaveau in Paris and London International Piano Series, with the NHK Symphony Orchestra and Tugan Sokhiev as well as with Mikhail Pletnev and the Russian National Orchestra.  He recently performed at the La Roque d'Anthéron International Piano Festival and made his début at the Verbier Festival with solo and chamber recitals.

In the 2016/2017 season he returns to the Sala Verdi in Milan, Mariinsky-3 and the Great Hall of Moscow Conservatory, and performs début recitals at the Montreal Pro Musica series and Washington Phillips Collection. Important forthcoming engagements also include performances with Charles Dutoit and the Singapore Symphony Orchestra, with the Japan Philharmonic Orchestra under Alexander Lazarev in Yokohama, as well as with the Toronto Symphony Orchestra and the Orchestre Philharmonique de Radio France.

Lukas' musical interests are extensive and he explores a wide range of repertoire, from the Baroque to works by contemporary composers. His repertoire spans from Beethoven Piano Concerti through to Hindemith's "Ludus Tonalis" Cycle, as well as a strong interest in Russian repertoire such as Tchaikovsky, Rachmaninov and Prokofiev. Lukas is an avid chamber musician. He is an extremely inquisitive performer and enjoys working on new works by modern composers, as well as resurrecting rarely performed repertoire.

These aspects of his career are reflected in Lukas' critically acclaimed discography, which includes his most recent recordings of the complete Rachmaninov Preludes (Piano Classics), "The Emancipation of Dissonance" (works by Desyatnikov, Arzumanov and Ryuabov) and a CD of works for violin and piano with Aylen Pritchin (Melodiya) as well as earlier recordings of Chopin Études Op.10 and 25, and Brahms and Beethoven sonatas.

At the age of 15, he was awarded a "Young Talents" federal grant from the Russian Federation and two years later received the "Gifted Youth of the 21st Century" award. Lukas has since garnered much praise and many awards in recognition of his talent, also in his native Lithuania, where he gives concerts regularly and is recognized as an outstanding performer. Since 2015, Lukas has been a featured artist of "Looking at the stars" a philanthropy project based in Toronto, whose purpose is to bring classical music to institutions and organizations (prisons, hospitals and shelters) where people may not have an opportunity to experience it live in a traditional setting.

Source: geniusas.com

















More photos


See also


Lukas Geniušas plays Frédéric Chopin – XVI International Frederic Chopin Piano Competition in Warsaw, October 2010 (Audio videos)

Lukas Geniušas plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.2 in G major, & Sergei Rachmaninov: Piano Concerto No.3 in D minor – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round

Lukas Geniušas plays Johannes Brahms, Frederic Chopin & Sergei Prokofiev – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage

Lukas Geniušas plays Bach, Beethoven, Tchaikovsky, Rachmaninov, Chopin & Liszt – XV International Tchaikovsky Competition, 2015, Piano / Round 1


The winners of the XV International Tchaikovsky Competition, 2015










Tuesday, September 12, 2017

Baroque Extravaganza – Marita Paparizou, Nadia Fiorou, Dimitris Yiakas – Thessaloniki Concert Hall, September 25, 2017























The composers of the 17th and 18th century experimented with the human voice, using it as the absolute musical instrument and coming up with compositions for it that reach or even exceed its limitations.

The baroque era could be characterised as the first era to create the "star system". On the one hand the castrati Senesino, Caffarelli or Farinelli, and, on the other hand, female voices such as Cuzzoni, Bordoni, Clive or Durastanti, who exalted the human instrument, while creating the first musical idols through their personal lives and rivalries. They lived and performed excessively and dangerously, walking the tightrope of a Baroque Extravaganza.

Marita Paparizou, mezzo-soprano
Nadia Fiorou, soprano
Dimitris Yiakas, piano

Thessaloniki Concert Hall, September 25, 2017, 21:00


Marita Paparizou























Οι συνθέτες του 17ου και 18ου αιώνα πειραματίστηκαν με την ανθρώπινη φωνή, αντιμετωπίζοντάς την σαν το απόλυτο μουσικό όργανο και γράφοντας γι' αυτήν συνθέσεις που αγγίζουν ή και ξεπερνούν τα όριά της.

Η εποχή μπαρόκ θα μπορούσε να χαρακτηριστεί ως η πρώτη εποχή, όπου δημιουργείται το "star system". Από τη μια καστράτοι όπως ο Senesino, ο Caffarelli ή ο Farinelli και από την άλλη, γυναικείες φωνές όπως η Cuzzoni, η Bordoni, η Clive ή η Durastanti αποθέωσαν το ανθρώπινο όργανο, ενώ παράλληλα με τις προσωπικές τους ζωές και αντιπαλότητες δημιούργησαν τα πρώτα μουσικά «είδωλα». Ζην λοιπόν και ερμηνεύειν υπερβολικώς και επικινδύνως, ακροβατώντας σε μια Baroque Extravaganza.

Μαρίτα Παπαρίζου, μεσόφωνος
Νάντια Φιόρου, υψίφωνος
Δημήτρης Γιάκας, πιάνο

Μέγαρο Μουσικής Θεσσαλονίκης, 25 Σεπτεμβρίου 2017, 21:00


Nadia Fiorou























Thessaloniki Concert Hall: 25 Martiou Street & Paralia, Thessaloniki, Greece

2310 895800

More information – Tickets



Μέγαρο Μουσικής Θεσσαλονίκης: 25ης Μαρτίου και Παραλία, Θεσσαλονίκη 

2310 895800

Περισσότερες πληροφορίες – Εισιτήρια


Dimitris Yiakas























See also – Δείτε επίσης

Μαρίτα Παπαρίζου – Αποκλειστική συνέντευξη

Antonio Vivaldi: Stabat Mater, RV 621 – Marita Paparizou, Claudio Scimone (Audio video)

Antonio Vivaldi: Orlando furioso, RV 728 (2 arias) - Marita Paparizou, Claudio Scimone (Audio video)

Marita Paparizou sings Handel, Vivaldi & Bertoni – I Solisti Veneti, Claudio Scimone (Audio video)


Vivaldi Ma Non Solo – Marita Paparizou, Claudio Scimone (MD&G, 2012)


Sunday, September 10, 2017

Francesco Tristano: Piano Circle Songs – Francesco Tristano, Chilly Gonzales (Download 96kHz/24bit & 44.1kHz/16bit)






















Just my two hands. And the piano – my most loyal companion over the years. Piano Circle Songs was crafted from a new perspective, from a new shore that fatherhood washed me upon. Observations of my children's behavior reminded me of circles, with their constant to-and-fro, confusing yet inspirational. The circle – that simple yet most perfect geometric form – without turning left or right, you find yourself at the beginning again. Infinite axes of symmetry. Like seasons, the eternal cycle of life.

I'm very grateful that Jason "Chilly Gonzales" Beck joined me on a few of these songs, and also contributed a song of his own. Together we found a common musical space which is recorded here.

As is the case for all records, it is a team effort. I want to thank from the bottom of my heart all the people involved.

This album is dedicated to the memory of Eliseo Baches.

Thank you for listening.

Peace, FT


Photo by Marie Staggat















Francesco Tristano explores the simple beauty of melodies on his first album entirely devoted to his own piano compositions.

With the release of his new album, acclaimed pianist Francesco Tristano returns to his first passion with a selection of beautiful, newly composed works for solo piano. After several years of working with beat-driven electronic music, Piano Circle Songs explores the gentler, more innocent side of his creative personality with simple, poignant melodies being the key creative impetus:

"I love the beats, I love the constant impulse. The music on Piano Circle Songs is the opposite. It's very intimate, a melodic way of composing that has been largely inspired by the fact I had children. They made me explore a gentler phase of what I could do at the piano, in terms of writing." — Francesco Tristiano

This new album also features award-winning Canadian pianist and songwriter Chilly Gonzales on four of the tracks, of which Gonzales composed "Tryst" himself for the album.

The album theme of "circle" reflects the cyclical nature of the pieces themselves; many of the works follow ABA form or extended variations of this. Tristano also drew inspiration from a chance conversation with Chilly Gonzales and reflections on the behavior of his children. It was important for Tristano to capture the intimacy of the music in both the recording and the postproduction phases. By purposefully placing mics close to the instrument, he wants the listener to experience the sensation of having "their ear inside the piano".

Tristano will perform the music from the album in concert this autumn in Berlin, Munich, London and Paris.

Release date: 8 September 2017.

There are recital and orchestral (chamber and symphonic) versions of this project and upcoming highlights include: Rheingau Musik Festival, Alte Oper Frankfurt, Funkhaus Berlin, Orchestre National de Lille, Royal Liverpool Philharmonic Orchestra, Orchestre philharmonique de Strasbourg, Cité de la Musique and La Seine Musicale Paris.

Source: harrisonparrott.com


Photo by Aymeric Giraudel
















Francesco Tristano (b. 1981)

♪ Piano Circle Songs (2017)

1. Circle Song
2. This Too Shall Go
3. Grey Light
4. Never
5. All I Have
6. Triangle Song
7. Pastoral
8. Circle Song II
9. Merl
10. Circle Song III
11. Nuria's Lament
12. La Franciscana
13. Monologue for Two
14. Tryst
15. Third Haiku

Francesco Tristano, piano
Chilly Gonzales, piano (tracks 6, 13-15)

All tracks composed by Francesco Tristano, except Tracks 13 & 15 composed by Francesco Tristano and Jason "Chilly Gonzales" Beck, and Track 14 by Jason "Chilly Gonzales" Beck.

Francesco Tristano plays a Yamaha CFX piano and Chilly Gonzales plays a Bösendorfer piano.

Recording: Hinterland Studios Paris, Philharmonie Luxembourg, November 2016 - April 2017

Sony Classical 2017


Watch the trailer (HD 1080p)




Download the CD

from RapidGator or NitroFlare

(96kHz/24bit, Size: 954.1 MB)

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(44.1kHz/16bit, Size: 254.82 MB)

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Photo by Marie Staggat















Francesco Tristano leads a multifaceted career as a pianist and composer, delving into classical and jazz works, as well as other popular and avant-garde styles of music. Yet, he is often associated with Baroque music, particularly compositions by J.S. Bach. Indeed, he has recorded all the Bach keyboard concertos and other Bach works. But he has performed much other Baroque fare by such composers as Buxtehude, Frescobaldi, and Orlando Gibbons, and he arranged Vivaldi's The Four Seasons, for piano and strings. But Tristano is equally at home in contemporary and avant-garde music, regularly performing works by Berio, Cage, and himself. Tristano's repertory also takes in works by Haydn, Ravel, Prokofiev, and Stravinsky. He has written both classical and jazz works and has collaborated in many of his compositions with pianist/composer Rami Khalife. He often performs with Khalife, too, as well as drummer Aymeric Westrich, who together form the trio Aufgang. Tristano has concertized across the globe at major concert venues and, besides DG, has recorded for PentaTone, Avi, and inFiné.

Francesco Tristano (Schlimé) was born in Luxembourg City on September 16, 1981. He began playing the piano from age five, and at 13 gave his first public performance, playing his own works.

Tristano studied at the Luxembourg and Paris conservatories and also at major music academies in Riga and Brussels. He relocated to New York City in 1998 to attend Juilliard, where he earned bachelor's (2002) and master's (2003) degrees. His teachers there included David Dubal, Jerome Lowenthal, and Jacob Lateiner. Also, he had master classes there with Bach specialist Rosalyn Tureck. Tristano would go on to further study at the Escola Superior de Musica in Catalonia, Spain, with Jordi Camell.

During his student years Tristano was also busy building his concert career. In 2000 made his U.S. debut with the Russian National Orchestra under Mikhail Pletnev. The following year he founded the New Bach Players, with whom he has regularly performed in the roles of soloist and conductor. 2004 was a watershed year for Tristano: CD Accord released his acclaimed two-disc set of the complete Bach keyboard concertos, with the New Bach Players, and Tristano won the prestigious International Contemporary Piano Competition in Orleans, France.

In 2005 he co-founded Aufgang with Khalife and Westrich, and the three gave their debut concert in Barcelona at the Sonar Festival in June. Tristano's recording of the Prokofiev Fifth Concerto, Ravel G major Concerto, and his own 3 Improvisations was issued in 2006 by PentaTone and named an Editor's Choice by Gramophone Magazine.

Tristano was now busy on all fronts with a concert schedule featuring performances with the New Bach Players and Aufgang, as well as the Russian National Orchestra, Luxembourg Philharmonic Orchestra, Orchestre National de Lille, and many others. In 2009-2010 Tristano made six recordings with Aufgang on the inFiné label, among them the Baroque-inspired, electronics-laden Barock. Tristano's 2012 schedule included performances of Messiaen's massive Des canyons aux étoiles in New York City and Ann Arbor, with the Hamburg Symphony Orchestra under Jeffrey Tate.

Source: Robert Cummings (allmusic.com)


Photo by Marie Staggat
















See also

Conrad Tao: Voyages – Meredith Monk, Sergei Rachmaninov, Maurice Ravel, Conrad Tao (Download 44.1kHz/16bit)

Vanessa Benelli Mosell: [R]evolution – Karlheinz Stockhausen, Karol Beffa, Igor Stravinsky (Audio video & Download 96kHz/24bit)

Hélène Grimaud: Water – Nitin Sawhney, Luciano Berio, Toru Takemitsu, Gabriel Fauré, Maurice Ravel, Isaac Albeniz, Franz Liszt, Leoš Janáček, Claude Debussy (Audio video)