THE CELLO SUITES According to Anna Magdalena

THE BACH CELLO SUITES According to Anna Magdalena

THE CELLO SUITES According to Anna Magdalena

Available October 2015.

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Pentatone / Oxingale Series

Fresh off the heels of his revelatory period-instrument recording of the complete Beethoven Sonatas and Variations with Christopher O’Riley, BEETHOVEN, Period., Haimovitz releases J.S. Bach: The Cello Suites according to Anna Magdalena on baroque cello and cello piccolo, the five-string instrument for which Bach’s Suite VI was likely intended.

The original manuscript of J.S. Bach’s 6 Suites for Cello Solo has been lost to history. One of our only apostles is a copy made by Anna Magdalena, Bach’s second wife, her handwriting uncanny in its likeness to the composer’s own. Since 1890, when Casals found a published copy in a second-hand music shop and first performed the suites in public 20 years later, the suites have been both Bible and Holy Grail of the solo cello repertoire – each cellist searching for his own way into the heart of this music.

Cellist Matt Haimovitz has been closely associated with the Bach suites since the year 2000, when the former child prodigy jump-started the alt-classical revolution by performing the complete cycle in folk clubs and rock venues, including New York’s now-defunct punk palace CBGB’s. That same year, he released a 3-CD set of the Suites that launched the newborn Oxingale Records.

Now, 15 years later, Haimovitz returns to The Cello Suites with a stunning new interpretation, intimately informed by Anna Magdalena’s manuscript and the tools of the time.

Track Listing

CD1

Suite I in G Major, BWV 1007

1 Prélude
2 Allemande
3 Courante
4 Sarabande
5 Menuet I & II
6 Gigue

Suite II in D Minor, BWV 1008

7 Prélude
8 Allemande
9 Courante
10 Sarabande
11 Menuet I & II
12 Gigue

Suite III in C Major, BWV 1009

13 Prélude
14 Allemande
15 Courante
16 Sarabande
17 Bourrée I & II
18 Gigue

CD2

Suite IV in E-flat Major, BWV 1010

1 Prélude
2 Allemande
3 Courante
4 Sarabande
5 Bourrée I & II
6 Gigue

Suite V in C Minor, BWV 1011

7 Prélude
8 Allemande
9 Courante
10 Sarabande
11 Gavotte I & II
12 Gigue

Suite VI in D Major, BWV 1012

13 Prélude
14 Allemande
15 Courante
16 Sarabande
17 Gavotte I & II
18 Gigue

Matt Haimovitz, baroque cello & cello piccolo

This album was recorded at the Academy of Arts and Letters, New York City, USA in April 2015.

The Whole Note: ORBIT Review

September 1, 2015

In Brief: Over the long summer there was of course a plethora of other offerings that held my attention. Orbit – Music for Solo Cello (Pentatone PTC 1586) is a 3-CD compilation comprising material originally released over the past decade by Montreal-based Matt Haimovitz on his own Oxingale label. Even for an aficionado such as myself nearly four hours of nothing but the sound of a single cello in repertoire drawn from a single time period (1945-2014) might get to be a bit “much of a muchness,” but I must say that my attention did not wane. From the opening title track, Continue reading

Rhapsody: MATT HAIMOVITZ’S ADVENTUROUS CELLO

August 21, 2015

It’s easy (too easy) to think of any classical artist who is covering a pop song as a musician who is engaged in a little bit of opportunism. That’s because there is sometimes a little bit of pandering involved. But on other occasions, the crossover move really works. Click play on our mix, and you’ll hear one of those successes: cellist Matt Haimovitz’s scratchy-then-melodic cover of The Beatles’ iconic “Helter Skelter.” Aside from the performance’s ingenuity, it’s impressive that it also comes on Haimovitz’s new multidisc set of solo cello pieces (on which he plays music by Philip Glass as well as Luigi Dallapiccola). Continue reading

Orbit

Orbit

Orbit

Orbit

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Since the turn of the millennium, the solo cello recital has been a Matt Haimovitz trademark. Now, fresh off the release of his critically acclaimed BEETHOVEN, Period., a look back to period performance practice, Haimovitz reclaims his stake in the here and now with ORBIT, a new compilation of solo cello works from 22 contemporary composers. Comprised mainly of the solo tracks from five of his previous albums, this second release on the new Pentatone Oxingale Series also includes two new tracks: Orbit by Philip Glass and the world premiere recording of a new arrangement of the Beatles’ Helter Skelter by Luna Pearl Woolf. Featuring composers from Ligeti and Berio to Gilles Tremblay and Du Yun, ORBIT thrillingly charts Haimovitz’s 15-year journey of artistry, intensity, and adventure. The SACD HD surround sound release is available on August 14, 2015.

ORBIT draws from five thematic albums previously released on Oxingale Records: Anthem (2003), Goulash! (2005), After Reading Shakespeare (2007), Figment (2009), and Matteo (2011). The 3-CD collection also highlights Haimovitz’s remarkable partnership – in life and in art – with composer Luna Pearl Woolf, who produced almost all of the tracks, which have now been remastered for SACD HD surround sound.

“With the solo cello as our pilot, we steer headlong into the great musical debates of the past half-century,” says Haimovitz, “maximalist vs. minimalist; folk-rooted vs. abstract, absolute vs. narrative, tonal vs. atonal. In many ways, we live in a golden age of music. We can look back at the 20th century’s Tower of Babel and embrace its boldness, diversity, complexity, and its return to the natural order of harmony.”

Highlights of the collection include Haimovitz’s version of Jimi Hendrix’s “Star-Spangled Banner,” recorded live at the now defunct New York City punk palace CBGB. Also from Anthem are commissions from David Sanford and Toby Twining, steeped in jazz and blues, and works by Osvaldo Golijov and Tod Machover with far-flung exotic influences from Argentina and India. Folk-infused compositions by György Ligeti and Adrian Pop represent Goulash!, while Ned Rorem’s suite “After Reading Shakespeare” is joined by literary-influenced works by Lewis Spratlan and Paul Moravec. The works from the album Figment spring from the two “Figments” of Elliott Carter, leading to further virtuosic selections from Du Yun, Serge Provost, Luna Pearl Woolf, Ana Sokolovic, and Steven Stucky. The tracks from the album Matteo – which celebrated the 300th birthday of Haimovitz’s Venetian Matteo Goffriller cello – highlight the Italian avant-garde with works by Luigi Dallapiccola, Luciano Berio, and Salvatore Sciarrino.

ORBIT will be launched at the Cabrillo Festival in Santa Cruz where Haimovitz will perform the west coast premiere of Philip Glass’ Double Concerto for Violin and Cello with violinist Tim Fain and conductor Marin Alsop, on August 15. The next month brings more Glass as Haimovitz performs alongside the Philip Glass ensemble for a screening of the 2002 film Naqoyqatsi at the Days & Nights Festival in Carmel, California on September 26. (Haimovitz has previously recorded Philip Glass’ Cello Concerto No. 2, which was adapted from the Naqoyqatsi score.) He can also be heard in a recent performance of Glass’ The Orchard, with pianist Christopher O’Riley, for an NPR Tiny Desk Concert here.

Having recently performed Vivaldi with Kent Nagano for his Musical Days Festival in San Francisco, Matt Haimovitz will also take on the Brahms Double Concerto with violinist Rachel Barton Pine at the Big Sky Classical Music Festival in Montana on August 9. Two weeks earlier, on July 26, he brings his all-cello ensemble Uccello to Napa Valley’s Festival de Sole for a performance of Angel Heart, a music storybook by Luna Pearl Woolf with a text by Cornelia Funke, also featuring singers Frederica von Stade and Lisa Delan. Come September, Haimovitz will open the concert season at Bourgie Hall at the Montreal Museum of Fine Arts, performing Ravel with violinist Andrew Wan and pianist André Laplante.

In October, Haimovitz will launch his new recording of the Bach Cello Suites for Pentatone with a special residency at Miller Theatre, Columbia University, in New York City.

Tracks

CD1

  1. Philip Glass: Orbit
  2. David Sanford: Seventh Avenue Kaddish (2002)
  3. Osvaldo Golijov: Omaramor (1991)
  4. Luciano Berio: Sequenza XIV (2002)
  5. Adrian Pop: Gordun (2005)
  6. Ana Sokolovic: Vez (2006)
  7. György Ligeti: Sonata for Violoncello Solo – I (1948-1953)
  8. György Ligeti: Sonata for Violoncello Solo – II
  9. Du Yun: San (2004)
  10. Toby Twining: 9:11 Blues (2003)
  11. Hendrix/Haimovitz: Anthem (2002)

CD2

  1. Lennon-McCartney/Woolf: Helter Skelter (1968)
  2. Elliott Carter: Figment (1994)
  3. Salvatore Sciarrino: Ai Limiti Della Notte (1979)
  4. Luigi Dallapiccola: Ciaccona, Intermezzo e Adagio – Ciaccona (1945)
  5. Luigi Dallapiccola: Ciaccona, Intermezzo e Adagio – Intermezzo
  6. Luigi Dallapiccola: Ciaccona, Intermezzo e Adagio – Adagio
  7. Steven Mackey: Rhondo Variations (1983)
  8. Luna Pearl Woolf: Sarabande (2009)
  9. Elliott Carter: Figment No. 2: Remembering Mr. Ives (2001)
  10. Tod Machover: With Dadaji in Paradise (1983)
  11. Gilles Tremblay: Cèdres en Voile: Thrène Pour le Liban (1989)

CD3

  1. Ned Rorem: After Reading Shakespeare – Lear (1980)
  2. Ned Rorem: After Reading Shakespeare – Katherine
  3. Ned Rorem: After Reading Shakespeare – Titania and Oberon
  4. Ned Rorem: After Reading Shakespeare – Caliban
  5. Ned Rorem: After Reading Shakespeare – Portia
  6. Ned Rorem: After Reading Shakespeare – Why hearst thou music sadly?
  7. Ned Rorem: After Reading Shakespeare – Our minutes hasten to their end
  8. Ned Rorem: After Reading Shakespeare – Remembrance of things past
  9. Ned Rorem: After Reading Shakespeare – Iago and Othello
  10. Paul Moravec: Mark Twain Sez – I. Growth (2008)
  11. Paul Moravec: Mark Twain Sez – II. Humor
  12. Paul Moravec: Mark Twain Sez – III. Butterfly/Kangaroo
  13. Paul Moravec: Mark Twain Sez – IV. Procrastination
  14. Paul Moravec: Mark Twain Sez – V. The Heart
  15. Paul Moravec: Mark Twain Sez – VI. Night
  16. Paul Moravec: Mark Twain Sez – VII. We Are All Mad
  17. Paul Moravec: Mark Twain Sez – VIII. Day-dreaming
  18. Lewis Spratlan: Shadow – Shadows I (2006)
  19. Lewis Spratlan: Shadow – Rambo/Rimbaud
  20. Lewis Spratlan: Shadow – Variation and Sarabande
  21. Lewis Spratlan: Shadow – Shadows II

 

BEETHOVEN, Period.

BEETHOVEN, Period.

BEETHOVEN, Period.

BEETHOVEN, Period.

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Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite for BEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s Sonatas and Variations. Grammy-nominated 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’ 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 2 SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

Having shared ideas and projects for some time, there was no doubt for PENTATONE to join forces with OXINGALE RECORDS. This is a union of two innovative and devoted recording companies with a long history of producing reputable records and collaborating with esteemed artists. Delivered in PENTATONE’s signature warm, dynamic and detailed sound, this recording gives an opportunity for a straight encounter with the power of the rich interaction between the two instruments in surround sound on super audio CD and as a high definition download.

Matt Haimovitz and Christopher O'Riley | BEETHOVEN, Period.

Haimovitz and O’Riley recording at Skywalker Studios.

For Haimovitz and O’Riley, there is no more fascinating, influential, and documented figure than Beethoven. And, centuries before the duo blurred the lines between Radiohead and Stravinsky – as in their acclaimed Shuffle.Play.Listen for the Oxingale label – Beethoven had already embraced vernaculars within his music, using popular themes of the day by Mozart and Handel in his Variations. Returning to the cello and piano over three important periods in his career – early, middle, and late – Beethoven reveals his innermost struggles and triumphs as he marries the two disparate instruments, fearlessly unshackling the cello from its continuo origins, and confronting the challenges of its low voice in relation to the piano’s polyphony. Within a twenty- year period, Beethoven singlehandedly created and immortalized the genre.

Extensive liner notes by Matt Haimovitz explore further details and insights into the Sonatas and Variations – Opus 5 and 6, Opus 69, and the Opus 102 Sonatas, completed exactly 200 years ago, in 1815. Also in the notes, William Meredith, Director of The Ira F. Brilliant Center for Beethoven Studies, and Executive Director of The American Beethoven Society, discusses the 1823 Broadwood fortepiano used in the recording.

“Each time I approach Beethoven’s Sonatas and Variations for Piano and Cello is a life-affirming milestone,” says Haimovitz, who wrote his undergraduate thesis on the Beethoven Sonatas at Harvard University twenty years ago, “To grapple with the composer’s uncompromising vision, and his ideal of equality and balance. Yet, nothing could have prepared me and Chris for the revelation of exploring these works using period instruments. With this setup, the fact that the cello can easily overpower its partner changes everything. Suddenly, the consideration is no longer “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?”

For his part, O’Riley, who has recorded extensively on a variety of instruments, was amazed by the problem-free 1823 fortepiano: “It was exceedingly unexpected and astonishing to find that this nearly 200-year old instrument was in such immaculate condition. I’d place this in my Top Five instruments I’ve ever played.”

Finding the ideal tuning was also revelatory. While there were a variety of tunings in use in Beethoven’s Vienna, Matt and Chris found that their instruments resonated ideally at A=430, a microtone lower than the modern A=440 and higher than the Baroque A=415. “I think we all vibrate a little better at that pitch,” says O’Riley.

Tracks

CD 1
Sonata for Pianoforte and Violoncello in F major, Op. 5, Nr. 1
1. I Adagio sostenuto
2. I Allegro
3. II Rondo: Allegro vivace

4. 12 Variations on “Ein Mädchen oder Weibchen” for Cello and Piano, Op. 66 

 

Sonata for Pianoforte and Violoncello in G Minor, Op. 5, Nr. 2 
5. I Adagio sostenuto ed espressivo
6. I Allegro molto più tosto presto
7. II Rondo: Allegro

8. 12 Variations on “See the conquering hero comes” for Cello and Piano, WoO 45

CD 2
Sonata for Pianoforte and Violoncello in A Major, Op.69
1. I Allegro ma non tanto
2. II Scherzo: Allegro molto
3. III Adagio cantabile
4. III Allegro vivace

5. Variations on “Bei Männern, welche Liebe fühlen”, for Cello and Piano, WoO 46

Sonata for Pianoforte and Violoncello in C Major, Op.102, Nr.1
6. I Andante
7. I Vivace
8. II Adagio
9. II Allegro vivace

Sonata for Pianoforte and Violoncello in D Major, Op.102, Nr.2
10. I Allegro con brio
11. II Adagio con molto sentimento d’afeto
12. III Allegro fugato

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

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

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“A shatteringly beautiful performance of Olivier Messiaen’s ‘Quartet for the End of Time.'”

-The Jewish Week

In this reframing of Olivier Messiaen’s masterpiece Quartet for the End of Time, clarinetist David Krakauer — praised internationally for his ability to play in a myriad of music genres with “prodigious chops” (The New Yorker) and “soulfulness and electrifying showiness” (The New York Times) — and musical pioneer cellist Matt Haimovitz — described as “one of the leading cellists of his generation” (The New York Times) and “intensely sensitive and perfectly poised (Gramophone Magazine) — have created a recording and live concert experience of great emotional power. Continue reading

AngelHeart feature2

Angel Heart, a music storybook

Angel Heart a music storybook

Angel Heart
a music storybook

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Haunting, heady, and evocative, Angel Heart is a music storybook with Continue reading

O'Riley's Liszt - Blu-ray Video/Audio Disc

O’Riley’s Liszt

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O’Riley’s Liszt – 2-CD set

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O’Riley’s Liszt – Blu-ray Video/Audio Disc

 

 

 

 

 

 

 

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Pianist Christopher O’Riley’s virtuosity, showmanship and iconoclast status make him the Franz Liszt of our time. In O’Riley’s Liszt, Chris delves into the transcriptions of that master interpreter, adding his own touches and insight to the music of Mozart, Wagner, Berlioz, Schubert and Schumann. This multi-layered audio and visual experience Continue reading

Shuffle.Play.Listen

Shuffle.Play.Listen

Shuffle.Play.Listen

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Shuffle.Play.Listen unites ground-breaking, Grammy-nominated cellist Matt Haimovitz with pianist Christopher O Riley, host of NPR and PBS’s popular weekly radio and television series, From the Top, in a collaboration that blurs the boundaries between classical and pop music. Continue reading

Matteo: 300 Years of an Italian Cello

Matteo: 300 Years of an Italian Cello

Matteo: 300 Years of an Italian Cello

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Haimovitz interweaves Gabrielli’s Ricercari with music from Italy’s leading contemporary composers. Continue reading