Filmed live performance, June 29th, 2014 Mozart E flat Piano Quartet, K493 Tereza Stanislav - Violin Robert Brophy - Viola Steve Erdody - Cello Robert Thies .
Schedule Announced for 2017 Arizona Bach Festival
The Quartet, comprised of Sarah Thornblade (violin), Robert Brophy (viola), Trevor Handy (cello) and Tereza Stanislav (violin) will perform Bach's "Art of the Fugue," one of the composer's final works, left unfinished upon his death in 1750. Admired
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Personnel: Meat Loaf (vocals); Marion Raven (vocals); Graham Phillips (soprano); Dan Warner, Clint Walsh, Paul Crook, John Shanks, Rusty Anderson, David Levita, Randy Flowers (guitar); Eric Sardinas (slide guitar); Stephanie Bennett (harp); Alyssa Park, John Wittenberg, Philip Vaiman, Ken Yerke, Michele Richards, Mario de Len, Joel Derouin, Sid Page, Roberto Cani, Bruce Dukov, Peter Kent, Natalie Leggett, Darius Campo, Josefina Vergara, Berj Garabedian, Endre Granat, Tereza Stanislav, Haim Shtrum (violin); Matthew Funes, Marda Todd, Brian Dembow, Evan Wilson, Denyse Buffum, Andrew Duckles (viola); Daniel Smith, Suzie Katayama, Larry Corbett, Steve Richards (cello); Earl Dumler (oboe); Tom Saviano (tenor saxophone); Chuck Findley, Gary Grant, Jon Lewis, Rick Baptist, Steve Madaio, Wayne Bergeron, John Fumo (trumpet); John A. Reynolds, Steven Becknell, Joe Meyer, Brad Warnaar (French horn); William Frank Bill Reichenbach Jr. (trombone, bass trombone); Steven Holtman, Alan Kaplan (trombone); Kasim Sulton (bass guitar, background vocals); John Miceli (drums); Lee Levin (percussion); Chris Vrenna, Doug Emery, Harry Slick Sommerdahl, Holly Knight, Randy Cantor (programming); Eric Troyer, Storm Lee, John Gregory, Camille Saviola, Carolyn Caletti Jablonski CC, Keely Pressly, Brett Cullen, James Michael, Diana Grasselli, Maria Vidal, Marti Frederiksen, Andreas Carlsson, Becky Baeling, Jeanette Olsson, Patti Russo, Jason Paige (background vocals); Corky James, Eric Bazilian, Steve Vai, Brian May, John 5 (guitar); Matt Rollings, Mark Alexander (piano, organ); Kenny Aronoff (drums, percussion); Victor Indrizzo (drums); Desmond Child, Todd Rundgren (background vocals). Audio Mixer: Greg Collins. Recording information: Capitol Studios, Hollywood, CA; Henson Recording Studios, Hollywood, CA; Ocean Way Studios; O'Henry Sound STudios; The Gentlemen's Club; The Mothership; The Village, Los Angeles, CA; The Wire. Photographer: Timothy White. Arranger: Todd Rundgren. Near
Strauss, X. Schrwenka, R. Schumann , Le Salon de Musiques November 6, 2016—. One hour of daylight was taken from us on November 6th in the annual turning back of clocks. Only two days later, the presidential election would rob almost exactly half the country of the candidate they hoped would win. Depending on one’s political persuasion, it would be either the best or worst day in a long, long time. But on Sunday, the 6th, the outcome could only be guessed at, prayed for or feared. Maybe some lovely chamber music would provide a lull. And the perfect venue for that is Le Salon de Musiques. Any and all unpleasantness was forgotten when we took our seats at the second of this year’s eight Le Salon de Musiques chamber music concerts. She would later host the regular Q. & A. with musicians that immediately follows performances. First up was a transcendent listening experience—half a dozen songs by Richard Strauss , exquisitely rendered by So Young Park who was ably accompanied on the resonant Steinway piano by Le Salon’s, producer and artistic director, Francois Chouchan. The soprano, only in her mid-twenties, has excelled in leading roles with the L. A. Opera during the past two seasons and in venues around the world. Her breath control is remarkable, especially when witnessed from the close-up seating at Le Salon. its final L. A. Opera performance is on November 27th. And she will be the soprano soloist in Poulenc’s “Gloria” with the New West Symphony next April. Mostly written in his youth, the Strauss lieder have the maturity of arias penned years later for his major operas. He was married to a soprano and often featured that voice. As was the practice with 19th century German art songs, he matched his music to poems that were tender, nostalgic and romantic. “Meinem Kinde” (My Child) was composed for the birth of Strauss’s son. As defined by Karl Haas, a coloratura soprano has “a voice of particular flexibility and agility, capable of negotiating demanding feats of vocal acrobatics”. So Young Park is a coloratura whose skills insure a long and wonderful career. Her ability to dramatically raise the volume of her powerful voice seems effortless, as does the controlled lowering to an almost imperceptible softness. Her performance of “Du Meines Herzens Kronelein” (You, My Heart’s Little Crown) was unforgettable. The love song ends with the words:. So Young Park delighted our hearts as well as our eyes and ears with this intimate chamber song. A native of Pusan, South Korea, she received her Bachelors Degree in Vocal Performance from Seoul National University, graduating first in her class. Park earned a Masters Degree from the New England Conservatory and has been a winner or finalist in many prestigious competitions. And she has performed her signature role—Queen of the Night in Mozart’s “The Magic Flute”—for a dozen major opera companies around the United States. Le Salon de Musiques often highlights 19th and early 20th century composers whose works have been unjustly overlooked or are seldom performed Such is the case with the Scharwenka brothers, Philipp and Xaver. Natives of Poland, they moved to Germany with their family and, together, founded a Berlin music conservatory in 1881. Both had long lives and enjoyed busy careers as composers and performers. Xaver Scharwenka travelled extensively, lived in New York from 1891-98 and opened another conservatory there. He toured the world as a pianist and conductor, wrote an opera, a symphony, four piano concertos and chamber music of all sorts. At this concert, the centerpiece was the U. S. premiere of Xaver Scharwenka’s Piano Quartet in F Major, Op. 37. Scharwenka greatly admired Richard Strauss and the influence is evident in the melody and interplay in this quartet. It may not be very memorable music but it deserves to be heard more often. The first movement was delightful, the second a bit maudlin, the third, more contemporary-sounding.
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Tereza Vojtková - Právě dnes
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Tereza Stanislav, violin
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Tereza Stanislav | The International Review of Music
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