Boston Philharmonic's theme of geographic connectivity among the three composers on its program at Sanders last night resulted in a concert significantly more interesting than a Trip Advisor's ‘Three-in-One Visegrád Group' excursion.
Lucas Debargue, who played this concerto in the final round of his successful stint at Tchaikovsky Competition, was just the ticket. In the concerto known for its ambiguous role of the piano - which seems to oscillate between accompanying other instruments and raging on its own - making some sense of the piano line seems to be the best way to make sense of the whole concerto. Debargue provided this core understanding at his first chance: he played the first big piano solo that ascends from chthonic rumblings with deliberate tension and seriousness. Whatever monstrous hero was being born in front of us, crawled out of his primordial mess with difficulty and determination. This sense of seriousness shone a light on the whole concerto, as it jumped between extremes. A sweet cello solo, beautifully played by the principal Rafael Popper-Keizer, got dutifully swept away by the monstrous march, crass enough despite lack of power in the brass section. This nasty transformation of a perfectly benign main theme carries a long tradition of alienating listeners. But it all magically made sense this time.
'Albare', Dadon is a jazz guitarist and composer. He has recorded two albums with Festival Records in Australia and produced A History of Standard Time, Joe Chindamo's first solo recording and featuring Ray Brown. His latest albums are Midnight Blues (2007), After the Rain (2009), Travel Diary (2010), Long Way (2012), The Road Ahead (2013), 2 Decades of Jazz (2014), Only Human (2015) and Dream Time (2016). Dadon is currently signed to Enja Records. Dadon, is also known an Israel activist. He discusses two of his many passions. February 22, 2020 installment of The David Suissa Podcast.
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Having earned high honors in the Jazz world, Canadian singer-songwriter and pianist Laila Biali's genre-bending sound has been described by the Washington Post as masterfully mixing jazz and pop, while bringing virtuosity and unpredictability to songs that are precise and catchy. Biali will be performing at Fogartyville Community Media and Arts Center on Wednesday, February 26th at 7pm. Doors open at 6pm.
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Last month, Angelique Kidjo won her fourth Grammy in the 'Best World Music' category. But it wasn't quite like every other year she had been nominated for the award. This time she shared the nomination with fellow African act Burna Boy, the first artist of the continent's current afropop scene to earn a nomination. While there's no question that Kidjo, who won for her 2019 album Celia, was beyond deserving (this was by no means a Kendrick-Macklemore scenario), Kidjo made the conscious decision to dedicate her award to Burna and urged viewers to pay attention to the wealth of new talent coming from the continent. "The new generation of artists coming from Africa are going to take you by storm and the time has come," said the artist.
'Take Africa Out of It and There's No Music for Y'all,' OkayAfrica caught up with the legendary Beninese singer following her recent Grammy win and her feature on the collaborative electronic track 'Milambi.'
READ THE okayafrica. Q&A with Angelique Kidjo on Success, and ‘World Music'
SoulTrackers responded big time last year when we debuted the song "Leaving LA" by the New York-based collective, Snack Cat. Mixing elements of Yacht Rock with 80s R&B – and even a touch of jazz, the band consistently delivers high infectious pop/soul with strong instrumentation. They've become "go to" musicians for many of the soul and rock artists in the region, and are popular at music festivals.
The band's newest single, "Young Love," comes out today, and it is another tasty slice of accessible – though deceptively complex - music. The song was born on an L.A. rooftop, where guitarist and bandleader Aleksi Glick was ruminating on his first serious relationship back in college, and all of the passionate twists and turns it took.
The band deftly handles the number, and hands us another winner we're enjoying. For (February 21, 2020) 'Young Love' is the SOUL TRACKS: First Listen
There are few concerts in the world that are awaited with as much excitement as the annual New Year's Concert from Vienna. Directed by Andris Nelsons, the Vienna Philharmonic ushered in 2020 with music from the Strauss family and more in the magnificent Golden Hall of the Vienna Musikverein. In celebration of the 250th anniversary of Ludwig van Beethoven's birth, the 2020 Concert marked the first time that a work by Beethoven was performed at a New Year's Concert.
For Friday, January 21, 2020 the Vienna Philharmonic - 2020 New Year's Concert is the WFMT: Chicago 'Featured New Release'
TOP 10 Downloads
Ted Poor - Push Pull – New Deal, Impulse!
Oded Tzur - Here Be Dragons - ECM
Shabaka And The Ancestors - Go My Heart, Go To Heaven – Impulse!
Joey Alexander – Warna – Verve
TOP 10 Streams
Ted Poor - Push Pull Newl Deal / impulse!
Oded Tzur - Here Be Dragons - ECM
Shabaka And The Ancestors - Go My Heart, Go To Heaven – Impulse!
‘Love Letters' marks a different direction for the internationally celebrated artist; it offers a shift in intimacy and content and comes at a pivotal time in her career as she signs to her new record label, Mercury KX.
Milan Records today releases THE NEW POPE (ORIGINAL SOUNDTRACK FROM THE SKY – HBO – CANAL+ SERIES produced by FREMANTLE'S THE APARTMENT and WILDSIDE, co-produced with HAUT ET COURT TV and THE MEDIAPRO STUDIO) with music by LELE MARCHITELLI.
Referred to as "the Jimi Hendrix of the ukulele," Jake Shimabukuro is a true virtuoso, and exhibits his talents once again with the release of ‘Trio', available February 14th through Music Theories Recordings.
Igor Levit not content to be heard only through piano / AP
Posted: March 15, 2019 12:00 AM
| By: Admin
Igor Levit arrived at John F. Kennedy International Airport's Terminal 1 ahead of his first concert at Carnegie Hall's main Stern Auditorium. It was the last day of February and his entry didn't go smoothly. "It was actually four hours," he recalled. "There were 900 people standing in the line - approximately 900 people - it was packed to the stairs, to the escalator, and they literally had one window open. Nothing was working, nothing. There were no announcements made. There were kids. There were old people. It was just a disaster."
Winner of last year's Gilmore Artist Award, given quadrennially to a pianist along with a $300,000 prize, Levit is among the most probing young artists in classical music. His website describes him as "Citizen. European. Pianist."
Sparked by the tragic death of a close friend in an accident, Igor Levit's piano playing reflects upon an experience of loss encompassing grief, despair, resignation and solace. He concentrates on works whose gloomy grandeur and melancholy beauty have occupied him for years. Each of them pays tribute to the virtuoso possibilities of the piano. Poetic moments of contemplative silence blend with life-affirming and extremely sensual music with a direct physical fascination. ...
Sony Classical announces the release of Pianist Igor Levit's third album - Bach, Beethoven, Rzewski. Available October 30, the album includes Bach's Goldberg Variations and Beethoven's Diabelli Variations, long considered acid tests of the performer's art, plus Frederic Rzewski's gigantic cycle on the Chilean revolutionary song ¡El pueblo unido, jamás será vencido!, which has the reputation of being nearly unplayable. Not content with canonized masterpieces, Levit is equally drawn to the physical challenge of Rzewski's virtuosic tightrope walks.
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Igor Levit has recorded the Partitas by this incommensurable Bach, BWV 825-830: it's the second release by the 27-year-old pianist, whom many regard as the greatest talent of his time. With his debut album, featuring the late Beethoven sonatas, Levit already enjoyed great success and international critical acclaim: the album rose to no. 46 in Germany's Top 100 album charts.
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"Unlike those technically brilliant young pianists who dazzle briefly and disappear, Levit is pre-eminently a real musician who seems built to last." – The Guardian
For the last three years, Igor Levit's name has been the first to be mentioned whenever there has been talk of the most exciting of the younger generation of pianists. What is so surprising about Levit is not only the maturity of his interpretations, but his boundless appetite for new repertoire of works as difficult and demanding as possible. For his long awaited debut album, the twenty-six-year-old Levit has chosen some of the most challenging repertoire ever written for piano: Beethoven's last five piano sonatas. On his two-CD debut set, Levit is not just another young aspiring pianist releasing his debut album, but rather an outstanding artist who meets the exceptionally high demands of this extraordinary music. Levit's technical and artististic command in the difficult "Hammerklaviersonate" op. 106 is sure to be recognized as one of the most astounding accomplishments in recent history of Beethoven recordings.