#veronika eberle

[mozart2006]

Stuttgarter Philharmoniker - Veronika Eberle e Clemens Schuldt

Foto ©Mozart2006 Negli ultimi anni si sono imposte all’ attenzione internazionale diverse violiniste di grande rilievo. Continue reading Stuttgarter Philharmoniker – Veronika Eberle e Clemens Schuldt

[dmytrogoncharenko]

RHYTHM SECTION:

Iemke van Dijk Elisabeth Eberle Michael Hofstetter Henriëtte van ’t Hoog Karina Bugayova Oleksiy Koval Kuros Nekouian Herbert Rometsch Stefan Schessl Veronika Wenger Michael Wright

– 19. 09. 2014

September 6-7/2014, 16:00 Workshop with THE BEAUTIFUL FORMULA COLLECTIVE

September 9/2014, 19:00 Performance

THE BEAUTIFUL FORMULA SYNDICATE

Lasha Babuadze – Georgia Karina Bugayova – Ukraine Tami Chitashvili – Georgia Oleksiy Koval – Germany Yasaman Nedaei – Iran Kuros Nekouian – Germany Arshia Samsaminia – Iran Stefan Schessl – Germany Vato Urushadze – Georgia Veronika Wenger – Germany

CENTER OF CONTEMPORARY ART, TBILISI Curator Dmytro Goncharenko

[arcimboldisworld]

Viotti/Eberle: KOrngold/Strauss/Ravel - Tonhalle Zürich 27.04.2022

Viotti/Eberle: Korngold/Strauss/Ravel - Tonhalle Zürich 27.04.2022 #tonhalleorchesterzürich #lorenzoviotti #debüt #veronikaeberle #korngold #strauss #ravel #tonhallezürich #konzert #tonhalle

Darauf war man sehr gespannt – Lorenzo Viottis Debüt beim Tonhalle Orchester Zürich. Viotti ist quasi der Beau unter den Dirigenten, der sich auf seinem Instagram-Account auch gerne einmal mit nacktem Oberkörper zeigt (den er sehen lassen kann) und frischen Wind in den oftmals verstaubten Maestro-Zirkus bringt.. (more…)

[sineala]

I hope this isn't too weird - a sapphic eyecandy rec in classical music of all things. Originally I searched for Sol Gabetta (= Carol Danvers shredding the cello), alighted on the Solsberg Concert on youtube's Hochrhein Musikfestival channel. I'd saved this one video solely to watch Veronika Eberle, Veronika Hagen, and Monika Leskovar - and their Brahms is intense too. I was like: a variety of ages and types in hot fashion being hyper-competent! --I'm sorry I'm so shallow. Enjoy

Thank you, anon! There are a few different videos from that concert series (I think it’s a series?) and I am not sure which you meant, but I will def check it out.

(Someone told me you can send links in asks now, but I don’t know if that’s true.)

[lesser-known-composers]

Jean Françaix (1912 - 1997): Trio à cordes (1933) Veronika Eberle, Violin / Amihai Grosz, Viola / Sol Gabetta, Cello

[sonyclasica]

WILLIAM YOUN

SCHUBERT: PIANO SONATAS I

Después de la muy aclamada grabación de las sonatas para piano completas de Mozart, el pianista William Youn, nacido en Corea del Sur y afincado en Munich durante muchos años, ha emprendido un proyecto de una gran envergadura: la grabación completa de todas las sonatas para piano de Franz Schubert. En este primer álbum, Franz Schubert: Piano Sonatas I, abarca un amplio arco desde la primera hasta la última sonata. 2CD a la venta el 28 de agosto.

En el primer CD comienza con la última, la gran Sonata mayor en si bemol mayor D. 960, del año de la muerte del compositor austríaco (1828), que contrasta en sus sonidos a veces soñadores con la primera Sonata fresca y segura de sí misma en mi mayor D. 157, que fue escrita en unas pocas semanas en 1815. El segundo CD sigue con la ligera Sonata No. 13 en La mayor D. 664 , el misterioso conglomerado de Sonata No. 9 en F-sharp Minor D 571/604/570, sin el cuarto movimiento inacabado, y finalmente la trascendental Sonata No. 14 en La menor D. 784 , un trabajo de astringencia y severidad bastante inusual en Schubert.

William Youn ha sido descrito por los críticos como un “poeta genuino” con una "técnica de tacto y brava y soberana”. Ha actuado internacionalmente en Berlín Seúl o Nueva York con las principales orquestas y hace apariciones regulares de música de cámara en salas de renombre, incluyendo el Elbphilharmonie Hamburg, Pierre Boulez Hall Berlin, Prinzregententheater Munich, Konzerthaus Wien, Wigmore Hall London, Toppan Hall Tokyo y Seoul Arts Center. Como músico de cámara, William disfruta de una estrecha colaboración con el violista Nils Mönkemeyer, la clarinetista Sabine Meyer, los violonchelistas Julian Steckel y Johannes Moser, la violinista Veronika Eberle y el Cuarteto de cuerdas Signum.

Tracklist

CD 1

Piano Sonata No. 21 in B-flat Major, D. 960

1. I. Molto moderato

2. II. Andante sostenuto

3. III. Scherzo. Allegro vivace con delicatezza

4. IV. Allegro ma non troppo

Piano Sonata No. 1 in E Major, D. 157

5. I. Allegro ma non troppo

6. II. Andante

7. III. Menuetto. Allegro vivace

CD 2

Piano Sonata No. 13 in A Major, D. 664

1. I. Allegro moderato

2. II. Andante

3. III. Allegro

Piano Sonata No. 9 in F sharp Minor, D. 571/604/570

4. I. Allegro moderato

(Fragment with own extension)

5. II. Andante

6. III. Scherzo. Allegro vivace

Piano Sonata No. 14 in A Minor, D. 784

7. I. Allegro giusto

8. II. Andante

9. III. Allegro vivace

William Youn http://www.williamyoun.com

[tmnotizie]

MACERATA – Domenica 20 ottobre alle 18 al Teatro Lauro Rossi Luigi Piovano e gli Archi di Santa Cecilia, con la partecipazione di Paolo Pollastri, aprono la stagione 2019-2020 dei Concerti di Appassionata eseguendo musiche di Mozart, Piovani, Morricone, Rota.

Un programma quanto mai affascinante per il primo violoncello solista dell’Orchestra dell’Accademia Nazionale di Santa Cecilia e l’ensemble d’archi ceciliano che, fin dal 2013 quando hanno ottenuto un successo clamoroso all’Auditorium di Roma, hanno avviato una collaborazione stabile raccogliendo entusiastici consensi di pubblico e critica ad ogni esibizione.

Domenica prossima al Teatro Lauro Rossi di Macerata, insieme a Paolo Pollastri primo oboista della medesima Orchestra, condurranno il pubblico in un percorso sonoro straordinariamente evocativo, che prevede una prima parte interamente dedicata alla famosa Eine Kleine Nacthmusik (Piccola Serenata Notturna) in sol maggiore K 525, fra i brani più eseguiti di W.A. Mozart, e una seconda parte di autentici capolavori del Nocevento, che fanno parte dell’immaginario collettivo oltre la dimensione cinematografica.

Dalla delicata Buongiorno Principessa alla struggente La vita è bella, colonna sonora dell’omonimo film per la quale Piovani si è aggiudicato il premio Oscar nel 1999, dal grandioso affresco musicale di Mosé all’intensa Gabriel’s Oboe di The Mission composta da Morricone fino a What Is a Youth, il tema d’amore firmato da Nino Rota e che ha contribuito a rendere celebre il dolcissimo Romeo e Giulietta di Zeffirelli: il primo appuntamento con I Concerti di Appassionata, domenica 20 ottobre alle 18 al massimo cittadino, promette di arrivare dritto al cuore del pubblico maceratese.

Luigi Piovano è affermato protagonista della scena musicale cameristica internazionale. Si è esibito in innumerevoli concerti nelle sale più prestigiose insieme ad artisti del calibro di Wolfgang Sawallisch, Myung-Whun Chung, Alexander Lonquich, Dmitry Sitkovetsky, Leōnidas Kavakos, Veronika Eberle e Katia e Marielle Labèque, solo per citarne alcuni.

Come solista ha suonato con Tokyo Philharmonic, New Japan Philharmonic, Accademia di Santa Cecilia, Seoul Philharmonic, Orchestre Symphonique de Montréal, sotto la direzione di direttori quali Chung, Nagano, Pletnëv, Borejko, Menuhin, Bellugi. Dal 2007 suona regolarmente in duo con Antonio Pappano e dal 2002 si dedica sempre più alla direzione: fra gli impegni più recenti come direttore, concerti sul podio di numerose orchestre italiane, lo Stabat Mater di Dvořák al Teatro Bellini di Catania e, all’estero, il debutto con la New Japan Philharmonic Orchestra.

L’Orchestra dell’Accademia Nazionale di Santa Cecilia è stata la prima in Italia a dedicarsi esclusivamente al repertorio sinfonico. Dal 1908 ha tenuto circa 15.000 concerti collaborando con i maggiori musicisti del secolo. I suoi direttori stabili sono stati Molinari, Ferrara, Previtali, Markevitch, Schippers, Sinopoli, Gatti e Chung. Dal 1983 al 1990 Leonard Bernstein ne è stato il Presidente Onorario.

Da quando, nel 2005, Sir Antonio Pappano ha assunto la carica di Direttore Musicale il prestigio dell’Orchestra ha avuto uno slancio straordinario. Da sempre la musica da camera è una delle attività dell’Orchestra e negli ultimi anni ha acquisito ancora maggior rilevanza.

Dal 2013 l’Orchestra d’Archi di Santa Cecilia ha avviato una collaborazione stabile con Luigi Piovano, primo violoncello solista dell’Orchestra: nel 2014 si sono avuti i primi concerti in Italia e la Eloquentia ha pubblicato il primo CD del gruppo sotto la direzione di Piovano, accolto con entusiasmo dalla stampa internazionale; analogo entusiasmo hanno raccolto le esecuzioni delle Serenate di Dvořák e Čajkovskij e gli altri concerti tenuti in Italia, fra gli altri al Ravello Festival, all’Associazione Scarlatti di Napoli, al Teatro Valli di Reggio Emilia.

La stagione 2019-2020 dei Concerti di Appassionata è organizzata dall’associazione musicale Appassionata insieme all’assessorato alla Cultura del Comune di Macerata, con il sostegno di MiBACT, Regione Marche, Società Civile dello Sferisterio-Eredi dei Cento Consorti, APM, Fondazione Cassa di Risparmio di Macerata, Università degli studi di Macerata, Istituto Confucio, ANMIG. In collaborazione con Marche Concerti, Consorzio Marche Spettacolo e Accademia di Belle Arti di Macerata. Valli Pianoforti è partner tecnico.

Biglietto intero 20 euro, ridotto 15 euro, studenti 5 euro. Biglietteria dei teatri, piazza Mazzini 10 a Macerata (mart-sab. 10-13, 16.30-19.30, festivi e lunedì chiuso; domenica 20 ottobre dalle ore 16 è attivo il botteghino del teatro), online su vivaticket.

Per informazioni www.comune.macerata.it, www.appassionataonline.it (0733-230777), info@appaassionataonline.it.

foto di Musacchio e Ianniello

[sugarplumdancerblog]

W.A. Mozart: «Divertimento» KV 563 / Veronika Eberle / Amihai Grosz / Sol Gabetta | Hochrhein Musikfestival

[vw-lowell]

Jean Françaix: Trio à cordes / Veronika Eberle / Amihai Grosz / Sol Gabetta

[ddpdirect]

Kulturpreis Bayern für „wahre Botschafter unserer Kultur- und Wissenschaftslandschaft“

Bayernwerk und bayerisches Kunstministerium zeichnen fünf Künstler und 32 Wissenschaftler aus – Sonderpreis für Designer Konstantin Grcic Sie selbst fühlen sich in Bayern „dahoam“, ihr Publikum aber ist in der ganzen Welt zu Hause: Der Kabarettist und Liedermacher Georg Ringsgwandl, der Schauspieler Michael von Au, die Geigerin Veronika Eberle, der Bildhauer Toni Scheubeck und der Jazzpianist Michael Wollny sind am Donnerstagabend im unterfränkischen Veitshöchheim mit ... via Pressemitteilungen http://ift.tt/2iGUful

[lesser-known-composers]

Jean Françaix (1912 - 1997): Trio à cordes (1933)

Veronika Eberle, Violin / Amihai Grosz, Viola / Sol Gabetta, Cello

Allegretto, vivo (0:03) Scherzo, vivo (2:32) Andante (6:08) Rondo, vivo (10:04) Filmed at Solsberg Festival 2016

[alainlesourd-14]

W.A. Mozart: «Divertimento» KV 563 / Veronika Eberle / Amihai Grosz  / Sol Gabetta

Wolfgang Amadeus Mozart (1756 - 1791):  «Divertimento» in E-flat major, KV 563 (1788) 

Veronika Eberle, Violin / Amihai Grosz, Viola / Sol Gabetta, Cello 

 Allegro (0:03) Adagio (09:10) Menuetto: Allegretto – Trio (20:46) Andante (26:39) Menuetto: Allegretto – Trio I – Trio II (34:18) Allegro (40:17) 

 Filmed at Solsberg Festival 2016 www.solsberg.ch

[rinasitorus]

An Interview with Mari Kodama

Momo made her recordings, I made mine. Until something very special came up: a good friend of ours came with Arensky’s arrangement of Tchaikovsky’s ballets. He said it was special because this music by Arensky had never been published or made available, thus had never been recorded.

primephonic had the pleasure of interviewing Mari Kodama, the internationally acclaimed pianist who in 2014 marked an important stage in her recording career with the release of the complete Beethoven Sonatas. The brilliant yet ever-so-humble pianist talked about her recent collaborations with her sister and her daughter, as well as her releases with PENTATONE.

Could you tell me a bit about why it took so long for you and your sister Momo Kodama to record together?

It’s incredible isn’t it? We haven't really thought about it – we have our own individual careers and she has a very different repertoire than me. We play together two or three times a year because it's always easy and pleasurable and everybody likes it. Momo made her recordings, I made mine. Until something very special came up: a good friend of ours came with Arensky’s arrangement of Tchaikovsky’s ballets. He said it was special because this music by Arensky had never been published or made available, thus had never been recorded.  So we searched for more arrangements of Tchaikovsky’s ballets made by other famous composers (such as Debussy and Rachmaninov) that he had told us about and PENTATONE was really interested in the project. That’s how Tchaikovsky - Ballet Suites Transcribed for Piano Duo happened.

How did recording with your sister go?

We were a bit nervous because it was our first time doing a recording together. She has her own way and I have mine, but PENTATONE has a superb team. The best team you can ever wish for. It was done with very good humour, we had a lot of laughter and we even finished early. It was fun!

Is there anything you could have done differently?

Well, I was thinking about that, but for now I wouldn’t do it in a different way, because we did our best at that time. I think we are quite happy with the outcome.

Momo is not the only family member you’ve just collaborated with recently – you also had your first international tour with your daughter Karin (Kei Nagano) in 2015. How was that?

It was fun because normally when a family member or a close friend is playing in a concert and you’re sitting in the audience, your heart is pounding even harder. We are kind of nervous for the person on stage. The good thing is, you don't have that feeling when you’re on stage together [laughs]. Karin is a very good musician and the tour was a pleasure. In the beginning, when she was younger, I was the one giving suggestions, but now she is also giving suggestions. It’s really fun.

Were there mother-daughter arguments?

No, not really.  Although we have a different way of expression, we have the same way of thinking. When she is saying something I know what she is saying and why she is saying it, and vice versa. No dispute or anything like it.

Will there be more collaborations coming between you and your daughter?

We’re planning to do something in the summer, but she’s having her second release (J.S. Bach: Inventions & Sinfonias, BWV 772-801) with Analekta. Her first one (Mozart: Piano Concertos Nos. 12 & 13) was a big hit. For her it’s not so easy since she is also studying. Her study at Yale requires a lot from her but she really loves the balance. She organizes concerts at the university to warm up for her other concerts. I’m happy that she’s happy.

At what point in your life did you discover playing piano was a passion for you? What happened during that time?

My mother was a piano teacher, I grew up surrounded by piano since I was 4. We were lucky that my father was assigned to work in Germany when I was 6. As a banker, he was also assigned to work in other countries in Europe. When I was 10 or 11 my parents asked me to choose between piano and an academic study. If I wanted to pursue academic study, I would have had to go back to Japan instead of changing schools in different countries every two years. At that time I knew I wanted to be a concert pianist and it was decided that I did not to return to Japan to prepare for university. Of course combined with a proper academic study.

You’ve had a wonderful career behind and (no doubt) ahead of you, including having recorded all of Beethoven's sonatas. Are there still dream projects you’d like to envision?

In terms of piano playing, it’s endless. That’s the nice thing in music, you can always aim higher. That’s the reason why we are doing it in life. Maybe it's not the trend, because the trend is to go fast. But I always believe that we can do better and be better until the end of our life. As pianists we are lucky because we have a wide repertoire that we can learn from. There are many many things I’d like to ‘attack’ now such as the Brahms cycle which I have never done, Berg’s chamber concerto which I’d like to record as well, and maybe Berg’s piano works. That’s probably for the next three or four years.

Any musicians you’d love to work with in the near future?

I’d love to do chamber music and I think there’ll be a possibility to do it with the cellist Truls Mørk whom I really admire. I’d also love to work with violinist Gil Shaham, cellist Matt Haimovitz, and violinist Veronika Eberle, whom I also admire a lot.

Do you still get nervous on stage?

Absolutely, all the time. I think in a way you get used to it. We try to switch our mind once we’re on stage to just focus on the music. Most of the time it works or we pray that it works [chuckles]. There are so many factors in a really superb performance. Of course it’s how you are physically and psychologically, but it’s also the stage, the piano, the acoustic and the audience. It’s easier if you have the whole thing the way you really like it, but sometimes you have to work much much harder.

Could you tell us about one memorable concert in terms of response from the audience?

Well usually you have an audience who come because they want to be there, so I am very lucky that I  have my own audience in a lot of places. Then after a concert you feel like you have shared something together. And it's always wonderful. Usually I have quite a good contact with my audience.

Anything else about Mari which you’d like to share with us?

[Thinking a bit] Well, I think everything has been said, you can also find stuff about my cooking on my website.

Is there any ambitions when it comes to your cooking?

[Laughs] No, no, it's just something simple. I like cooking for people I care about. I just got encouraged by friends to publish it.

There is an upcoming release from you which we are all excited about: Manuel de Falla’s Nights in the Gardens of Spain, could you tell us about it?

Ah yes, it’s my first collaboration with Orchestre de la Suisse Romande and conductor Kazuki Yamada, to be honest I don’t know yet what to expect, but it was a very happy collaboration, we even finished way earlier than planned. We recorded it at OSR’s magnificent Victoria Hall in Geneva. De Falla is a bit different from what I have usually been recording, but I grew up with Spanish repertoire and as a student, it is not so far from the French repertoire. For me it was a joy to discover this folkloric music and I think also it is the masterpiece of de Falla. It's a compilation of different kind of folkloric themes. He constructed incredible colour and smell of the ‘nights of Spanish garden’ by just putting one theme after another. It’s an amazing piece. It should be out in a few months, and I’m also curious about the recording!

Mari Kodama in conversation with Rina Sitorus

[tmnotizie]

MACERATA – Centinaia di studenti maceratesi hanno partecipato alla matinée organizzata dall’associazione musicale Appassionata, dall’Agraria e dall’assessorato alla cultura del Comune di Macerata per festeggiare i cento cinquant’anni dalla fondazione dell’Istituto Agrario ‘Giuseppe Garibaldi’.

Sul palco l’Orchestra da Camera di Mantova, la violinista Veronika Eberle e il contrabbassista Edicson Ruiz hanno eseguito musiche di Haydn, Rossini e Bottesini in un dialogo non solo musicale con i tanti studenti presenti.

Nell’ambito delle iniziative dedicate e promosse dalla preside Maria Antonella Angerilli e dall’Istituto Agrario, la matinée al Lauro Rossi si è offerta come un momento di scambio e di approfondimento sul valore della musica attraverso il tempo, in oltre un secolo e mezzo di storia e cultura nel loro significato più ampio.

In apertura hanno portato i loro saluti Stefania Monteverde vicesindaco del Comune di Macerata, Sergio Benedetti docente dell’Istituto Agrario e Daniela Gasparrini presidente di Appassionata. L’approfondimento è stato curato da Ottavia Maria Maceratini.

“Fare scuola a teatro attraverso la musica”, ha sottolineato Monteverde, “è un arricchimento per chi vi partecipa e per la città tutta, in un’epoca in cui non è abitudine per i ragazzi andare a teatro per ascoltare musica. Siamo felici di aprire il Lauro Rossi in queste occasioni, perché sia un luogo accogliente per tutti”.

Gli eventi celebrativi dedicati all’Agraria nel mese di ottobre proseguono fino a sabato 20 con incontri, convegni e presentazioni di volumi.

“Non poteva mancare la musica – ha esordito Sergio Benedetti- non solo per la fortunata coincidenza che vede l’anniversario della nostra scuola nello stesso anno di quello rossiniano. Ma anche perché la musica, che è forma artistica immediata e coinvolgente, viene bistrattata dai programmi ministeriali.A questo si aggiunga che cento cinquant’anni fa a teatro si faceva la musica che è stata eseguita stamani al Lauro Rossi, quella che era la musica ‘pop’ dell’epoca, quindi giovane per eccellenza. Lo stesso Rossini compose le Sonate in programma a soli 13 anni”.

Daniela Gasparrini, presidente Appassionata, ha sottolineato: “Ringrazio la preside Maria Antonella Angerilli e tutto l’Istituto Agrario per aver voluto condividere con noi un passaggio importante della storia dell’istituzione che coincide per Appassionata con l’apertura di una stagione che abbiamo pensato e organizzato per tutti, quindi anche per i giovani. Possa essere questo l’inizio di una collaborazione con i ragazzi per stabilire un contatto e condividere la passione per la musica, anche per quella che sembra lontana nel tempo ma che ci è vicina per la capacità di suscitare emozioni che valicano qualunque barriera”.

Insieme ai studenti e docenti dell’IIS Agrario G.Garibaldi di Macerata hanno preso parte alla matinée rappresentanti dell’Istituto Alberghiero ‘Girolamo Varnelli’ di Cingoli, Liceo Scientifico ‘G. Galilei’ di Macerata, Liceo Classico Linguistico ‘G. Leopardi’, Liceo Artistico ‘G. Cantalamessa’, ITAS ‘Matteo Ricci’ e dell’IIS ‘Bramante-Pannaggi’.

Foto di Alfredo Tabocchini

[okmugello]

Orchestra della Toscana. Veronika Eberle al Corsini di Barberino

Orchestra della Toscana. Veronika Eberle al Corsini di Barberino

La stagione del Teatro Corsini di Barberino di Mugello si apre al nuovo anno con il Concerto dell’ORT Orchestra della Toscana, diretta da Roland Böer, ospite dei maggiori teatri europei e che da diverse estati, in Toscana, cura il Cartiere di Montepulciano.

In programma ci sono l’Ouverture in stile italiano D.951 di uno Schubert ventenne infatuatosi del teatro di Rossini e la Sinfonia n.1 di…

[1suitcase]

German violinist Veronika Eberle takes her bow and acknowledges the audience applause — along with conductor Eivind Gullberg Jensen — after performing soloist violin with great passion at tonight’s performance of Alban Berg’s Violin Concerto at Dublin’s National Concert Hall.

Tonight’s National Concert Hall program:

Richard Wagner’s Siegfried Idyll, WWV 103 Alban Berg’s Violin Concerto, and following the interval Jean Sibelius’s Symphony No. 2 in D Major, op 43.