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Crossover Media


Founded in 1994, Crossover Media's client list includes: Sony Masterworks, Universal Music Group, Warner Music Group, BMG, and Concord, along with many Independent Labels and Artists. Projects include collaborations with the following artists: 2CELLOS, Alexandre Desplat, Andras Schiff, Andrea Bocelli, Andris Nelsons, Anna Netrebko, Anne-Sophie Mutter, Angele Dubeau, Angelique Kidjo, Anoushka Shankar, Antonio Sanchez, Arcade Fire, Arturo Sandoval, Bebel Gilberto, Becca Stevens, Bela Fleck, Bettye LaVette, Bill Frisell, Bill Charlap, Bill Murray, Billy Childs, Billy Joel, Bob James, Bobby McFerrin, Brandee Younger, Branford Marsalis, Brian Eno, Cassandra Wilson, Cecilia Bartoli, Charlie Haden, Chick Corea, Chilly Gonzales, Daniel Barenboim, Daniel Hope, Daniil Trifonov, David Crosby, David Foster, David Sanborn, Devonte Hynes, Diana Krall, Don Sebesky, Ella Fitzgerald, Emanuel Ax, Ennio Morricone, Evgeny Kissin, Frank Sinatra, Gabriel Kahane, George Benson, George Winston, Gustavo Dudamel, Gustavo Santaolalla, Hans Zimmer, Helene Grimaud, Hilary Hahn, Hildur Guonadottir, Hubert Laws, Hubert Sumlin, Huey Lewis & The News, Igor Levit, Itzhak Perlman, Jake Shimabukuro, Jan Garbarek, Jarvis Cocker, Jeff Goldblum, Jessye Norman, Jethro Tull, Jimmy Webb, Joan Baez, Joe Lovano, Joey Alexander, Johann Johannsson, John Coltrane, John Scofield, John Williams, Johnny Cash, Joni Mitchell, Jonny Greeenwood, Joshua Bell, Joy Harjo, Joyce DiDonato, Keith Jarrett, Kenny Barron, Krzysztof Penderecki, Kurt Masur, Lee Konitz, Leif Ove Andsnes, Lena Horne, London Symphony Orchestra, Luciano Pavarotti, Madison Cunningham, Mark O'Connor, Martha Argerich, Mary Chapin Carpenter, Max Richter, Medeski Martin & Wood, Melody Gardot, Michel Camilo, Paul McCartney, Paul Winter, Pete Townshend, Phil Woods, Rachel Portman, Randall Goosby, Ray Charles, Regina Carter, Renee Fleming, Richard Reed Parry, Rick Wakeman, Rodney Dangerfield, Rodrigo y Gabriela, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, Rufus Wainwright, Ryuichi Sakamoto, Samara Joy, Seiji Ozawa, Sergio Mendes, Seth MacFarlane, Shabaka Hutchings, Sheku Kanneh-Mason, Sinead O'Connor, Snarky Puppy, Sonny Rollins, Sons of Kemet, Soweto Gospel Choir, Stanley Turrentine, SYML, Terence Blanchard, Terry Riley, The Bad Plus, The Choir Of King's College Cambridge, The Comet Is Coming, The Cranberries, The Derek Trucks Band, The Hilliard Ensemble, The Hot Sardines, The Piano Guys, The Stan Getz Quartet, The Manhattan Transfer, The New York Philharmonic, Thelonious Monk, Theo Bleckmann, Theo Croker, Third Coast Percussion, Time for Three, Tony Bennett, Tuck and Patti, Vangelis, Vienna Philharmonic, Vijay Iyer, Vikingur Olafsson, Vladimir Ashkenazy, Vladimir Horowitz, VOCES8, Willie Nelson, Wynton Marsalis, Yannick Nezet-Sequin, Yo-Yo Ma, Yuja Wang, and many others. 
 

"Music is a science. Music is mathematical. Music is a foreign language. Music is History. Music is physical education. Music develops Insight and demands research. Music is all these things, but most of all, MUSIC IS ART. That is why we teach music. Not because we expect you to play or sing all your life...But so you will be human...So you will recognize beauty...So you will be closer to an infinite beyond this world...So you will have something to cling to...So you will have more love, more compassion, more gentleness, more good- in short, more LIFE."   - Ludwig van Beethoven

For more information contact Max Horowitz    maxcrossover@gmail.com

Top 10 Albums For November 29, 2023

  • Soundtracks

    Maestro - Music of Leonard Bernstein

    Directed, written, produced by, and starring Bradley Cooper in the title role, opposite Carey Mulligan, Maestro is a towering and fearless love story chronicling the lifelong relationship between Leonard Bernstein and Felicia Montealegre Cohn Bernstein. A love letter to life and art, Maestro at its core is an emotionally epic portrayal of family and love. Deutsche Grammophon is delighted to be releasing the original soundtrack album for the movie, which has already garnered widespread critical acclaim. All the music in the film was chosen by Cooper, and the new recordings on the soundtrack were made by the London Symphony Orchestra and Yannick Nézet-Séguin, who also worked closely with the actor-director as conducting consultant before and throughout the film-making process. 

    The album released digitally today, and on CD and vinyl on 1 December. Maestro is released in cinemas in the US on 22 November, in the UK on 24 November, and in the rest of the world between 1 and 8 December. It will then arrive on Netflix on 20 December. 

    Maestro’s director and star has been surrounded and captivated by classical music since childhood. “Many an opera and classical album were playing in our house growing up,” recalled Bradley Cooper, who was speaking before the current SAG-AFTRA strike. “I spent hours conducting an imaginary orchestra to the best of my 8-year-old ability. There was one recording of Leonard Bernstein on heavy rotation. So the pilot light I needed to make Maestro turned on many years before I actually came across the project.”

    Cooper, who also co-wrote Maestro with Josh Singer, worked closely with Bernstein’s three children, Jamie, Nina and Alexander in preparation for the filming. To make his portrayal of both the man and the artist as authentic as possible, he immersed himself in the classical world, spending hours with the New York Philharmonic and other orchestras, and learning from conductors Michael Tilson Thomas, Gustavo Dudamel and Yannick Nézet-Séguin. The latter then assisted Cooper on set, notably on location at Ely Cathedral for a magical re enactment of Bernstein’s famous recording of Mahler’s “Resurrection” Symphony. He now hopes the soundtrack will inspire listeners to explore further the output of a man he considers to have been the most influential musician of the 20th century.

  • Avi Avital

    Concertos w/ Il Giardino Armonico - G. Antonini

    “This is how I want to make music!” That was Avi Avital’s reaction when he first saw Il Giardino Armonico and Giovanni Antonini play live in Jerusalem. Now famed worldwide for his own charismatic and passionate performances, the mandolinist is delighted to be joined by this exciting period-instrument ensemble and its conductor and co-founder on his latest album, entitled simply Concertos. Together they perform three original concertos for mandolin – by Barbella, Paisiello and Hummel – and Avital’s own adaptations of concertos by J.S. Bach and Vivaldi. Antonini is the recorder soloist in the Bach, while elaborate recording techniques allow Avital to play all four parts in the Vivaldi. Concertos is set for release by Deutsche Grammophon on 17 November. The Vivaldi concerto and the Andantino of the Barbella are available to stream or download now, while excerpts from the Paisiello and Hummel works will be released on 29 September and 27 October respectively.

    Avi Avital was a young student at the Jerusalem Music Academy when he was, to use his own word, “dragged” by a Baroque enthusiast friend to an Il Giardino Armonico concert. “It was a truly formative experience,” he recalls. “Everything about them was different – they played Vivaldi with such physical energy and power of expression.” Now, on Concertos, the ensemble partners Avital in what he says is probably his favourite Vivaldi concerto: RV 580 in B minor, originally for four violins. 

    The mandolinist had long cherished a “clear vision” of how he wanted to perform this work. Given recent technological advances, he and Antonini decided to experiment with multitrack recording to enable him to play all four parts in his adaptation of the concerto. Avital ended up using four different mandolins – and two mandolas – in this showstopping interpretation, enabling each voice to have a different colour and character. “I’m extremely proud of the result,” he says. “I feel we managed to create the feeling of a live performance in which the soloists are communicating with each other.” 

    Avital’s second adaptation transforms J.S. Bach’s well-known Concerto for violin and oboe, BWV 1060R into a “lighter and brighter” version for mandolin and recorder. Rehearsing and recording the work, notes the artist, led to all the musicians involved reformulating the way they thought about the concerto. His fellow soloist here is none other than Giovanni Antonini – a virtuoso recorder player and flautist. Avital’s inclusion of this work is part of his “lifelong mission” to record as much of the composer’s music as possible, and extends his existing DG Bach discography.

  • Anne-Sophie Mutter - Mutters Virtuosi

    Bach, Bologne, Previn, Vivaldi, Williams

    As part of a 10-concert European tour in June 2023, Anne-Sophie Mutter and her Virtuosi ensemble, comprising some of today’s finest young string players, gave an acclaimed concert at the Vienna Musikverein. This took place just days before the violinist’s 60th birthday and it speaks volumes that she chose to share a stage with her young colleagues rather than marking the occasion with a gala solo performance. Based on that live concert, Mutter’s latest Deutsche Grammophon album shows the variety and versatility for which she has become renowned, its repertoire ranging from Vivaldi and Bach to Previn and John Williams, via Joseph Bologne. It is set for release on 10 November, with three taster tracks to be issued digitally, complete with videos: Williams’s Theme from Schindler’s List on 6 October; the Allegro finale from Vivaldi’s Concerto for 3 Violins on 27 October; and the central Largo from Bologne’s Violin Concerto in A major on the same day as the album. The Vienna concert was filmed as a Unitel production, in co production with Deutsche Grammophon & ZDF, and in cooperation with Arte Concert & Wiener Musikverein. Viewers around the world can enjoy it now on STAGE+, with the exception of those in France and Germany, who will be able to access it on the platform from 29 December onwards. 

    Anne-Sophie Mutter’s extraordinary gifts were instantly recognised by Herbert von Karajan when she auditioned for him at the age of 13. The legendary conductor became her trusted mentor in the early years of her hugely successful international career. Mutter has since gone on to adopt a significant mentoring role herself, supporting young musicians through the foundation she established in 1997. In 2011, she set up Mutter’s Virtuosi, whose continually changing membership primarily comprises current and former recipients of Anne-Sophie Mutter Foundation scholarships. Under her leadership, it tours widely, premieres new works and gives benefit concerts, thus both reflecting Mutter’s own priorities and offering its players a well-rounded introduction to the life of a professional musician. “Music moves us only when it tells a story”, Mutter says. “And I’m on the trail of the next generations of storytellers.” 

    With its chamber-like qualities, the Virtuosi ensemble is particularly well suited to Baroque and Classical works, as can be heard on the new album, where the players are joined by harpsichordist Knut Johannessen. The opening work is Vivaldi’s appropriately virtuosic Concerto for 3 Violins, RV 551, on which Mutter’s fellow soloists are Elias David Moncado and Mohamed Hiber. Vivaldi features among the encores, too – a dazzling performance of the Presto finale from the “Summer” Concerto. Staying with the Baroque, Mutter also programmes J.S. Bach’s Brandenburg Concerto No. 3, providing individual moments for each of the nine string soloists, and his Violin Concerto No. 1 in A minor, whose meditative central Andante is framed by exhilarating fast movements. 

  • Lara Somogyi

    ! (expansion)

    The pioneering electronic artist and harpist Lara Somogyi unveils an exciting new chapter in her musical journey with the announcement of '! (expansion)' – a digital-only expanded album following her debut solo release, '!' (pronounced "Exclamation"). Released via Mercury KX on the 20th October, the expansion features ten captivating versions of original tracks from her acclaimed album '!', each offering a mesmerizing fusion of orchestral arrangements, expanded harp versions, acoustic renditions, and remixes by artists including Kinnship, CARM & Trever Hagen, and Joviale. 

    With the original album '!', Somogyi introduced audiences to a unique and captivating sound world, merging the expressive capabilities of the harp with electronic elements. The result was an awe-inspiring exploration of the instrument's vast potential. Lara Somogyi's unique and visionary approach to music has garnered support from esteemed publications and radio platforms. Pitchfork, DJ Mag, Wonderland, and BBC Radio 6's Mary Anne Hobbs have all recognized her groundbreaking work, with Wonderland describing her music as "blissful, meditative, and daring ambient harp-centered productions," while Mary Anne Hobbs praises her for taking the harp into new and contemporary worlds.

    Now, with the expanded album, Somogyi delves even deeper into her sonic journey, incorporating orchestral expansions that showcase her profound love for symphonic strings harmonizing with the harp. Collaborating with composer and producer Cyrus Reynolds, who co-composed the album, the expanded tracks feature mesmerizing arrangements that weave together contrasting rhythms, textures, and soaring accompaniments.

    Discussing the expanded album, Somogyi reveals, "The orchestral expansions came from a profound love of symphonic strings alongside with the harp. I have such deep orchestral roots, so pairing these songs with a string ensemble felt like such a natural evolution within all of these compositions. The string timbres against the harp and electronics create a captivating language that intrigues me. I'm excited to have these versions out in this release."

  • Chloe Flower

    Chloe Hearts Christmas

    In the last 12 months alone, pop-classical virtuoso Chloe Flower has performed for the President of the United States at the Kennedy Center Honors, accompanied Lil Baby on Saturday Night Live, and teamed up with Mimi So and Daniel Martin to design a ring for AAPI Month—spending much of this time behind one of Liberace’s pianos in couture high fashion pieces. What better way to cap off an unbelievable year than with the release of her first-ever holiday album, Chloe Hearts Christmas, available from Sony Music Masterworks.

    The queen of pop-classical has reimagined, reinvented, and reinvigorated 17 seasonal classics with her own “popsical”—pop-meets-classical—spin. As such, she breathes new life into traditional melodies, beloved standards, contemporary pop hits, and holiday soundtrack staples. Chloe Flower doesn’t unwrap these soon-to-be holiday staples alone though. Academy® Award- and GRAMMY® Award-winning icon and The Roots Co-Founder Questlove appears on four tracks, including “Blue Christmas,” “God Rest Ye Merry Gentlemen,” “The Christmas Waltz,” and “Jingle Bell Rock.” Meanwhile, Chloe’s mentor and legendary producer and songwriter Babyface co-produced her take on “Carol of the Bells.”

  • Palle Mikkelborg/Jakob Bro/Marilyn Mazur

    Strands - Live at the Danish Radio Concert Hall

    “When we walked out on stage it felt like a homecoming,” says guitarist Jakob Bro of this texturally spacious and emotionally charged live recording from Copenhagen, on which three of the defining protagonists of improvisation in Denmark, leading musicians from three generations of Danish jazz, come together. The concert, in February 2023, was particularly poignant since it marked a return to performance for trumpeter Palle Mikkelborg, who delivers characteristically thoughtful playing here, always in service of the group context.

    Repertoire - primarily by Bro but also including Mikkelborg’s piece “Youth” as well as “Returnings”, co-written by Palle and Jakob - is addressed in spontaneous and exploratory spirit. Material is gently transformed and reinvented as Marilyn Mazur’s subtle percussion language of blossoming gongs, bowed metals and rumbling drums blends with Bro’s drifting and rippling washes of sound.  The music’s atmospheric qualities, as well its eruptive moments, are enhanced by the resonant acoustics of the Danish Radio Concert Hall. 

  • Cast Albums

    Stephen Sondheim - MERRILY WE ROLL ALONG

    Sony Masterworks Broadway, along with producers Sonia Friedman, David Babani and Patrick Catullo release the digital version of the New Broadway Cast Recording of Stephen Sondheim and George Furth’s MERRILY WE ROLL ALONG out now, alongside the official music video for the title track – watch here. The physical CD is set for release on January 12, 2024 and available now for preorder here. Produced by David Caddick, David Lai, Joel Fram and Maria Friedman, the album was recorded and mixed by Ian Kagey at Berklee at PowerStationNYC and Renaissance Recording NY. The New Broadway Cast Recording includes new liner notes from Director and Album Producer Maria Friedman as well as former New York Times Chief Theater Critic, Ben Brantley.  

    “Merrily We Roll Along’s initial short run may have been nothing but a footnote in the illustrious career of Stephen Sondheim without the preservation of his amazing score on the Original Broadway Cast Recording,” says Scott Farthing, EVP of Sony Masterworks U.S. “How amazing that over 40 years later, Masterworks Broadway had the opportunity to memorialize the musical’s celebrated new revival to live alongside the iconic original album.”

  • Tony Ann

    EMOTIONALLY RED

    After generating hundreds of millions of views across platforms and attracting a fervent global audience, piano virtuoso, multiplatinum songwriter, and social media sensation Tony Ann will releases his third EP, EMOTIONALLY RED, out today via Decca Records/Universal Music France.

    Tony has captivated listeners everywhere online. Following stints at both Cleveland Institute of Music and Berklee College of Music, the classically trained solo pianist has consistently unveiled viral content at a prolific pace. His online imprint consists of nearly 2 million total followers, while he has generated several million total views. Along the way, he has instituted fan favorite series such as “play that word” where viewers suggest words, and he crafts his own original compositions with letters on the keyboards.

    Continuing on a brighter note, with “EMOTIONALLY RED”, Ann explores romance through a free flowing and spirited performance that effectively expresses the ubiquitous emotions associated with love. The main theme passes effortlessly between both hands showing Tony’s brilliant technique and ability as a composer to create compositions that are both simple and sophisticated simultaneously.

  • Nitai Hershkovits

    Call on the old wise

    Call on the Old Wise is Nitai Hershkovits’ first record for ECM, presenting his powerful pianistic ingenuity in a largely improvised solo setting. Nitai’s improvisations unfold like compositions being created in real-time: “It’s like I’m playing with several periods of music at once, but in a sort of augmented-reality-environment,” states Nitai. “To me the album is like a journey taking you through multiple varying experiences in the blink of an eye. Like jumping through frames holding different pictures or looking through windows to different worlds.” Call on the Old Wise follows Isabela and Here Be Dragons, where Nitai has been heard as a member of Oded Tzur’s quartet. 

    The album is partially dedicated to Nitai’s former piano teacher Suzan Cohen, with whom he studied in Jerusalem and who according to Nitai is the mentor to whom the term ‘wise’ in the record’s title alludes. The pieces “The Old Wise”, “Of Mentorship” and “For Suzan” refer directly to her. But Nitai draws from wide-reaching influences, ranging from his work in jazz contexts and cutting-edge contemporary explorations to his background in classical music. This immaculate balance of idioms gives rise to an abundance of colours and timbres, explored by a pianist, who has successfully forged his very own voice as improviser and shape-designer.

  • David Young

    Merry Christmas

    This breathtaking recording is graced with angels and full symphonic orchestral sound - melodies to fill you with gentle peace and healing energy while drawing you inward and upward, like a soft heavenly breeze. David Young's unique approach of playing two recorders in harmony offers you an invitation to take a journey to the deepest, most precious place inside yourself. Capture the spirit of the holiday season with these original arrangements of traditional carols while the dreamlike sounds of harp, guitar and recorder create a magical backdrop for the hoilday season - beautiful renditions of your favorite Christmas music!

Stories For November 29, 2023

  • Joined by the Guangzhou Symphony Orchestra, Luo Ning releases: 'Rhapsody in Blue' / China Daily
    Posted At : November 8, 2023 12:00 AM
    In 2023, jazz pianist Luo Ning introduces his new album, "Rhapsody in Blue", a heartfelt expression of his initial passion and dedication to the world of jazz. Simultaneously, this release serves as a tribute to the 100th anniversary of the legendary composer George Gershwin's masterpiece, "Rhapsody in Blue". The album will be released globally on 8th November, 2023 via Universal Music China/Decca Records."Rhapsody in Blue" is a concerto composed in 1924 by the prolific American composer and pianist George Gershwin (1898-1937) for piano and orchestra, blending elements of classical and jazz music. Gershwin, a musical genius born into a Russian-Jewish immigrant family in Brooklyn, New York, wrote numerous jazz standards during his lifetime. "Rhapsody in Blue" stands as one of his most renowned compositions, marking a pivotal moment in the jazz era and establishing Gershwin as a globally acclaimed composer, ushering in a new era in American music history.In 1923, conductor Paul Whiteman commissioned Gershwin to compose a piece similar to a concerto for an all-jazz concert at Aeolian Hall in New York. Whiteman was captivated by Gershwin's innovative and expansive compositions at the time.The inspiration for the main theme of "Rhapsody in Blue" struck Gershwin during a train journey to Boston, where he was struck by the rhythmic sound of the clanking train wheels. He recalled, "The rhythm of the train seemed to carry along with it, for me, as an accompaniment, the complete construction of the Rhapsody. It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer—I frequently hear music in the very heart of noise... When I reached Boston, I had a definite plot of the piece." On February 12, 1924, "Rhapsody in Blue" premiered in a concert titled "An Experiment in Modern Music" in New York's Aeolian Hall, with Gershwin himself on piano, gradually becoming one of the most beloved pieces in the concert repertoire.Luo Ning vividly remembers hearing "Rhapsody in Blue" for the first time in the early 1980s on a radio program called "Appreciation of Foreign Music." This popular program introduced classical and modern compositions to its listeners. When Luo Ning first heard Gershwin's "Rhapsody in Blue" on the program, he was deeply moved.He became fascinated by this style of music, even though he didn't fully understand what jazz was at the time. He acquired sheet music for the two-piano version of "Rhapsody in Blue" and the piano piece "Prelude" and began studying them. He particularly enjoyed practicing his favorite section from "Rhapsody in Blue." Decades later, Luo Ning still occasionally listens to this classic piece, which has become ingrained in his soul.In September 2021, in a collaboration planned by Universal Music China, and after overcoming various challenges, Luo Ning, along with his jazz ensemble and the Guangzhou Symphony Orchestra, recorded this timeless masterpiece in September 2022 at the Guangzhou Xinghai Concert Hall.This album is Luo Ning's heartfelt tribute to the legendary George Gershwin. After over three decades of immersion in jazz and Latin music, Luo Ning aims to reinterpret this work by infusing it with a modern piano performance approach. The composition incorporates elements of impressionism, free jazz, jazz blues, bebop, ballad, and Latin jazz.


    China Daily's Chen Nan writes….Pianist Luo Ning released his latest album, Rhapsody in Blue, on Nov 8, in conjunction with the Guangzhou Symphony Orchestra and conductor Jing Huan.Inspired by the 1924 song by George Gershwin, the new album features adaptations of some of Luo's classic pieces, which combine a variety of jazz.Recorded in Guangzhou's Xinghai Concert Hall in September 2022, the new album was first proposed by the Chinese division of the Universal Music Group in 2021.Luo also recorded compositions of his own, including Figure, a piece he wrote in 2006 that was inspired by his stay in Cuba in the 1990s.The album closes with an interpretation of I Loves You Porgy, another Gershwin track from 1935, in tribute to the great composer.The pianist started learning classical piano at 4 and studied at the Xinjiang Arts University before arriving in Beijing in 1996 to pursue his jazz dreams. In 2010, he furthered his musical education at the University of Arts of Cuba, where he studied under eight-time Grammy Award winner Cuban pianist, Chucho Valdes.
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  • Bruce Liu - Waves is rte Lyric: Lorcan's Pick of the Week
    Posted At : November 27, 2023 12:00 AM
    Victory at the 18th International Chopin Piano Competition in October 2021 turned Bruce Liu into a worldwide sensation. Deutsche Grammophon’s live album of his competition recordings was released to rave reviews the following month, and the Canadian-Chinese pianist became an exclusive DG artist in March 2022. He released a series of Rameau and Chopin singles in 2022, and an acclaimed interpretation of J.S. Bach’s French Suite No. 5 in April this year (“[a] carefully conceived and superbly played reading” ClassicalMusic.com). As a result, he has already amassed over 25 million streams across all platforms.Liu has now recorded his much-anticipated debut studio album, its repertoire spanning two centuries of French keyboard music and including two works new to the DG catalogue. Waves: Music by Rameau · Ravel · Alkan, featuring liner notes by Gramophone editor James Jolly, is out digitally, on CD and vinyl (2 LPs), and as a signed limited-edition deluxe version out today. Three singles with performance videos are also released in advance of the album: the Gavotte from Rameau’s Suite in A minor– coinciding with Liu’s Hollywood Bowl debut; “Une barque sur l’océan” from Ravel’s Miroirs; and the Menuets from Rameau’s Suite in G major on.Since winning the Chopin Competition Bruce Liu has become renowned for his breath taking, charismatic live performances. Recording an entire studio album therefore posed a different challenge, but one he has relished. “For me, it’s in a studio that you can really make your own puzzle,” he explains. “It’s like making a piece of art, putting everything together.”The Paris-born pianist has taken a historical approach to his repertoire choices, focusing on three French composers who played a part in the evolution of keyboard music between the 18th and early 20th centuries. From the extensive output of Jean-Philippe Rameau (1683-1764) he plays excerpts from the Pièces de clavessin and Nouvelles suites de pièces de clavecin, including programmatic works such as La poule and Les sauvages, as well as dance movements. Rameau was of course writing before the invention of the piano, and Liu has spent time studying with harpsichordists to refine the subtleties of his interpretations.

    Bruce Liu - Waves is rte Lyric: Lorcan's Pick of the Week for week: November 27th. All this week on Classic Drive, Lorcan will feature music from Bruce Liu's new album, Waves - Music by Rameau, Ravel, Alkan.
    rte writes…..Bruce Liu has now released his much-anticipated debut studio album, its repertoire spanning two centuries of French keyboard music and including two works new to the DG catalogue. Waves: Music by Rameau · Ravel · Alkan. The Paris-born pianist has taken a historical approach to his repertoire choices, focusing on three French composers who played a part in the evolution of keyboard music between the 18th and early 20th centuries. From the extensive output of Jean-Philippe Rameau (1683-1764) he plays excerpts from the Pièces de clavessin and Nouvelles suites de pièces de clavecin, including programmatic works such as La poule and Les sauvages, as well as dance movements. Rameau was of course writing before the invention of the piano, and Liu has spent time studying with harpsichordists to refine the subtleties of his interpretations.Tune in at 5:20 everyday this week to hear a selection from this album on Lorcan Murray's Classic Drive.
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  • Peter Kogan presents a revolving cast of characters every month at Metronome Brewery / Jazz Police
    Posted At : November 26, 2023 12:00 AM
    Jazz Police - Andrea Canter writes….November was busy on the Twin Cities jazz scene although for various reasons, I got to fewer gigs than usual. My highlights included JT Bates Quartet (The Dakota, November 1);  Maud Hixson and Rick Carlson’s “Pre-Songbook ” show (Dunsmore Room, November 4); Bobby Commodore’s Classic Quartet (The Dakota, November 13); Joyce Lyons’ tribute to Carmen McRae (Dunsmore Room, November 16); The Zacc Harris Group (Dunsmore Room, November 19); The Pat Mallinger Quartet annual  home-for-the-holiday gig with young gun Will Kjeer on piano, his uncle Kenny Horst on drums, and Chris Bates on bass (kj’s hideaway, November 24). On to December!‘Jazz Presents’ with Peter Kogan at the Metronome Brewery on December 21..7p. Drummer and bandleader Peter Kogan presents a new cast of jazz characters every month, exploring the history of jazz.
     From PR……Peter Kogan began musical studies at age six on the violin, added piano at age eight and drums at age ten.  A year later he began serious study with Saul Goodman, timpanist of New York Philharmonic, who would continue to mentor him through high school and undergraduate study at Juilliard.  He completed studies at the Cleveland Institute of Music under the tutelage of Cloyd Duff of the Cleveland Orchestra. He joined the Cleveland Orchestra under George Szell in 1969 as Section Percussion.  Three years later he was appointed Principal Percussion and Associate Principal Timpani of the Pittsburgh Symphony. In 1977 his passion for jazz blues and rock got the better of him, and he left the Pittsburgh Symphony to spend six years in New York City as a drum set player and composer.  He backed up Blues legends Lightnin' Hopkins, Honey-Boy Edwards and Jimmy Whitherspoon, groups such as the Drifters and the Crystals, and Rock and Roll legend Bo Diddley.   He also performed with the Larry Elgar big band and wrote for and performed with the fusion band, Scratch n' Sniff.  His work in New York received recognition in a profile that appeared in Modern Drummer  magazine. He joined the Honolulu Symphony as drum set player and timpanist in 1984, and joined the Minnesota Orchestra as principal timpani two years later. Kogan served on the affiliate faculty of the University of Minnesota School of Music, and the Symphonic Committee of the Percussive Arts Society.  He designs and builds Klassischewienerpauken ™ (Classical Viennese timpani) and HESSICHE BAROCK PAUKEN (Hessian Baroque timpani) for historically appropriate performances.  His drums and restoration service can be seen at peterkogantimpani.com Kogan was heard around Minnesota with  The Minnesota Orchestra Jazz Quartet.  He retired  from the Minnesota  Orchestra  on November 1, 2015,  but continues as timpanist of the Lyra/Baroque Orchestra.   The Peter Kogan Quartet and Septet (THE MONSTERFUL WONDERBAND) are now performing regularly at clubs around the Twin Cities.   His CD of original jazz compositions  - "Peter Kogan, CORNUCOPIA" -  was released in 2013.  another CD of his tunes  - "SOME MONSTERFUL WONDERTHING" -  was released July 31, 2015.  It was named one of the "Top 10  Jazz Albums of the  Year" in the Minneapolis Star Tribune  annual critics poll.  Kogan's albums  are available on line  at  peterkoganmusic.com  and on amazon.com and cdbaby.com and many streaming services. THE GREEN ALBUM  was released November 26th, 2018.
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  • Anne-Sophie Mutter amazes w/SSO in a 'Music of John Williams' night at the movies / LIMELIGHT
    Posted At : November 12, 2023 12:00 AM
    Armed with one of her two Stradivarius violins, Anne-Sophie Mutter in a blockbuster night at Sydney Opera House - Concert Hall

    LIMELIGHT's Steve Moffatt writes…..There may not have been any popcorn for sale but there was a palpable feeling of movie magic when megastar violinist Anne-Sophie Mutter made a welcome return to Sydney Symphony Orchestra for a night of music by John Williams, featuring a concerto written for the German virtuoso.There were also some second features on offer with excerpts from Bernard Herrmann’s gripping soundtrack to Alfred Hitchcock’s Vertigo, Nino Rota’s lushly romantic suite from The Leopardand Australian composer Nigel Westlake’s delightful Flying Dreamsuite from the 2015 movie Paper Planes.Williams started out on his first violin concerto more than 50 years ago, after his wife actress Barbara Ruick died in 1974. Now almost 50 years later his second concerto, premiered at the Tanglewood Festival in Massachusetts, is a musical tribute to another woman in his life.“I can only think of this piece as being about Anne-Sophie Mutter, and the violin itself,” Williams says. “While writing, I recalled her flair for an infectious rhythmic swagger that is particularly her own.”The 35-minute work may come as a surprise to people who only know Williams for his blockbuster movie soundtracks – one sensed that several people in the packed Opera House Concert Hall didn’t quite know how to take it. No hints of Yoda, Harry Potter or Indiana Jones here, more the influences of Mahler, Bartok and Debussy.Williams studied composition with Mario Castelnuevo-Tedesco before attending Juilliard, and as well as his six-decade filmography he has composed two symphonies, 11 concertos, a cycle of orchestral songs and various items of chamber music. All of this training is brought to bear with an orchestral magician’s unerring touch in the concerto, which deserves to become a mainstay in the concert repertoire.That said, it is difficult to imagine anyone else performing this virtuosic and ultimately joyful piece with anything like the aplomb and tonal beauty that Mutter brings to it.Working seamlessly in tandem with SSO Chief Conductor Simone Young, this was an evening to remember. Armed with one of her two Stradivarius violins and dressed in one of her trademark sumptuous shoulder-less gowns, Mutter, at the age of 60, shows all the power, attack and control that she has done over a career that dates back to her discovery by Herbert van Karajan when she was just 13.The work opens with a solo harp, featuring Acting Principal Natalie Wong – who was to play a key role in other Williams pieces later on – and some Mahlerian chords before Mutter enters with her honeyed tone in the lower strings. Throughout the four movements Williams is generous with his cadenzas, allowing the soloist to run the gamut of effects, from double stopping, trills, wild leaping runs and furious bowing.In the second movement, Rounds, he asks Mutter to improvise, and here we hear the influence of one of Williams’s other idols, jazz arranger Gil Evans. There is an achingly lovely passage that seems to look to the stars, with Josh Batty’s flute solo taken up by Mutter.Williams’s mastery of narrative is always on display and Young switched tempos and moods skilfully, backed by a band at the top of their form. The third movement, Dactyls, features the soloist duelling with a percussion department which took out the entire back row of the stage. Timpanist Mark Robinson got a well-deserved ovation at the end of the work.If some of the audience members were yearning for more familiar territory they got it with Hedwig’s Themefrom the Harry Potter franchise and the theme from The Long Goodbye, Williams’s score for Robert Altman’s take on Raymond Chandler’s Philip Marlowe murder mystery.And if that wasn’t enough Mutter and Young threw in three unannounced extras to complete this truly cinematic experience.
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  • Davies Symphony Hall - Great Performers Series features the wizardry of Daniil Trifonov / The Berkeley Daily Planet
    Posted At : November 28, 2023 12:00 AM
    The Berkeley Daily Planet's James Roy MacBean writes…..Russian-born pianist Daniil Trifonov exhibits what can only be called wizardry, for no matter what music he plays, Trifonov turns it to gold. I have heard Trifonov play Chopin, Rachmaninoff, Bach, Rameau, Mozart, Mendelssohn, and Beethoven, to name only a few composers he has performed here. And Daniil Trifonov’s wizardry has turned almost everything to gold. On Sunday, November 19, Daniil Trifonov returned to Davies Symphony Hall under the auspices of the Great Performers Series. The program for this solo recital by Trifonov was particularly wide-ranging. Opening this recital was the Suite in A minor by French Baroque composer Jean-Philippe Rameau (b. 1683, d. 1764). Playing without a score, Trifonov gave a beautiful rendition of this expansive, highly intellectual Suite by Rameau. This work began with Trifonov performing a stately, potentially mournful Allemande featuring three-voiced counterpoint. As I listened, I recognised that this music was written for harpsichord at an era when the piano itself didn’t yet exist. However, I soon had to acknowledge that in the hands of Daniil Trifonov I welcomed the increased tonality and changes of volume offered by the grand piano. There followed a fast Courante with melodic material repeating over and over, each time on a different pitch. For the ensuing Sarabande, Rameau turns to the major mode, which Trifonov navigated beautifully with its impressive series of arpeggiated chords. Next came a movement entitled Les trois mains (The Three Hands). Here Trifonov rose to the occasion with a dazzling series of rapid-fire cross-hand passages where the left hand repeatedly overlapped the right hand, creating the illusion that there were in fact three hands. Trifonov’s technical wizardry in these passages was jaw-dropping. Two ensuing movements, Fanfarinette and La Triomphante, became increasingly extroverted, and Rameau’s A minor Suite concluded with a Gavotte that included no less than six variations. I cannot say how very much I appreciated Trifonov’s choice of this Rameau Suite in A minor, a work I had never heard before, as the opening work of this recital. It was truly an eye-opener, or should I say, an ear-opener!Next on the program was Mozart’s Piano Sonata in F Major, K. 332. This work was the last of a group of three sonatas that included the C Major and A Major sonatas. Though I listen frequently to my CDs of the D Major and A Major sonatas, as well as my all-time favourite Mozart Piano Sonata, the B Flat Major Sonata, K. 333, my CD collection strangely lacks the F Major Sonata,K. 332. So it was with special attention that I welcomed Trifonov’s performance of this particular sonata. It opens with an Allegro in triple time and develops seven or, by some accounts, eight different melodies, rich in harmonic juxtapositions. In the hands of Daniil Trifonov, this movement was scintillating. There follows an Adagio that summons up all of Mozart’s sensitivities for the sublime aspects of a slow movement. In the second half of this Adagio, the material of the first half is repeated, but this time with rich embellishments that in his program notes James M. Keller indicates may give us a glimpse of how Mozart himself would have performed such a slow movement. As performed here by Daniil Trifonov, Mozart himself could scarcely have done better.The concluding Finale unleashes an exciting, rapid-fire theme, a fiery development section, many mood changes, and a closing harmonic shift that eventually just melts away. In his performance of this Finale, and throughout this sonata, Daniil Trifonov demonstrated his masterful feeling for Mozart’s music.The third piece on this recital’s program was the short work by Felix Mendelssohn entitled Variations sérieuses, Opus 54. This piece packs plenty into its 12-minute length. A brooding theme is introduced in monumental fashion, then undergoes no less than 18 variations. Rhythmic propulsion mounts throughout, as tempos become ever quicker. Halfway through this work, moods begin to change. A dreamy, almost Schumannesque variation 11 is followed by a fiiery variation 12 and by a dazzling variation 13. Next comes a hymnic piety in the major mode in variation 14. When the minor mode returns in variation 15, the propulsive thrust of this work marks its renewal, and it boils over in the ensuing variations, until the work ends on dying D-minor chords. As you may imagine, with all this musical drama packed into just 12 minutes, this work by Mendelssohn was a perfect vehicle for the pianistic wizardry of Daniil Trifonov.After intermission, Trifonov returned to perform Beethoven’s Hammerklavier Sonata in B-flat Major, Opus 106. This remarkable sonata is so rich, so complex, and so demanding of both the pianist and the listener, that I always find something new and interesting, even exciting, when I hear it.This time around, I must say that though on past hearings I was most impressed by the robust opening movement and the “hammered” quality of the final movement, now I found myself most impressed, but also perhaps most perplexed, by the brooding, introspective and particularly lengthy third movement. This material is marked by Beethoven Adagio sostenuto. Appassionatoe con molto sentimento. Perhaps what struck me the most in this movement were the frequent cross-handed passages where Daniil Trifonov’s right hand overlapped the left hand. Such right hand overlappings are fairly rare, and here most of them were quite brief, just a few notes. But once there was an extended passage where the right hand overlapped the left and played a low register melody in entirety. This emphasis on the lower register added immensely to the passionately brooding quality of this movement, especially as sensitively played by Daniil Trifonov.Then, of course, the final movement explodes in a dynamic fugue, one that bears little resemblance to the logically unrolling fugues of Bach. For Beethoven, at this stage of his career, the fugue offers endless opportunities for surprising manipulations, including inversion, retrograde, augmentation, stretto, and, of course, so many trills. All of this amazing fugal material by Beethoven was magisterially performed by Daniil Trifonov. thereby bringing to a close the printed portion of this recital. As encores, Trifonov performed a jazz version of “I Cover the Waterfront” plus the 3rd movement of Alexander Scriabin’s Piano Sonata No. 3.SEE The Berkeley Daily Planet PAGE
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  • Helene Grimaud - Between The Notes will premiere at NYC's AMC Empire 25: Times Square / BroadwayWorld
    Posted At : November 27, 2023 12:00 AM
    An exclusive Q&A by Hélène Grimaud and David Serero will follow the screeningBroadwayWorld's A.A. Cristi writes….The long-awaited documentary on the life and career of world-renowned pianist Hélène Grimaud premieres at AMC Empire 25 Theater in Times Square on December 5th at 8pm (Red carpet at 7:30pm). Directed and produced by David Serero in a unique partnership with the Deutsche Grammophon label, this captivating film offers an intimate look into the life of this exceptional artist and the challenges she faced throughout her journey through unique interviews. An exclusive Q&A by Hélène Grimaud and David Serero will follow the screening.Hélène Grimaud, recognized as one of the greatest pianists of her generation, has amazed the whole world with her technical mastery, emotional expressiveness, and unwavering passion for music. In this documentary, David Serero takes us on a captivating journey through Grimaud's personal and professional life, revealing the key moments that shaped her exceptional career.
     The documentary features exclusive footage of Grimaud's dazzling performances, capturing her virtuosity and unique interpretation of classical musical works and multiple archives. Additionally, the film explores the challenges and sacrifices she faced to achieve artistic excellence, her unwavering commitment to environmental preservation, and her passion for animal welfare.
     David Serero, the talented director and producer, captured the essence of Grimaud's personality, letting his passion for music shine through striking images and in-depth interviews. The documentary offers viewers an immersive experience that immerses them in the world of this exceptional artist and allows them to understand better what motivates and inspires her.
     In this film, David Serero interviewed essential figures from the world of classical music, such as conductor Yannick Nezet-Seguin, baritone Bryn Terfel, pianist Jacques Rouvier (who taught Helene Grimaud), TV host Alain Duault, conductor Roderick Cox and others.
     "Pianist Hélène Grimaud is an iconic figure of our time, and I was honored to work on this project to highlight her extraordinary life," says David Serero. "I hope this gripping documentary touches viewers, allowing them to experience the passion and dedication behind every note she plays. You will see Hélène Grimaud as you have never seen or heard her. The film is meant to be educational and entertaining, breaking the codes of how documentary films could be approached about classical music."
     The Movie Premiere / Red Carpet: Celebrities, musicians, and fans are invited to join the red carpet event preceding the premiere, where the stars of "Between the Notes" and special guests will grace the occasion. Media representatives and photographers are encouraged to capture the glamour and excitement as the cast and crew celebrate this milestone in the heart of Times Square.
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  • The artistry is still wholly evident on Bruce Liu's 'Waves' / THE CLASSIC REVIEW
    Posted At : November 13, 2023 12:00 AM
    THE CLASSIC REVIEW's Azusa Ueno writes….Last year, I reviewed Bruce Liu’s debut release for DG, a compilation of performances from 18th Chopin competition, where I found remarkable his ability to balance finesse with spontaneity. I was curious to see whether he could achieve the same in the diversified curation of his sophomore album. With its intriguing juxtaposition of Rameau, Ravel, and Alkan, we see a pianist willing to explore and experiment with programming.Liu’s beautiful sound quality comes out right away in Rameau’s Gavotte and Six Doubles (tracks 1-7). The theme is expressive but contemplative; good voice leading and nice switch-ups in articulation across repeats make Var. 1 come to life. And in Var. 3, the fingerwork is flawless: despite the intricate weaving of theme and secondary textures, Liu never loses melodic continuity or his lovely color palette of dynamics. The pianist explains in the liner notes that Rameau’s sound is distinctly dry, direct, and bouncy—these characters are front and center in Var. 4, but I’d have liked a touch more dryness and space between the staccatos. Another thing that could be better is the tempo management: although it’s clear that he aims to eschew a wooden, metronomic feel, some of the stop-and-starts feel overdone. The minor transgressions are certainly forgotten by the time we get to the final variation: its perpetuum mobile accompaniment is bold and exciting but tasteful.Where Rameau’s elegance is restrained (perhaps by the Baroque idiom itself), Ravel’s is kaleidoscopic as we hear in the the six unique vignettes of his Miroirs. One of Liu’s best is Oiseaux Tristes (track 11). The ‘sadness’ suggested by the title doesn’t quite prepare us for a decidedly more sinister angle. Liu takes it one step further with an even more macabre spin that reminds me of Le Gibet from Gaspard de la Nuit. By really sitting on the dissonances, their full eeriness comes through; and don’t forget about the sharp, surging rush of notes in the middle—a terrifying portrayal of the rustle of feathers. In Un barque sur l’Océan (track 12), Liu opts for waves on the bolder (but not too choppy) side in a more dramatic interpretation of the piece. Although a matter of personal taste, I do prefer other interpretations: Jean-Efflam Bavouzet’s is lighter and less stormy but still elegantly imaginative. Louie Lortie’s sits right in the middle: the softer parts are shimmery and silky but the surges carry an exhilarating zing. As for La Vallée des Cloches (track 14), it is very much a study in subtlety, but this plays to Liu’s strengths. By again allowing the harmonies to fully peak and naturally dissipate, we are left to dwell in a panoramic and atmospheric soundscape.

    The Alkan Etudes (track 15-21), offer a nice tie-in to the Rameau (they too are in the form of a theme and variations) but are also the perfect complement to the other quieter works. What I liked especially was how Liu infuses a certain amount of stubbornness into the robust character but then also adds touches of playful humor in subsequent moments. And of course, as etudes imply, we do get our fill of excitement in hearing Liu’s technical facility.The choice to include the Barcarolle from Recuil de chants (track 8) not only keeps the water theme intact but also speaks to Alkan’s diversity: unlike the variations, this small gem emerges from a foggy distance, coming forward at times but always somehow pulling back just when we seem to grasp it.Liu ends with Rameau’s beloved La Poule. While there is definitely much to be appreciated in terms of tone quality, his presumably excellent fingerwork sounds muddled for some reason: could it be a bit too much sostenuto or even the predominantly mellow nature of the instrument itself? At any rate, the bird’s pecks are pleasant when they need more sharpness. Vikingur Ólafsson’s version (DG) for me captures the bird’s spirit with its curt staccatos and tidy phrasing.Liu doesn’t stray far from the musical qualities that made his first album so strong—while his nuanced approach doesn’t work for every single work here, the artistry is still wholly evident. His choice and placement of works is also excellent: while none of the pieces (maybe with the exception of the Alkan Etudes) speak to showmanship, I still walked away feeling thoroughly impressed with his versatility. I would eagerly await any future releases by Liu—especially these sorts of refreshing and creative curations.
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Max Horowitz

maxcrossover@gmail.com

A graduate of the Aaron Copland School of Music(Queens College NYC), Max Horowitz is the principle of Crossover Media Music Promotion. Founded in 1994, Crossover Media's client list includes: Sony Masterworks, Universal Music Group, Warner Music Group, BMG, and Concord, along with many Independent Labels and Artists. Prior to establishing Crossover Media, Mr. Horowitz served as Producer for SiriusXM, Music Choice, Classical-104WNCN - New York, and the DayNET Talk Network, and is the recipient of The George Foster Peabody Award, the 'International Radio Festival of New York Award, and '2 New York State Broadcaster Awards. His production work on long form radio shows and podcasts includes collaborations with Yo-Yo Ma, Chick Corea, Jonny Greeenwood, Richard Reed Parry, Anne-Sophie Mutter, Leonard Slatkin, Yannick Nezet-Sequin, Vladimir Horowitz, Emanuel Ax, JoAnn Falletta, Daniel Hope, Nico Muhly, John Scofield, Steve Swallow, The Bad Plus, Marcus Roberts, Rachel Portman, Alexandre Desplat, Ilan Eshkeri, Jeff Beal, Jung Jaeil, and many others. Mr. Horowitz is also a contributor to ‘Understanding The Music Business’ published by Simon & Schuster.

Amanda Bloom

amandacrossover@gmail.com

Amanda Bloom is the publicity and communications manager at Crossover Media. A Brooklyn resident, Amanda is also an active NYC jazz vocalist who draws musical inspiration from a wide range of influences. Crossover Media's projects which encompass multiple genres has been a great fit for her both personally and professionally. Amanda earned a BM in jazz vocal performance from the Peabody Institute of Music at Johns Hopkins University under the guidance of Jay Clayton & Gary Thomas.

Zachary Swanson

zacharycrossover@gmail.com

Zachary Swanson began studying the double bass at the age of 6 in his home state of Massachusetts. Using gut strings and a personalized technique, Zachary has developed a conception of the double bass that heightens the integrity of various musical environments. He can be found playing around New York City and beyond in a variety of styles, ranging from adventurous improvised music to backing singer-songwriters. Zachary is a graduate of the Peabody Institute of Music at Johns Hopkins University and currently resides in Brooklyn, NY where he has made his home since 2012. 

Eeppi Ursin



Eeppi Ursin is a platinum-selling, award-winning singer-songwriter, jazz vocalist and pianist originally from Finland. Ursin is known for her angelic-strong voice and exceptional skill set ranging from top-class performance to writing music for various groups. Her stage presence combines warmth, style, humor and virtuosity. Her recordings and performances as a singer vary from pop, jazz, dance, a cappella and children's music.

Throughout her career she has captivated audiences all around the world performing at prestigious venues with acclaimed artists such as trumpeter Leroy Jones and Spirit of New Orleans, Vocal Ensemble Club For Five, and UMO Jazz Orchestra, to name a few. Eeppi Ursin also collaborates with renowned theatres and modern opera ensembles as a composer and arranger.

Eeppi Ursin has released three solo albums where she stands out as an artist with a strong and unique yet catching pop sound. Her albums with praising reviews are: Violet (Buckshotmusic 2005), Yellow Page Girl (Buckshotmusic 2009) and Jäljet (Luomusic 2017) followed by numerous radio hit-singles. In addition to her solo albums Eeppi appears on over 40 recordings of which five are platinum- or gold-selling albums.

In 2014 she was chosen to perform as the soloist at the President's Independence Day Reception in her home country Finland. In 2001 she won the 1st prize in the Lady Summertime international jazz vocal competition. Eeppi Ursin works and lives in New York City.