Gramophone: BEETHOVEN Complete Cello Sonatas and Variations

March 20, 2015

Cellist Matt Haimovitz prefaces his period-instrument Beethoven cycle with an absorbing essay, writing that ‘the consideration is no longer the modern-day “how can the cello cut through the multi-voiced powerhouse of a concert grand piano”, but “how can it make room for the nuances of the 19th-century fortepiano?”’ Good engineering also helps, and Pentatone’s vividly resonant production captures the music’s wide dynamic range with comparable clarity and heft to the two Bylsma editions, and surpasses the slightly dry and close-up Isserlis/Levin cycle. Continue reading

AllMusic: Beethoven, Period. REVIEW

4.5/5 Stars

Cellist Matt Haimovitz and pianist Christopher O’Riley released their first album together in 2011, an eclectic program of clever crossover arrangements titled Shuffle.Play.Listen. Haimovitz is well-known for bringing a contemporary attitude to his performances, often performing in clubs instead of classical venues, and his interest in making exciting music with a popular feeling has won him a big following. For this 2014 hybrid SACD release on PentaTone, though, Haimovitz and O’Riley turn their attention to the pinnacle of classical music for cello and piano, the 5 Cello Sonatas of Ludwig van Beethoven. With his fans sure to follow where he leads, Haimovitz doesn’t need to add anything to this music to spice it up, and he and O’Riley approach the sonatas and three sets of variations with seriousness and dedication, if not exactly reverence. While the sonatas are played as straight as the title suggests, Haimovitz and O’Riley play with considerable emotion and élan, yet avoid making their performances seem like an academic recital. There is a lot of personality here, chiefly Haimovitz’s, and even though the music was performed on period instruments, the cello’s sound is robust, and the fortepiano is far from fragile. Still, this set might represent too much freedom for period style purists, so these energetic performances might not be for everybody and sampling is advised. [N.B. In the album’s listing, tracks 4 and 8 are reversed.]

By: Blair Sanderson

Strings Magazine: What Would Beethoven Think?

March 1, 2015
Matt Haimovitz

Matt Haimovitz’s new Beethoven set launches affiliation with Dutch label

Even for pioneering cellist Matt Haimovitz, recording Beethoven’s complete music for cello and piano on period instruments was an audacious step. There were musicological depths to be plumbed—based on manuscripts, first editions, and scholarly research—and practical performance issues to be addressed in order to ensure that the results of his new two-CD package on the newly minted Pentatone/Oxingale label called Beethoven, Period be simultaneously authoritative and entertaining. Throughout the project, Haimovitz had in his mind “at every second whether Beethoven would like this or not.”

Recording the Beethoven cycle had been a dream since his days at Harvard when he wrote his thesis on Beethoven’s last cello sonatas and his advisor was famed Beethoven scholar Lewis Lockwood, Haimovitz says. Once he discovered that pianist Christopher O’Riley, his frequent collaborator at experiencing music “between the genres as the iPod generations do,” loved and was conversant with old instruments himself, the two gave a few performances. “It was such a revelation,” Haimovitz says, “that when we heard Skywalker Sound was free, we decided to record the complete set.”

Playing his 1710 Matteo Goffriller cello, strung with Toro Strings’ ox gut and set up by Louis Gaucher in Montréal, and partnered by O’Riley on an 1823 Broadwood, Haimovitz is using the Beethoven cycle recordings to launch his new Pentatone initiative: Beginning this year, new albums and critically acclaimed reissues from Haimovitz and his musical collaborators will be available internationally in SACD 5.1 surround sound and as high-definition downloads.

Haimovitz’s next recording will be a second go at Bach’s Six Cello Suites using a cello piccolo for the Sixth Suite. “They will be different from my recordings of 15 years ago—which I no longer recognize,” he says. The cycle will be accompanied by a newly commissioned overture for each suite by composers Philip and Vijay Iyer, among others. Each overture will be 5-15 minutes long and will reflect music from a different part of the world using Indian modes and rhythms, Greek chant, Middle Eastern and other influences. Improvisation will play a role in Iyer’s piece, Haimovitz says, and there will be “improv in the compositional process of the other new pieces.”

At press time, Haimovitz and O’Riley planned to launch Beethoven, Period in concerts in Los Angeles and San Francisco (where the duo is in residence at the Conservatory), and at clubs and listening parties in Seattle, Eugene, and Portland, where they will “play live and also experience the music in audiophile-quality surround sound.”

By Laurence Vittes posted

Read at: Strings Magazine

JUNO Award Nomination for AKOKA: Reframing Olivier Messiaen’s Quartet for the End of Time

January 27, 2015
Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

CLASSICAL ALBUM OF THE YEAR: SOLO OR CHAMBER ENSEMBLE

Blanc / Angèle Dubeau & La Pietà / Analekta*Select

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time / David Krakauer, Matt Haimovitz, Socalled, Jonathan Crow & Geoffrey Burleson / Oxingale*S.R.I.

Bartok: Chamber Works for Violin Vol. 3 / James Ehnes / Chandos*Naxos

Prokofiev: Sonates & Mélodies / Jonathan Crow & Paul Stewart /ATMA*Naxos

Ysaÿe Sonatas for Solo Violin / Karl Stobbe / Avie

 

Read the full list of nominees at: The Juno Awards

CBC Music: First Play: Matt Haimovitz & Christopher O’Riley; Beethoven, Period.

January 26, 2015

Listen here

Screen Shot 2015-01-26 at 4.27.51 PM

In 2011, a pair of musical iconoclasts brought us Shuffle.Play.Listen, a deliberately scattershot collection of folk, movie music, 20th-century chamber music and indie rock — all performed on cello and piano.

For their second recorded collaboration, that pair — cellist Matt Haimovitz and pianist Christopher O’Riley — has run as far as possible in the opposite direction. On this new disc, the duo has returned to the roots of classical performance. Haimovitz and O’Riley play the first movement of a piece, then they play the second, and if applicable they play the third. Then, they move on to the next piece. No shuffling. No new arrangements. No indie rock.

And the repertoire? Beethoven. As standard as you can possibly get. One gets the feeling that Haimovitz and O’Riley are making a statement here. Perhaps Haimovitz’s liner notes might provide us with a clue: “To this day, two hundred years after the fact, these late sonatas sound and feel like modern music.” No gimmicks required.

And yet, there’s still novelty here. Haimovitz and O’Riley have chosen to present this music on period instruments, thus the album’s title:Beethoven, Period. By now, we’re used to hearing baroque and Renaissance music on the instruments of those periods, but hearing Beethoven’s chamber music performed on a fortepiano from 1823 and a cello from 1710 is a fascinating experience.

So, here for you to gorge on are Beethoven’s complete cello sonatas and variations, beautifully played as they were originally intended. Period.

Tracklist

Disc 1

Cello Sonata No. 1 in F major
1. Adagio sostenuto
2. Allegro
3. Rondo. Allegro vivace

4. 12 Variations on ‘See the Conquering hero comes’ from Handel’sJudas Maccabaeus

Cello Sonata No. 2 in G minor
5. Adagio sostenuto e espressivo
6. Allegro molto più tosto presto
7. Rondo. Allegro

8. 12 Variations on ‘Ein Mädchen oder Weibchen’ from Mozart’s Die Zauberflöte

Disc 2

Cello Sonata No. 3 in A major
1. Allegro ma non tanto
2. Scherzo. Allegro molto
3. Adagio cantabile
4. Allegro vivace

5. 7 Variations on ‘Bei Männern, welche Liebe fühlen’ from Mozart’s Die Zauberflöte

Cello Sonata No. 4 in C major
6. Andante
7. Allegro vivace
8. Adagio. Tempo d’Andante
9. Allegro vivace

Cello Sonata No. 5 in D major
10. Allegro con brio
11. Adagio con molto sentimento d’affetto
12. Allegro fugato

Pre-order Beethoven, Period. on iTunes.

By: Matthew Parsons

Read and listen on: CBC Music

 

Audiophile: RECORD NEWS: PENTATONE Oxingale Series – BEETHOVEN, Period.Spesial

January 12, 2015

PENTATONE has initiated a cooperation with the American record company Oxingale Records. Now they launch the debut work of their collaboration, which has subcategory Oxingale Series.

The release BEETHOVEN, Period is the first release in a seried where PENTATONE cooperate with Oxingale Records. Here the Grammy nominated cellist Matt Haimovitz and the pianist Christopher O’Riley have recorded Beethoven sonatas for cello and fortepiano.

It is played on historical instruments, where the Goffriller cello of Matt Haimovitz is built in Venice in 1710, while Christopher O’Riley plays on a Broadwood fortepiano from 1823.

 

There are five sonatas on this double SACD from PENTATONE, with opus numbers. 5 No.1 & 2, 69, and 102 No.1 & 2. An eavesdrop reveals a soft but vivid performance rendered with good sound at 16bits / 44.1kHz.

We hope to come back with a review of the multi-channel reproduction of this SACD from PENTATONE.

 

 

Read more at PENTATONE

Read more at Oxingale Records


Press release from PENTATONE

Baarn, The Netherlands, 12 January 2015BEETHOVEN, Period. is the debut release on thePENTATONE Oxingale Series.Oxingale Records, the trailblazing artists’ label founded in 2000 by Matt Haimovitzand composer Luna Pearl Woolf, has joined forces with the Netherlands-based label PENTATONE, renowned for its discerning artistic quality and superior sound standards. The international release of BEETHOVEN, Period. will be followed by new albums and reissues from Haimovitz, Woolf, and their musical collaborators – published as Super Audio CD and as high quality downloads – on the newPENTATONE Oxingale Series.

 

“15 years ago, Luna and I founded Oxingale to pave a way for us to share music that we are passionate about, with an audience that we believed was seeking meaning and musical adventure,” says Matt Haimovitz, continuing, “For us, classical music is a living, breathing art form. We started Oxingale to bring to life what has been in our minds and hearts, whether by composers working 300 years ago, newly inked works, or improvisations. The invitation to collaborate with PENTATONE is an affirmation. With our shared sense of artistic and sonic values, we look forward to bringing our vision and energy to a label which has shown an optimistic and uncompromising attitude in its contributions to culture and the future of classical music.”

“There was never any doubt for PENTATONE to join forces with OXINGALE Records,” says PENTATONE’s managing director, Dirk Jan Vink. “We believe the works of Oxingale artists bring a fantastic addition to our catalogue. With PENTATONE’s warm, dynamic and detailed sound capturing the superb works and performances of Oxingale’s artists, we look forward to bringing you a range of prestigious work in prime quality.”

The new collaboration launches on February 1, 2015 with the release of BEETHOVEN, Period., the complete collection of sonatas and variations for pianoforte and violoncello recorded on period instruments by Grammy-nominated cellist Matt Haimovitz and pianist Christopher O’Riley. Following later in the year are two more releases: Shuffle. Play. Listen, the  groundbreaking recording, also with O’Riley, which saw Herrmann, Janacek and Stravinsky come together with Radiohead, the Cocteau Twins and John McLaughlin; and an all-Schubert album featuring the Arpeggione Sonata and the Cello Quintet. Also forthcoming is a 3-CD box set of Haimovitz’s solo cello recordings from the last 15 years, including 20 world premiere recordings and two newly released tracks: Orbit, by Philip Glass and a new arrangement of the Beatles’ Helter Skelter for solo cello by Woolf.

Grammy-nominated Matt Haimovitzis acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Mr. Haimovitz made his debut at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and the Chicago Symphony Orchestra. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. In 2000, he made waves with his Bach “Listening-Room” Tour, for which Haimovitz took Bach’s beloved cello suites out of the concert hall and into clubs. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Diapason d’Or.

Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Rileyis known to millions as the host of NPR’s From the Top, now in its fifteenth year on air. A guest soloist with virtually all of the major American orchestras, O’Riley has also performed recitals throughout North America, Europe, and Australia. O’Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. A prolific recording artist, O’Riley has recorded for Sony Classical, Oxingale Records, RCA Red Seal, Decca, and Harmonia Mundi. He has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite forBEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s  Sonatas for Pianoforte and Cello. Matt Haimovitz, praised as a musical visionary in pushing the boundaries of classical music performance, and O’Riley, acclaimed for his engaging and deeply committed performances and known to millions as the host of NPR’s From the Top, turn back the clock to record for the first time on period instruments – Haimovitz’s Venetian Matteo Gofriller cello of 1710 set up with gut strings and an early 19th century tailpiece, and O’Riley with an 1823 original Broadwood fortepiano.

The new recording on two SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

 

By: 

Read at: Audiophile 

The Examiner: Haimovitz and O’Riley to tour with historically-informed Beethoven performances

January 5, 2015
Cover of the recording being discussed

Next month cellist Matt Haimovitz and pianist Christopher O’Riley will release their next duo album. Following up on their two-CD album Shuffle.Play.Listen, released by Oxingale Records in September of 2011, their new album will be “something completely different.” Its title isBEETHOVEN, Period. (including both punctuation marks); and it is another two-CD set. The Oxingale brand has been taken over by PentaTone classics, and the new album will be released on the new PENTATONE Oxingale Series label. The new recording is currently available for pre-order from Amazon.com.

The album title is to be read with the connotation that it presents recordings of historically-informed compositions by Ludwig van Beethoven for cello and piano performed on period instruments. In fact, two CDs are sufficient to hold all eight of Beethoven’s pieces for “pianoforte and violoncello” (as they are listed in the in the index of the Princeton University Press edition of Alexander Wheelock Thayer’s biography of the composer), five sonatas and three sets of variations. For the recordings Haimovitz played a 1710 cello made by the Venetian Matteo Gofriller with gut strings and an early nineteenth-century tailpiece; and O’Riley accompanied him on a Broadwood fortepiano made in 1823.

This release will be marked by an eight-city North American tour, during which O’Riley will sample a variety of fortepianos along the way (while Haimovitz will travel with his cello). These Beethoven performances should be a far cry from the Shuffle.Play.Listen repertoire, which interleaved major works from the twentieth-century repertoire with Bernard Herrmann’s suite of music he composed for Alfred Hitchcock’s Vertigo on one CD and sampled the rock repertoire of groups such as Arcade Fire and Radiohead on the other. However, while at Harvard University Haimovitz wrote his senior thesis on the Beethoven sonatas; so these are likely to be highly informed interpretations, supplemented with extensive liner notes written by Haimovitz. The tour schedule will be as follows:

  • Thursday, January 29, 7:30 p.m., Northridge, California: Valley Performing Arts Center
  • Saturday, January 31, 8 p.m., Glendora, California: Haugh Performing Arts Center
  • Monday, February 2, 8 p.m., Seattle, Washington: Tractor Tavern
  • Tuesday, February 3, 7 p.m., Portland, Oregon: Millennium Records
  • Wednesday, February 4, 7:30 p.m., Portland, Oregon: live streaming of a house concert
  • Thursday, February 5, 9 p.m., Eugene, Oregon: Sam Bonds
  • Tuesday, February 10, 8 p.m., San Francisco, California: San Francisco Conservatory of Music
  • Wednesday, March 11, 7:30 p.m., Montreal, Quebec: Bourgie Concert Hall
  • Saturday, April 11, noon, New York, New York: Metropolitan Museum of Art

Oxingale Records and Pentatone Join Forces

December 16, 2014

OXINGALE RECORDS, the trailblazing artists’ label founded in 2000 by cellist Matt Haimovitz and composer Luna Pearl Woolf, is excited to announce that it is joining forces with PENTATONE, the classical music label renowned for its discerning artistic quality and superior audiophile technology. Beginning in 2015, new albums and reissues from Haimovitz and his musical collaborators will be available internationally – in SACD 5.1 surround sound and as high definition downloads – from the Amsterdam-based label under the PENTATONE OXINGALE series.

“15 years ago, Luna and I founded Oxingale to pave a way for us to share music that we are passionate about, with an audience that we believed was seeking meaning and musical adventure,” says Matt Haimovitz, continuing, “For us, classical music is a living, breathing art form. We started Oxingale to bring to life what has been in our minds and hearts, whether by composers working 300 years ago, newly inked works, or improvisations. The invitation to collaborate with PENTATONE is an affirmation. With our shared sense of artistic and sonic values, we look forward to bringing our vision and energy to a label which has shown an optimistic and uncompromising attitude in its contributions to culture and the future of classical music.”

“There was never any doubt for PENTATONE to join forces with OXINGALE Records,” says PENTATONE’s managing director, Dirk Jan Vink. “We believe the works of Oxingale artists bring a fantastic addition to our catalogue. With PENTATONE’s warm, dynamic and detailed sound capturing the superb works and performances of Oxingale’s artists, we look forward to bringing you a range of prestigious work in prime quality.”

The new collaboration launches on February 1, 2015 with the release of BEETHOVEN, Period., the complete collection of sonatas and variations for pianoforte and violoncello recorded on period instruments by Grammy-nominated cellist Matt Haimovitz and pianist Christopher O’Riley. Following later in the year are two more releases: Shuffle. Play. Listen, a groundbreaking recording, also with O’Riley, which saw Herrmann, Janacek and Stravinsky come together with Radiohead, the Cocteau Twins and John McLaughlin; and an all-Schubert album featuring the Arpeggione Sonata and the Cello Quintet. Also forthcoming is a 3-CD box set of Haimovitz’s solo cello recordings from the last 15 years, including 20 world premiere recordings and two newly released tracks: Orbit, by Philip Glass and a new arrangement of the Beatles’ Helter Skelter for solo cello by Woolf.

Founded in the year 2000, the Grammy Award-winning Oxingale Records is as committed to revelatory interpretations of the canonic repertoire as it is to riveting performances of works by recent and living composers. Under the new collaboration, Oxingale will continue to oversee its own A&R direction, while benefiting from the global distribution and marketing offered by PENTATONE.

Launched in 2010, Oxingale Music is the publishing arm of the label. Oxingale Music publishes the work of Luna Pearl Woolf plus a range of works by composers such as Pulitzer Prize-winner Lewis Spratlan and Rome Prize-winner David Sanford. The Oxingale Music catalog includes a substantial library of music written for and premiered by Matt Haimovitz, most of which are recorded on Oxingale and will be released over time as part of the PENTATONE Oxingale Series.

This year, Oxingale Music launched a semi-annual composition competition aimed at expanding and enriching the repertoire for cello in unusual combinations and ensembles. Over 40 composers from 18 countries entered the 2014 competition, the winners of which will have their works premiered in February 2015.

 

Slipped Disc: Ebola and black holes: My night in Atlanta

October 21, 2014

The cellist Matt Haimovitz has sent us his experiences playing with the locked-out musicians of the Atlanta Symphony Orchestra. read and reflect. 

Hearing that I would be in town for a residency at Emory University, the musicians of the Atlanta Symphony reached out to me with the idea of an impromptu concert together. I have never before taken sides in a labor dispute, but my gut said, “Yes! In tumultuous times we need music more then ever, for the musicians, for the community, for music’s sake.”

Before confirming my participation, I polled some music industry folks whose expertise and opinions I respect. Nearly across the board I received stern warnings against participating in such a concert and “appearing to take sides” in the dispute. I was told “if you do this, you will never again be hired by a major symphony orchestra.”

I have never made life or artistic decisions based on that kind of consideration, so the warnings sounded hollow to me. … I do not profess to have any knowledge of the orchestra’s budget or deficit. Clearly there are issues to work out with the model. Will any symphony orchestra look the same 20 years from now? I doubt it, and I hope not. But I am a musician who is concerned about the priority and state of culture in our society today. If that debate were taking place, in good faith, with the musicians of the Atlanta Symphony, I would not have played. But it is not, and the decision to join them and make music was an easy one.”

I told my fellow musicians before we performed J.S. Bach, Osvaldo Golijov, David Sanford, Billy Strayhorn, Richard Prior, and Joseph Haydn, and I say it here: I am with you. Stand strong and lead us into the future as a role model for orchestras around the country. Stand up for the importance and relevance of music and culture in a time filled with the deafening noise of fear and mediocrity. I heard your voices and so did the audience on this night.

The evening following the performance with the musicians of the Atlanta Symphony, I was rehearsing a new concerto by composer/conductor Richard Prior at Emory University with the Emory Symphony Orchestra. Meters away, Amber Vinson, nurse-turned-Ebola-patient from Texas Health Presbyterian Hospital Dallas, was being escorted to the university hospital, by a surreal display of space-age sterility. On stage were young college faces concentrating on the shifting meters and new melodies of a freshly inked cello concerto, as just outside, a nurse was wrapped up in a cocoon, infected by a plague that could potentially kill millions. The proximity of a natural plague put everything that I had experienced the night before in a whole new light.

We need music more then ever to appeal to the better side of our human nature. We need music to replace fear with hope, silence with harmony, to lift our spirits, to open our minds and hearts to the world around us. Music of all the art forms is where we can hear so many voices simultaneously come together as one whole. The fight being fought by the Atlanta Symphony is not only about the lives and livelihood of 100-or-so musicians. It is about the struggle to lift our culture out of the black hole of bottom lines. This should not be a fight between an accountant and a musician, or a corporation and orchestra. It should be a discussion about what the symphony orchestra can be as an integral part of the community’s consciousness. I am with you Atlanta Symphony.

By: Matt Haimovitz

Read at: Slipped Disc

Oxingale Music Announces New Composition Competition for Cello and Voice

May 29, 2014

Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, announces the first in a series of composition competitions aimed at building the repertoire for cello and unusual ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.

For the 2014 Composition Competition Oxingale Music and Matt Haimovitz join UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. Works should be under ten minutes in duration. There is no fee to submit. For additional details, please see below.

Prizes:

– The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State with the possibility of further performances in 2016.
– Oxingale Music will provide the composer a stipend of up to $500 towards travel and accommodation to attend rehearsals and the concert.
– The composer will be provided an archive recording of the performance, if available.
– The winning composition will be considered for publication on Oxingale Music.
Guidelines:

– Submission deadline: October 15, 2014
– Composers of any age or nationality may submit one original work.
– Duration: up to 10 minutes
– Text must be taken from Shakespeare’s Sonnet 8, 30, or 60. Sonnets may be used in whole or in part, individually or combined, at the composer’s discretion.
– Work must be for acoustic cello and un-amplified voices. (No electronics please)
– Works must be submitted electronically via dropbox or other file-transfer method. Please see required submission package contents below. Please do not submit materials via email or postal mail.
Vocal ranges:

Victoria = A3 to C6. Happy to sing in a folky chest register up to D5.
Emily = G3 to B6.
Clemmie = E3 to G6. She is most comfortable A3 to E6.
Please visit Voice’s website where you can listen to recordings and get an idea of the three singers’ blend on different tracks. If you have specific questions regarding the vocalists, please direct your inquiries to Victoria at voicetrio@gmail.com.
Submission package must include:

– Complete submission form (below)
– PDF of full score
– XML or .sib file of full score
– Biography/CV of composer
– Photo of composer
For more information on the artists and Oxingale Music please visit:

http://www.matthaimovitz.com
http://www.voicetrio.co.uk
http://www.oxingalemusic.com
The fine print:

– The competition organizers reserve the right not to select a winner.
– By submitting a work to this competition you certify that the composition is original and does not rely on the copyrighted material of any other person.
– Payment of stipend will be made in the form of reimbursement of expenses. Documentation of expenses must be received no later than 30 days after the premiere.
– Archive recording may be used for promotional purposes only. Any commercial use or public broadcast must be approved separately.
– By submitting a work to this competition you certify that there is no legal impediment to Oxingale Music acting as publisher for this work. If any conflict exists, please disclose it on the submission form. Oxingale Music reserves the right not to publish the winning composition.

General inquiries can be sent to info@oxingale.com Please do not email submissions.

Application

 

The New York Times: Classical Playlist: Beethoven, Shostakovich, Tigran Mansurian and More

May 15, 2014

Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

‘AKOKA: REFRAMING OLIVIER MESSIAEN’S QUARTET FOR THE END OF TIME’
David Krakauer, clarinetist; Matt Haimovitz, cellist; Jonathan Crow, violinist; Geoffrey Burleson, pianist; Socalled, electronics
(Oxingale)
This brilliantly inventive recording pays tribute to Henri Akoka, the Algerian-born clarinetist who egged on Messiaen to compose when both were prisoners of war in a German camp during World War II. Framing a vivid rendition of the “Quartet for the End of Time” are two musical flights of fancy, an improvisation by the extraordinary clarinetist David Krakauer, and an electronic remix of the quartet by Socalled. (Fonseca-Wollheim)

Read at: The New York Times

JohnMontanari.com: Album du jour: David Krakauer, Matt Haimovitz, et al., “Akoka”

May 11, 2014
Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

On the cold and rainy night of January 15, 1941, in the unheated Barrack 27 of Stalag VIIIA in Görlitz, Germany, an audience of some 400 prisoners-of-war and guards listened in rapt silence as four musicians, performing on ramshackle instruments, gave the first performance of one of the great chamber works of the 20th century.  While it is doubtful that even the most devoted practitioner of historically-informed performance would want to recreate the premiere of Olivier Messiaen’s “Quatuor pour le fin du temps” (“Quartet for the End of Time”), this amazing backstory adds even further resonance to a work of stunning originality, power and spirit.  (For the full story, Rebecca Rischin’s “For the End of Time: The Story of the Messiaen Quartet” is highly recommended.)

What’s that?  You’ve never heard Messiaen’s Quartet?  Well then, you’re in for an extraordinary musical experience, one which will grow with each hearing.  In eight movements, variously scored for one, two, three or all four instruments, Messiaen combines his favorite preoccupations, such as birdsong, rhythmic and melodic symmetry, synesthesia (e.g., musical rainbows) and fervent, sentimental Catholicism into perhaps this incredibly original composer’s most accessible large-scale work.  Not for nothing has the Quartet appealed over the years to audiences steeped in psychedelia, mysticism, minimalism, new age philosophy, eastern religion and just about every other alternative life- or musical style associated with adventurous youth.

On their splendid, just-released 2008 live concert recording (with violinist Jonathan Crow and pianist Geoffrey Burleson), clarinetist David Krakauer and cellist Matt Haimovitz have framed the Quartet with a works that pay tribute to the remarkable clarinetist of its premiere, an Algerian Jew named Henri Akoka.  As prologue, the four musicians collaborate on a mostly-improvised, electronically-enhanced piece (credited to Krakauer) called “Akoka,” transforming elements of the Messiaen into a Klezmer-ish lament and dance filled with clarinet smears, cello scrapes (much like those Matt Haimovitz employed in his celebrated version of Jimi Hendrix’s “Anthem”), scratchy violin off-beats and strummed piano strings.

For the epilogue, Canadian producer Socalled (Josh Dolgin) “merges live samples of the musicians with old radio broadcasts, hiphop, cantorial singing and markers of time…” into a piece called “MEANWHILE…”  Of all the album’s ten tracks, this will probably age least well, especially its rapped passages.  For the present, it’s a stimulating modern commentary on a great musical work.

But it’s the performance of the Quartet that commends and rewards most of our attention here.  Not that there aren’t excellent alternative versions in the current discography, but this one can take its place with the best of them for both individual and ensemble excellence.  To cite just a few examples:  The quiet central passage of the 2nd movement, “Vocalise, for the Angel Who Announces the End of Time” has rarely been as mesmerizing.  David Krakauer’s superb rendition of the 3rd movement clarinet solo, “Abyss of the Birds,” is filled with personality, subtly reminding us that for all its mellow mellifluousness, the clarinet was also the instrument par excellence of the red light district, the shtetl and the Roma encampment.  And Matt Haimovitz’s modulation of both tone color and vibrato in the sublime 5th movement duo, “Praise to the Eternity of Jesus” are wondrous to hear — artistry of the highest order.

Messiaen’s Quartet for the End of Time is best experienced live — what great work isn’t?  In the meantime, and for keeps, this fine, imaginative CD is highly recommended, and will fit right into your shelf next to your Mahler, your Moby, your Moondog and your Mozart.  At least that’s where it is on my shelf.

By: John Montanari

Read at: JohnMontanari.com

The New York Times, ArtsBeat: Opera America Names Eight Grant Winners

April 2, 2014

Late last year, Opera America set out to encourage women composers to write new operas, and offered incentives, by way of a two-year grant program, underwritten by the Virginia B. Toulmin Foundation. The organization announced the first group of recipients of its Opera Grants for Female Composers on Tuesday. Eight composers, and their proposed projects, were chosen from among 112 eligible applicants. Each will receive a $12,500 grant to help develop her opera.

The winner composers (and projects) are Anna Clyne (“As Sudden Shut”); Michelle DiBucci (“Charlotte Salomon: Death and the Painter”); Laura Kaminsky (“As One”); Kristin Kuster (“Old Presque Isle”); Anne LeBaron (“Psyche & Delia”); Fang Man (“Golden Lily”); Sheila Silver (“A Thousand Splendid Suns”); and Luna Pearl Woolf (“The Pillar”).

The adjudication panel included the vocal coach Susan Ashbaker; the composers Douglas Cuomo and David T. Little; the mezzo-soprano Susanne Mentzer; and the librettist and composer Gene Scheer.

By: ALLAN KOZINN

Read at: The New York Times

The Examiner: Oxingale presents a stunning context for Messiaen on its latest release

Akoka: Reframing Olivier Messiaen's Quartet for the End of Time

Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time

Yesterday Oxingale released a new recording with a somewhat intimidating title, Akoka: Reframing Olivier Messiaen’s Quartet for the End of Time. This title definitely deserves points (and probably extra credit) for truth in advertising. It refers to Henri Akoka, a Jewish clarinetist who met Messiaen on the way to Stalag VIII-A, the prisoner-of-war camp to which Messiaen was sent when he was captured by the German army in June of 1940. While they were in transit to the camp, Messiaen worked up sketches for a clarinet solo that he showed to Akoka. Those sketches would eventually become the “Abîme des oiseaux” (abyss of birds) movement of his “Quatuor pour la fin du temps.” Once at the camp, Messiaen and Akoka met the violinist Jean le Boulaire and the cellist Étienne Pasquier. Messiaen wrote a short trio for clarinet, violin, and cello from which the full quartet eventually emerged and was first performed at the camp (“outdoors and in the rain,” as its Wikipedia page observes) on January 15, 1941 with Messiaen taking the piano part.

On this new recording the performers are Geoffrey Burleson on piano, David Krakauer on clarinet, Jonathan Crow on violin, and Matt Haimovitz on cello. It is, to say the least, one hell of an interpretation, combining connotations of highly free improvisation (as in “Abîme des oiseaux”) with the rhythmically demanding unison for the entire quartet in the “Danse de la fureur, pour les sept trompettes” (dance of fury, for the seven trumpets), requiring the utmost precision for the required uniformity. However, in the midst of all the technical demands lies some of Messiaen’s most visceral efforts at composition. While this is probably a reflection of the composer’s deeply-felt commitment to the Catholic religion, I have previouslyconsidered the possibility that the entire composition is based on a misreading of the tenth chapter of the Book of Revelation. Thus, it is better to approach this music as a series of reflections of apocalyptic visions without worrying about whether or not those visions can be traced back to the New Testament.

In that respect this new recording establishes a context for Messiaen’s quartet that has more to do with the circumstances surrounding the original performers than with Messiaen’s personal articles of faith. It begins with “AKOKA,” which is an almost entirely improvised composition by Krakauer. This suggests (not necessarily accurately) that at least some of the passages that Messiaen composed may have been inspired by his listening to Akoka, le Boulaire, and Pasquier improvising on their respective instruments. It is thus at least remotely possible that “AKOKA” honors a significant precedent, since much of the music that Alban Berg composed for the violin part in his concerto emerged from his listening to improvisations by the violinist who commissioned the concerto, Louis Krasner.

Adventurous as “AKOKA” may be, as a prelude it is a bit modest in comparison with the postlude, entitled “MEANWHILE….” This is the work of Socalled, which is the name that composer Josh Dolgin assumes when he is working as a “beat architect.” The music (and, yes, I have no problem with calling it “music”) is a collage that mixes live samples of the four Messiaen performers with old radio broadcasts (news reports of the Nazi advances during the Second World War), hip-hop, Jewish liturgical incantation, and the steady beats of “markers of time.” Particularly impressive is when Socalled inserts an incessant club-scene beat behind that homophonic “Danse de la fureur” movement. On the one hand this mix affirms the precision with which that music was being played; but, at the same time, it refracts the apocalyptic denotations of the score through a jazzy lens, making for a provocative distortion of Messiaen’s original conception.

Haimovitz has been quoted as saying that the intention of the full program for this recording was to lift Messiaen’s quartet “out of the polite confines of a normal chamber music performance.” He and his colleagues have succeeded admirably; but it is worth noting that they are not the only ones inspired by this “mission statement.” Here in San Francisco in February of 2011, four of the musicians in Nonsemble 6 (originally formed by students at the San Francisco Conservatory of Music to prepare a performance of Arnold Schoenberg’s Opus 21 Pierrot Lunaire) performed Messiaen’s quartet in the Red Poppy Art House surrounded by eight paintings (one for each of the quartet’s movements) by Olivia Lam. Just as Messiaen’s score amounts to a highly individual reading of New Testament scripture, so can performances of this music reflect equally individual readings through other uses of auxiliary media.

By: Stephen Smoliar

Read at: The Examiner

The Economist: Musical instruments on planes: Air with a G-string

March 12, 2014

Matt HaimovitzWHEN Matt Haimovitz (pictured), a concert-hall cellist, travels, he is accompanied by CBBG Haimovitz. That’s Cabin Baggage Haimovitz—Mr Haimovitz’s cello.  “When I was a teenager, my strategy was to sneak my cello onto the plane, smile nicely at the flight attendants and hope that they’d put it in the overhead bin,” says Mr Haimovitz. “It worked around 50% of the time, but the other times they’d tell me that I had to check it, and I couldn’t face it going in the hold, so I started paying for a seat.”

As a well-paid soloist, Mr Haimowitz is lucky that he can afford such a luxury. Others must take a risk. “Seeing your instrument going up the conveyor belt, you don’t know whether you’ll be able to play it after you arrive,” says Ray Hair, president of the American Federation of Musicians. It is a situation that legislators are trying to remedy. Last month, the European Parliament passed a bill requiring airlines to accept smaller instruments such as violins in the cabin. The bill now goes to the European Council, which represents the EU governments. Organisations such as the Musicians’ Union in Britain are backing the idea. It says the current patchwork of rules leads to confusion. Musicians can leave a country on a flight where one regulation applies to instruments, only to find the rules on the return leg are different.

Two years ago, the US Congress instructed the Department of Transportation (DoT) to write a directive requiring airlines to store instruments in overhead bins. Larger instruments weighing less than 165 lbs (75 kg) should be allowed in the plane if the owner buys an extra seat, Congress ordered. But even though the department’s deadline passed last month, the DoT hasn’t even begun writing the rules. IATA, the trade association for the world’s airlines, is relieved. It says that carriers should remain free to set their own prices and policies for onboard musical instruments.

So airbound instruments still face an unknown fate. While most airlines allow small instruments, such as violins, as part of the carry-on baggage allowance, some count it as a second piece of luggage and charge for it. Others, such as Ryanair, only allow smaller instruments in the cabin, and then only if the owner has paid for an additional seat.

On some airlines, owners of large instruments can request they be put in a heated section of the cargo hold. But even though today’s cases are sturdy, the instrument can arrive damaged. When Suzanne Bizet, a Maltese music teacher, booked a ticket to travel to Madrid for a concert, her low-cost airline informed her that she would have to buy an extra seat for her violin. Instead Ms Bizet bought a decent replacment on eBay and had it shipped to Madrid. After a particularly heavy-handed inspection by airport security staff in San Francisco, Timothy Spears, a double-bassist, decided always to travel by car instead. At a recent music competition, one participant went for a more unconventional option still: he left his cello at home, hoping that a member of the resident orchestra would lend him one. A kind player did.

Until the law speaks clearly, musical instruments and aeroplanes will remain an uneasy pairing. Airlines, desperate to cut costs wherever possible, are unlikely to go out of their way to accommodate musicians, especially those flying economy class. But musicians rely on air travel for their livelihoods. As a drummer, Mr Hair always has to put his drums in the cargo, and so far they have survived unscathed. “But it shouldn’t be down to luck,” he says.

How to identify instruments, meanwhile, remains an additional issue for legislators to address. In an age when each seat occupant requires documentation, travellers like CBBG Haimovitz—and Mr Guitar, and Mr Cello, as some musicians call their companions—pose a challenge. And while some airlines issue boarding passes to instruments, others don’t. Yet despite all the hassle, instruments on airplanes sometimes add a humane note to an often-monotonous activity. On a recent trip, a flight attendant asked Mr Haimovitz if he might like to perform a piece in the skies. To the delight of fellow passengers, he got up and played.

By: E.H.B.

Read at: The Economist

The Jewish Week: Hearing A Jewish Downbeat

February 19, 2014

Cellist Matt Haimovitz’s Shoah-tinged ‘Akoka.’

When he was 16, Israeli-born cellist Matt Haimovitz was invited to play Richard Strauss’ “Don Quixote” with the Berlin Philharmonic under the direction of Herbert von Karajan. Berlin? Strauss, a darling of the Nazi regime? Von Karajan, who was a member of the Nazi party? But a career breakthrough of immense proportions.

He was pondering the offer when his grandfather extended another invitation.

“My grandfather took me to Yad Vashem,” he recalled in a telephone interview last week. “The experience was so powerful that I turned them down. It was a very difficult decision. It was a pinnacle on a professional level, but I couldn’t do that to my grandparents.”

Haimovitz’s career survived. He made the difficult transition from prodigy to adult professional by gradually moving away from the standard cello repertoire and expanding his horizons to take in new music and the challenges of experimentation. And he has paid back his debt to his grandparents handsomely with his new album, “Akoka,” a stunning combination of the old and the new that evokes the Shoah in an elegant way.

The centerpiece of the CD is a shatteringly beautiful performance of Olivier Messiaen’s “Quartet for the End of Time,” a deeply spiritual piece of music written while Messiaen was a prisoner in a German POW camp. The clarinetist for whom he wrote the piece was a fellow prisoner, an Algerian Jew named Henri Akoka. When a sympathetic camp guard arranged for Messiaen and the other musicians to be sent back to France, Akoka’s Jewish features led to his being kept in the POW camp. He eventually escaped, jumping from a train with his clarinet under his arm.

Haimovitz has teamed with David Krakauer and Socalled to create two pieces in response to the Messiaen, a composition by Krakauer bearing Akoka’s name, and a mash-up by Socalled that combines the Messiaen with the beat-maker’s usual witty collection of sound bites, musical samples and frisky beats. The result is compelling listening, particularly when you know the story behind the compositions.

“It’s always powerful to play the Messiaen,” Haimovitz said. “To think of the circumstances, that makes it an even more spiritual experience. It’s an extraordinary statement that under those conditions you could come up with something so beautiful and transcendent. It lifts the spirit.”

By: George Robinson
Read at: The Jewish Week

The New York Times: A Crushed Spirit, Healed by the Whispers of Angels

October 17, 2013
"Angel Heart" was conceived by Luna Pearl Woolf and  Lisa Delan.

“Angel Heart” was conceived by Luna Pearl Woolf and Lisa Delan.

“There.”

“Do you hear it?”
At the beginning, there is only the voice of Jeremy Irons. Then, the sound of strings: high, sparkling filaments of sound that dance around the narrator’s voice like dust particles catching the light.

There is a whispering of wings in the silence of the night.

They’re coming. With feathers as white as snow and faces as bright as the moonlight:

Angels.

“Angel Heart” is a tender and emotionally astute children’s story told in words and music. Last month it was released as an audiobook CD; on Monday it will be performed live at Zankel Hall with the actor Chris Noth as narrator. Continue reading

Wall Street Journal: ‘Angel Heart:’ A Fairy Tale for the Digital Age

September 19, 2013

Collaboration of Author Cornelia Funke, Composer Luna Pearl Woolf and Soprano Lisa Delan Builds on Tradition of ‘Peter and the Wolf’.

Continue reading

New York Times, Sunday Edition: Unleashing the Potential of the Strings: More Musicians Are Trying Period Instruments

August 30, 2013
The cellist Matt Haimovitz with a Bohemian cello from 1770. Photo by Stephen Woolf

The cellist Matt Haimovitz with a Bohemian cello from 1770. Photo by Stephen Woolf

PLAINFIELD, Mass. — On a recent sunny afternoon, Matt Haimovitz entered a carpentry workshop here that doubles as a music studio and gently pulled the door shut. The garden of the 19th-century farmhouse echoed with the shouts of children. But the newest family member was quietly leaning against the wall. It was darker than its sibling next to it and covered in pockmarks, but Mr. Haimovitz cupped his hand around its neck with loving pride: “This is my Beethoven cello.”

Mr. Haimovitz is one of the leading cellists of his generation and equally well known for his ardent interpretations of the classics as for boundary-pushing projects involving electronics and collaborations with unusual instruments. For 25 years, he has played a spectacular Goffriller cello made in 1710 that has a rich, golden sound. Continue reading

Strombo Tonight: MUSICAL PERFORMANCE – Matt Haimovitz & Chris O’Riley

March 23, 2012

In case you missed it, Cellist Matt Haimovitz and pianist Christopher O’Riley perform a classical rendition of Arcade Fire’s ‘Empty Room’ from their double-album CD set, ‘Shuffle.Play.Listen.’

Continue reading

Figment

Figment

Figment

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A sequel to his 50-State solo cello tour and recording, Anthem, released in 2003, Figment is a return to Haimovitz’s signature solo set, embracing the musical communities of his two home countries, the US and Canada. Inspired by Continue reading

Odd Couple

Odd Couple

Odd Couple

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Two powerhouse performers, cellist Matt Haimovitz and pianist Geoffrey Burleson, come together on Odd Couple, released September 16 from Oxingale Records.

Odd Couple Celebrates Elliott Carter’s 100th birthday Continue reading

J.S. Bach: Goldberg Variations

J. S. Bach: Goldberg Variations

J.S. Bach: Goldberg Variations

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Oxingale Records brings you J.S. Bach’s timeless and beloved Goldberg Variations, performed by the acclaimed trio of cellist Matt Haimovitz, violinist Jonathan Crow and violist Douglas McNabney.

The trio’s 2007, Juno-Nominated album: Mozart the Mason was called Continue reading

After Reading Shakespeare

After Reading Shakespeare

After Reading Shakespeare

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Works for solo cello by Ned Rorem, Paul Morevec and Lewis Spratlan.

After Reading Shakespeare features literary-themed solo cello suites by three beloved Pulitzer Prize-winning American composers. These witty and lyrical suites bring to life characters and quotations from Shakespeare, Mark Twain, Continue reading

VinylCello

VinylCello

VinylCello

Click to listen and buy from: VinylCello is an album of new cello concertos written for Matt Haimovitz and unexpected ensembles–big band, choir, DJ and live electronics–along with Haimovitz’s new arrangement of Jimi Hendrix’s Machine Gun for solo cello and all-cello band. On VinylCello, Haimovitz brings together the first three commissions from his ‘Buck the Concerto’ series,by composers Tod Machover, Luna Pearl Woolf, and David Sanford, with his own arrangement of Hendrix’s Machine Gun. In the hands of Haimovitz and Uccello, his all-cello band from McGill University, this war song, with its epic electric guitar solo, becomes a concerto for solo cello and an orchestra of seven cellos. Continue reading

Live from the Knitting Factory

Live at the Knitting Factory

David Sanford & the Pittsburgh Collective: Live from the Knitting Factory

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David Sanford and the Pittsburgh Collective: Live at the Knitting Factory, featuring cellist Matt Haimovitz.
In Oxingale’s tenth release, composer David Sanford leads the Pittsburgh Collective big band – five saxophones, five trumpets, five trombones, piano, electric guitar, bass, drums, and Continue reading

Après Moi, le Déluge

Après Moi, le Déluge

Après Moi, le Déluge

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September 5, 2006 – Oxingale Records releases Après Moi, le Déluge at the one year anniversary of Hurricane Katrina. The debut full length album of new music by composer Luna Pearl Woolf includes two world premiere recordings: Continue reading

Mozart the Mason

Mozart the Mason

Mozart the Mason

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Jonathan Crow, violin, Douglas McNabney, viola, Matt Haimovitz, cello
with artwork by Michael Kuch

In celebration of W. A. Mozart’s 250th anniversary year, Oxingale Records presents Mozart the Mason. Released just 3 days before the composer’s January 27th birth date, this tribute includes performances of one of Mozart’s most important chamber works, the seldom heard Divertimento for String Trio, K 563, as well as three Continue reading

Goulash!

Goulash!

Goulash!

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Celebrating Bartk’s fascination with the folk music of Transylvania, Hungary, Romania and Turkey, cellist Matt Haimovitz delves into his own Romanian/Middle Eastern ancestry to create a sonic tapestry that bridges genres, geographic distances and Continue reading

Epilogue

Epilogue

Epilogue

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Epilogue explores two strikingly different works, each written in the last months in the lives of two contemporary early Romantic composers, Franz Schubert and Felix Mendelssohn.

Oxingale is proud to announce the collaboration of the acclaimed Miró Quartet and cellist Matt Haimovitz in a Continue reading

Anthem

Anthem

Anthem

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On September 9, 2003, Oxingale Records launched ANTHEM, cellist Matt Haimovitz’s highly charged collection of solo works by living American composers featuring his live rendition of “Anthem,” inspired by Jimi Hendrix’s “Star Spangled Banner,” recorded live Continue reading

Hyperstring Trilogy

Hyperstring Trilogy

Hyperstring Trilogy

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Composer Tod Machover’s ground-breaking Hyperstring Trilogy with Matt Haimovitz on hypercello, Kim Kashkashian on hyperviola, Ani Kavafian on hyperviolin, and the Boston Modern Orchestra Project, conducted by Gil Rose.

“Hyperstrings” are instruments enhanced with technology, designed “to enable the performer’s normal playing technique and interpretive skills to shape and control computer extensions to the instrument, Continue reading

The Rose Album

The Rose Album

The Rose Album

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Nominated for the INDIE Award for BEST CLASSICAL ALBUM OF 2002, Matt Haimovitz’s poetic Rose Album is a reminiscence, through musical associations, of his teacher and mentor, the legendary American cellist, Leonard Rose. Schubert’s beloved Arpeggione Sonata and romantic works by Continue reading

Lemons Descending

Lemons Descending

Lemons Descending

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In Lemons Descending, the common thread of voice and cello conjures a contemporary musical world rooted in the traditions of a millennium. Soprano Eileen Clark and cellist Matt Haimovitz perform the recital ranging from Hildegard Von Bingen to John Tavener’s “Ahkmatova Songs”, from a first recording of Luna Pearl Woolf’s “Epithalamion” to Heitor Villa-Lobos’ beloved “Bachianas Brasileirsas No. 5″ Continue reading

J. S. Bach: 6 Suites for Cello Solo

J. S. Bach: 6 Suites for Cello Solo

J. S. Bach: 6 Suites for Cello Solo

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In 2000, Matt Haimovitz celebrated the 250th anniversary of J.S. Bach’s death with a live-television broadcast of the complete solo Bach cello suites at the Schwetzingen Castle in Germany. Subsequently, Haimovitz took Bach’s beloved cello suites out of the concert hall, performing them in intimate venues and music clubs across the U.S., Canada, and Continue reading

The Charlotte Observer: A cup of coffee, Bach and a cool musician

March 23, 2015

An internationally known cellist lands in Charlotte for one night to play Bach. And the venue he picks is … a coffeehouse?

Well, why not? Johann Sebastian – whose 330th birthday is March 31, by the way – sometimes heard his music played in intimate, informal venues. He liked coffee, writing one of his few secular cantatas (BWV 211) about its delights. A soprano sings “Ah! How sweet coffee tastes,/ More delicious than a thousand kisses,/ milder than muscatel wine” and vows any prospective husband must swear he’ll let her make the brown brew daily. Continue reading

Le Devoir: Beethoven. Les sonates et variations pour violoncelle et piano, Matt Haimovitz, Christopher O’Riley

March 20, 2015

Classique
Beethoven
Les Sonates et Variations pour violoncelle et piano.
Matt Haimovitz, Christopher O’Riley. Pentatone SACD PTC 5186 475.

Professeur à l’école de musique Schulich de l’Université McGill, le violoncelliste Matt Haimovitz avait commencé sa carrière par un contrat de disque avec Deutsche Grammophon. Cette parution, fruit d’une association de son propre label, Oxingale, avec Pentatone, amène à un questionnement de fond : le rôle des grands labels est-il vraiment de « brûler » des jeunes artistes, avant de les abandonner quand ils ont quelque chose de majeur à dire ? Car cette intégrale des Sonates pour violoncelle et piano de Beethoven, enregistrée dans les studios de George Lucas en Californie, est majeure. Haimovitz s’associe avec un pianoforte, instrument du temps de Beethoven. Ce Broadwood de 1823, d’une beauté quasi irréelle, est la vedette de l’enregistrement. O’Riley en fait ressortir les secrets sonores et Haimovitz l’entoure des meilleures attentions et intentions, ne l’écrasant jamais. Quelle merveille !

By: Christophe Huss

Read at: Le Devoir

Free Times: Concerts in Columbia: March 19-25

Wednesday, March 18, 2015
Matt Haimovitz | photo by Stephanie McKinnon

Thursday 19

Matt Haimovitz — Matt Haimovitz — who ranks among the world’s very best cellists — is performing his interpretation of Bach’s six solo cello suites not at a buttoned-up recital hall but at a venerable dive. Haimovitz has been bringing classical chamber music out of the conservatory and into intimate, alternative spaces for 15 years now, boldly going where other classical musicians fear to tread. In the process, he’s reinvigorated classical music with a punk spirit. — Patrick Wall

New Brookland Tavern: 8 p.m., $10; 791-4413,newbrooklandtavern.com

Read at: Free Times

Hamilton Spectator: Rocky’s rundown on JunoFest

March 11, 2015

Classical

With all the pop fanfare of the awards’ telecast, people forget that the Junos has a highbrow element as well. The Church of St. John the Evangelist, at Charlton and Locke, will host two classically oriented concerts. The first, on Friday at 7:30 p.m., features Hamilton-born singer-songwriter Jeremy Fisher, a nominee in the adult contemporary category, plus the HPO Brass Quintet, Capella Intima, Emma Rush and Vox Metropolis. On Saturday afternoon at 1:30 p.m., Juno nominees Matt Haimovitz (cello) and Paul Stewart (piano), theBlythwood Winds and Piano Duo 2×10.

By: Graham Rockingham

Read at: Hamilton Spectator

Montreal Gazette: Seven Days, Seven Nights: The Damn Truth, Elephant Stone in a must-see show this week

March 11, 2015

Internationally acclaimed cellist Matt Haimovitz and pianist Christopher O’Riley play an all-Beethoven program at Salle Bourgie (1339 Sherbrooke St. W.) at 7:30 p.m. This tour has them “going period” with O’Riley playing an 1823 Broadwood fortepiano and Haimovitz’s 1710 Matteo Gofriller cello set up with ox-gut strings. Admission: $30.50. Tickets: 514-285-2000 or www.mbam.qc.ca.

By: Richard Burnett

Read at: Montreal Gazette

Rhapsody: TOP 10 CLASSICAL ALBUMS, MARCH 2015

March 1, 2015

Though works by core-repertoire composers like Beethoven and Brahms figure in this month’s survey of the best new classical releases, the majority of our attached mix is dominated by modern and contemporary music. Spiky, energetic 20th-century pieces by Iannis Xenakis and Erwin Schulhoff are given slick new readings by violinist Mélanie Clapiès and cellist Yan Levionnois on their new album, Pierrots Lunaires. And on the album Spirit of the American Range, conductor Carlos Kalmar continues his impressive run of recordings with the Oregon Symphony. Together, they’re particularly good at bringing across the playful, boisterous modernism of Walter Piston’s “The Incredible Flutist Suite” (which includes a surreal, marching-band interruption in its eighth minute, punctuated by a barking dog).

On the bleeding-edge side of the contemporary scene, we have two (count ‘em, two!) new albums of loud n’ brawny orchestral pieces by Bang on a Can group cofounder Michael Gordon. (The LA Philharmonic takes on the towering “Dystopia,” while the Aurora Orchestra handles the companion work “Gotham.”) Put this together with new recordings that include chamber pieces by Paul Hindemith, piano items by Bela Bartok, and premiere recordings of works by Mexican composer Hilda Paredes, and, well, you’ve got a full month’s worth of vibrant classical music to discover! Click on the attached mix to get started, and refer back to this post, as well as our “composer tracklist” below, in order to keep track of who wrote each piece you’re hearing.

Track 1: Iannis Xenakis, “Dhipli Zyia”
Tracks 2-6: Bela Bartok, Szabadban (Out of Doors)
Track 7: Walter Piston, The Incredible Flutist Suite
Track 8: Ludwig van Beethoven, 12 Variations on “Ein Mädchen oder Weibchen” from Mozart’s The Magic Flute

Tracks 9-10: Paul Hindemith, Oboe Sonata
Track 11: Michael Gordon, Dystopia
Track 12: Hilda Paredes, Papalote
Tracks 13-16: Erwin Schulhoff, Duo for Violin and Cello
Track 17: Beethoven, 12 Variations on “See the conquering hero comes” from Handel’s Judas Maccabaeus
Tracks 18-22: David del Tredici, Facts of Life
Tracks 23-26: Aaron Copland, Symphony No. 3
Track 27: Beethoven, 7 Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s The Magic Flute

Tracks 28-30: Paredes, Canciones lunaticas
Tracks 31-34: Ernst Krenek, 4 Pieces, Op. 193
Tracks 35-37: Gordon, Gotham
Tracks 38-41: Johannes Brahms, Symphony No. 6

  1. Michael Gordon, Michael Gordon: Dystopia (Live)
  2. Oregon Symphony, Spirit of the American Range (Live)
  3. Andreas Bach, Bartók: Complete Works for Piano Solo, Vol. 1
  4. Mélanie Clapiès, Pierrots Lunaires: Violin & Cello Duos
  5. James Austin Smith, Distance
  6. Arditti String Quartet, Paredes: Cuerdas del destino
  7. Aurora Orchestra, Gordon: Gotham (Live)
  8. Royal Concertgebouw Orchestra, Bruckner: Symphonies Nos. 6 & 7
  9. Matt Haimovitz, Beethoven: Sonatas & Variations for Cello & Fortepiano
  10. David Leisner, Facts of Life

By: Seth Colter Walls

Read at: Rhapsody