#emil tabakov

[lesser-known-composers]

Emil Tabakov - Symphony No. 8: I. Largo ·

Bulgarian National Radio Symphony Orchestra, conductor - Emil Tabakov

#Emil Tabakov #classical music #Youtube

[senfonikankara]

Rahmaninof | 3. Piyano Konçertosu, Intermezzo

#Rachmaninoff #gülsin onay #emil tabakov #bso #Romantic period #classical music #klasik müzik

[gasparodasalo]

Johann Gottlieb Goldberg (1727-56) - Concerto for Harpsichord and Strings in d-minor, III. Allegro di molto. Performed by Waldemar Döling, harpsichord, and Emil Tabakov/Sofia Soloists.

#johann gottlieb goldberg #rococo #classicism #classical music #orchestra #harpsichord #harpsichord concerto #concerto #strings #string orchestra #keyboard #keyboard concerto #rarely performed composers

[khwethemule]

The Magic Flute, K. 620, Act II: "Ein Mädchen Oder Weibchen" (Instrumental Version) - Sofia Philharmonic Orchestra & Emil Tabakov

I used Shazam to discover The Magic Flute, K. 620, Act II: "Ein Mädchen Oder Weibchen" (Instrumental Version) by Sofia Philharmonic Orchestra & Emil Tabakov. https://www.shazam.com/track/234076540/the-magic-flute-k-620-act-ii-ein-m%C3%A4dchen-oder-weibchen-instrumental-version

[remixinc]

MARSHALL | 60 YEARS OF LOUD from Hunter Daly on Vimeo.

Director - Kevin Castanheira Creative Director - A.M Sekora @laborhouse Client - Zound Industries @zoundindustries Creatives - Kevin Castanheira, Andy Koppell & Pete Harvey Production Company - DOGEATDOG @dogeatdog.co Executive Producer - Exec Producer @harvs31 Producer - Ben Davidson @mrbendavidson Production Coordinator - Lydia Martland @lydiamartland Director of Photography - Hunter Daly @hunterdaly_ Production Designer - Emil Gigov @emilgigov Stylist - Jenny Svantesson @jennystylist Casting Director - Emma Garrett @emmagarrettcasting Post Production - B2Y Post Final Post - Unit Edit - Phil Currie @phil_noir_ at Stitch Editing @stitchediting Sound - 750mph @750_mph Music Composition - Dolce @dolceldn

-

Service Production - B2Y Producer - Alexander Kenanov @kenanon55 Line Producer - Kristin Arakchieva @kristin.wanderlust Production Coordinator - Mladen Pecakovski @mladen_pecko 1st AD - Boyka Pehlivanova 2nd AD - Monika Ivanova Production Assistant - Elena Mateva Production Assistant - Nikioleta Goranova Production Runner - Alexander Chernev

Teodora Duparinova - Casting Director

Vanya Ivanova - 1st AC Miroslav Stoilov - 2nd AC Deyan Georgiev - 2nd AC B Cam Borislav Zlatanov - Loader Georgi Sirakov- Video Control Nikolay Kerezov - Stedicam BTS Stills - Irra Ivanova @irra.filmmaker

Alexander Mihailov - Gaffer Boris Manolov - Electrician Tsvetan Trifonov - Electrician Dimitar Nazarov - Electrician Milen Stoilov - Electrician Alexander Todorov - Electrician Filip Georgiev - Electrician Nikolay Predrov - Electrician

Alexander Dimitrov - Key Grip Daniel Pankov - Grip Kirill Kurtov - Grip Petur Anev - Grip Georgi Angelov - Grip

Anastas Nedelchev - Construction Manager Kristina Bodurova - Art Dept Coordinator Zdravko Vasilev - Prop Master Vasil Ivanov - Props Master Assistant

Sergey Yordanov - Stylist Katarina Karl Pavlova - Assistant Stylist Mariya Petrova - Assistant Stylist

Bilyana Borisova - Hair Stylist Gergana Batanova - Make-Up Artist Nataliya Kamenova - Hair Assistant Atanas Temnilov - Make-Up Assistant Karina Nikolova - Make-Up Trainee

Yovko Dolgandzhiyski - SFX Supervisor Antonia Tocheva - SFX Coordinator Andrei Velchev - SFX Technician

Cvetan Pashaliski - Set Manager Lyubomir Tabakov - PA Ivaylo Tabakov - PA Kristian Koev - PA Toma Kaloyanov - PA

Elena Asenova - APOC @elena.asenovaaa Vasil Velinov - Covid Supervisor @vasilvelinov Zhaklin Peycheva - Covid Coordinator Biser Velislavov - Health and Safety Key PA Nedelin Germanov - Health and Safety PA Tsvetomir Georgiev - Health and Safety PA Dr. Gayla Mitkova - Set Medic

Ragazzi - Catering

Petar Lalov - Production Transport Alexander Panteleev - Production Transport Georgi Gulabov - Generator Truck Ivan Milev - Lighting Truck

Retouchers - Art Works Post Production - @artworkspost

Visual FX - B2Y Post Bogomil Georgiev - Post Production Producer Kalın Stoyanov - VFX Supervisor

Colour House - Ethos Studio Colourists - Dante Colour Producer - Sam Cesan

Final Post - Unit Flame Artists - Alec Eves Post Producer - Tania De Sousa

Film Lab - Cinelab @cinelabuk

Cast Voiceover - Savannah Steyn Jayvana Tyra Peace - Motif ANC Ivan Ivanov - Jim Marshall Pavel Iliev - Shop Technitian Velizar Emanuilov - Pete Townsend Ventsislav Sariev -Tech/Roadies Daniel Gerchev - Sound Engineers Antoan May - RAR Alida Ndaykeleza - RA Aleks Radeva - RA Yuru Angelov - RAR Jihad Osman - RAR Johnny Velchi - RAR Ezikel Germinal - RAR Pavel Krumov - GLAM BAND Georgi Ivanov - GLAM BAND Nikolai Stanev - DRUMMER Sofia Bunza - Nova Twins Patricia Inomwan - Nova Twins Maxim - Lo-Fi musician Sasha miteva - Kissing Couple Kasin Wang - Kissing Couple Maria Tolin - Party Kid Ned Panayotov - Party Kid Liubislava Otsetova - Party Kid Bistra Okereke - Party Kid Migel Antonio - Party Kid David Ansyasi - Party Kid Hristro Simeonov - Party Kid Stansislav Mladenov - Party Kid Atanas Burdarov - Boy Tuning Guitar

[dustedmagazine]

Idil Biret — Concertos and Solo Music Edition (Idil Biret Archive/Naxos)

The tenth and final box anthologizing Turkish pianist Idil Biret’s studio recordings became available in the summer of 2018. This volume, and the huge set it concludes, has been an obvious labor of love to assemble and a joy to explore. I began listening to Biret’s playing in the middle 1990s, when only her then-recent recordings for Naxos were readily available, each of which presented a new and fascinating aspect of her broad repertoire and the stunning technique rendering it all convincing. She plays Chopin and Boulez with similar depth, precision and insight, no mean feat in a marketplace increasingly devoted either to specialization or glamour. If this volume seems to be a catch-all, gathering pieces and performances external to the other more thematically organized sets, its substance is not to be missed. As with every other entry, a bit of digging shows much more than at first meets the eye.

Before even taking stock of this final set on its own terms, a few contextual comments are in order. The completion of this mammoth project has been long and laborious in coming but not simply due to the material’s chronological disparity. For various reasons involving playing style, choice of repertoire and the resultant neglect by, and even downright hostility from, major labels and some in the critical establishment, a substantial part of Biret’s recorded legacy has been in need of recirculation. Now, her entire back catalog is housed under one roof, so to speak; in fact, while the ten sets do indeed contain all of Biret’s studio recordings, made for a variety of labels between 1959 and 2016, there are concert performances a-plenty; more on that presently. What unifies everything might also be the most difficult aspect of the set to describe. As a child, she could play adult works like Bach’s “Chromatic Fantasy” with an assurance and virtuosity any adult performer would envy. Like Alfred Brendel early on in his career, Biret had mastered a style of playing that exemplified and transcended convention, necessitating changes in articulation, phrasing and voicing as her art progressed that would bring the music to another level. The ten volumes cohere as related stylistic paragraphs and chapters rather than as a single overarching developmental narrative.

This final box brings together pieces from various countries and time periods, from Schubert through Ravel. If one descriptor could be used to describe Biret’s playing throughout, it is the potent but ultimately unsatisfying phrase “unostentatiously heroic.” Revel in the tempo flexibilities of her 2004 recording of Tchaikovsky’s first concerto, in collaboration with the Bilkent Symphony Orchestra under the direction of the still underrated Emil Tabakov, a Bulgarian composer, double bassist and conductor who brings a unique vision to everything he touches. His rendering of the first movement’s ubiquitous string melody is of a piece with Biret’s shaping of that melody in octaves, approximating molten granite, immutable in intent but fresh on every audition, while her subsequent arpeggios breeze by with liquid ease, and Tabakov’s reentry at 2:50 elicits some of the warmest and richest sonorities a string section can muster and tempo gradations as natural as breathing. Each pianistic and orchestral detail contains all this in microcosm. Biret’s low-register octaves, beginning at 15:12, gradually round and melt, merging with the sensual winds and succeeding solo oboe. All of the whimsy, tenderness and unadulterated triumph of the first movement are crystalized in the third. Any classical music aficionado has ridden the warhorse ad nauseam but never quite in this way!

Let a middle 1960s recording (no firmer date is provided) of Ravels Gaspard de la Nuit represent the compositions for solo piano. Its sonics are a little rough around the edges, but again, despite so many great versions in the catalog from players as diverse as Jean-Yves Thibaudet and Jacqueline Eymar, this one is unique. No aged and filtered recording can dim Biret’s take on Ravel’s interpretations of Bertrand’s evocative poetry. The accompanying booklet states that it is a studio production, though periodic coughs say otherwise. Whatever its provenance, the lonely siren in the heartbreaking Ondine has never shown her isolation so completely, save, perhaps ironically, in the version waxed by another Turkish pianist, Husein Sermet. Biret presents the initial melody as only slightly separate from its watery surroundings, repeated chords which morph gradually but definitely into the elements that are complicit in Ondine’s solitary fate, which Biret captures in the bitter laughter that ushers in the movement’s somberly anticlimactic conclusion. Only an unfortunate volume drop mars an exquisite and powerful performance. Biret’s Gibet is icily transparent, what Mark E. Smith encapsulated superbly in “Pat Trip Dispenser” as “clarity of nothing.” The tolling bell’s statement answers no questions in that existential moment of questioning images, and Biret depicts all regions of that ghostly landscape in diverse shades of stunning color in equally astonishing pianissimo. Her Scarbo, that fiendishly and notoriously difficult study in technical prowess in dance, is all contrast in the service of rhythmic unity as the monster, whimsically frightening but ultimately illusory, flits, stalks and romps, rearing up only to disappear with a slight but potent sting.

This set contains a remake of note in Franz Liszt’s arrangement of Hector Berlioz’s radical and programmatic Symphonie Fantastique of 1830. It was Liszt’s piano version that was published first, and Biret recorded it in the late 1970s. Here, we have a 1992 digital recording in a warmer and more reverberant acoustic, but her interpretation has also deepened. The symphony was conceived orchestrally, and, rising to a formidable challenge, Biret coaxes inner voices from Liszt’s dense writing that were overshadowed in her earlier version. Even a quick listen to the first movement’s introduction, with its volcanic shifts in tempo and dynamics, reveals a controlled freedom in which detail and emotion balance, like the best Furtwangler on record. Biret arrives at the first chord as at a summit, leaving it only reluctantly as the melody unfolds. Her second movement waltz, where the tortured artist attempts to drown his sorrows in a party atmosphere, is elegant and whimsical, especially the bass notes, which live as close to pizzicato strings as a piano can. She finds pathos in the artist’s final musings on his beloved as, on the scaffold, he faces execution, and the act itself is as sharp and cold as his reminiscences are tender and poignant. Biret takes obvious and slightly wicked delight in the last movement’s no-holds-barred harmonic complexities, constructing monoliths of stacked sonorities at top volume only to watch them disintegrate as the beloved, resurrected as a witch, greets the artist with bitter laughter so similar to Ondine’s in Gaspard. All recedes as the thunderous low-register octaves of the Dies Irae sweep all before them, foregrounding the cataclysm and capping a reading of Romantic scope and power.

 There is far too much to cover in a review. The Scriabin sonatas, while occupy a fair bit of my listening notes, didn’t get the space they deserve. They float lithely into focus, luminous but somehow light, ordered and almost academically figured while never losing their mystery. The closest proponent to Biret’s vision of this music is the still underappreciated Vladimir Sofronitsky, the Romantic who married Scriabin’s daughter, and there is the heart of the matter. Biret is a Romantic, maybe one of the last still playing. She is not in search of emotion, and she has no grand philosophical statements to make, though both the academic and the intuitive approaches come to her with grace and ease. Never striving to overaccentuate the music’s mythological or devotional qualities, a single chord can have the sonority of a church organ and can engender commensurate reactions. If her playing gains in introspection with age, it does not fall prey to the whims of fashion or even the whiles of self-parody that have diminished the work of higher profile performers. She confronts each piece with a balanced knowledge of interpretive history and inner vision, and in achieving both on multiple levels, her interpretations are ultimately patient, constructed on layers of sculpted narrative until they burst forth in that incendiary passion for the creative act that may be Biret’s legacy and most heroic accomplishment.  

Marc Medwin

#idil biret #concertos and solo music #naxos #idil biret archive #marc medwin #albumreview #dusted magazine #box set #classical #piano

[la-nero-maestro]

Harp Concerto In D Major - II. Andante

By Composer Johann Christian Bach

Performed By Director Emil Tabakov, Harpist Susanna Klincharova And The Sofia Soloists Chamber Ensemble

#harp concertos #johann christian bach #the bach family #german composers #classical period #classical music #audio #audio post

[contrabassconversations]

484: Sperger Competition details with Christine Hoock

The Johann Matthias Sperger Competition is being held from 22 to 29 July 2018 in Ludwigslust / Germany. This competition is open to all double bass players with an age limit of 35. Applications are required to submit audio links.

Deadline for applications: June 1st, 2018.

Invitations and compulsory piece will be sent till June 15.

The final round will be played with the Orchetra of Staatskappelle Schwerin. Prize winners of Sperger Competition will have the opportunity of playing solo concerts with several German partner orchestras of the J.M. Sperger Society.

The International J.M. Sperger Competition offers an extraordinary and motivational experience to young double bassists. The challenge of competing artistically on an international level is combined with concerts and masterclasses by the top-level jury. The International J.M. Sperger Society, the city of Ludwigslust and the state of Mecklenburg-West Pomerania co-host the competition biennially.

Jury:

Jury chairwoman: Christiane Hutcap (Germany)

Jeff Bradetich (USA)

Gunars Upatnieks (Latvia/Germany)

Hiroshi Ikematsu (Japan)

Christine Hoock (Germany/Austria)

Dorin Marc (Romania/Germany)

Dan Styffe (Norway)

Emil Tabakov (Bulgaria)

Prizes:

1st prize: €8.500, -

2nd prize: €4.500, -

3rd prize: €2.500, -

Plus, many special awards, instruments, bows, concert and recital engagements!

New work for Solo Double Bass composed by renowned composer and conductor Emil Tabakov.

To apply, please complete the online application form on our website. Please note that video links of you performing a slow and a fast movement of a work of the Classical period are required.

For more information, visit our website at www.spergercompetition.com or email us at [email protected].

More links to check out:

Sperger Competition website

Sperger Competition on Instagram

YouTube channel

Marek Romanowski final round (winner of 2016 competition)

Christine Hoock on Contrabass Conversations (2016)

Check out this episode!

#doublebass #bass #music #interview #orchestra #teaching

[mike-kaffee]

#NowPlaying 5 Bulgarian Dances: No. 5. Allegro molto by Emil Tabakov

#music #spotify

[lesser-known-composers]

Emil Tabakov (b.1947)

#Emil Tabakov

[senfonikankara]

Mendelssohn | Yaylı Senfonisi No.11, Scherzo

#mendelssohn #Romantic period #classical music #klasik müzik #emil tabakov

[gasparodasalo]

Johann Gottlieb Goldberg (1727-56) - Concerto for Harpsichord and Strings in E-flat Major, I. Allegro. Performed by Waldemar Döling, harpsichord, and Emil Tabakov/Sofia Soloists.

#johann goldberg #classical music #baroque music #harpsichord #classical period #strings #string orchestra #harpsichordist #keyboard #piano #baroque #rococo #classicism #concerto #harpsichord concerto #piano concerto #orchestra #philharmonic #bach #johann gottlieb goldberg

[losslessbest]

Emil Tabakov: Complete Symphonies, Vol. 3 (2018) [24bit Hi-Res]

Format: FLAC (tracks) Quality: Hi-Res 24bit stereo Source: Digital download Artist: Bulgarian National Radio Symphony Orchestra Title: Emil Tabakov: Complete Symphonies, Vol. 3 Genre: Classical Release Date: 2018 Scans: not included

https://losslessbest24bit.com/38833-emil-tabakov-complete-symphonies-vol-3-2018-24bit-hi-res.html

[piscitellientretenimentos-blog]

Violinista chinesa Yi-Jia Susanne Hou se apresenta no Theatro Municipal do Rio ao lado do pianista brasileiro Eduardo Monteiro

http://www.piscitellientretenimentos.com/violinista-chinesa-yi-jia-susanne-hou-se-apresenta-no-theatro-municipal-do-rio-ao-lado-do-pianista-brasileiro-eduardo-monteiro/

Violinista chinesa Yi-Jia Susanne Hou se apresenta no Theatro Municipal do Rio ao lado do pianista brasileiro Eduardo Monteiro

Apresentação será no dia 11 de agosto e terá Beethoven, Ravel e Piazzolla no repertório

Vencedora dos mais importantes concursos internacionais de violino, a chinesa Yi-Jia Susanne Hou desembarca no Rio de Janeiro pela primeira vez, para apresentação única no Theatro Municipal. Ao lado do renomado pianista brasileiro Eduardo Monteiro, vai apresentar obras de Beethoven, Ravel, Astor Piazzolla, entre outros compositores. O concerto acontece dia 11 de agosto, às 20h30. Patrocínio exclusivo da State Grid Brazil Holding.

Yi-Jia Susanne Hou alcançou fama no cenário mundial da música clássica ao vencer, por unanimidade, três prestigiosos concursos internacionais: Long-Thibaud, na França; Lipizer, na Itália; e Sarasarte, na Espanha.

Um dos mais atuantes pianistas brasileiros, o carioca Eduardo Monteiro é reconhecido pela crítica como um dos maiores expoentes do cenário pianístico nacional.

Master class para jovens de projeto social

No dia seguinte ao concerto (dia 12/8), às 15h, a violinista chinesa irá ministrar uma master class para jovens integrantes da Orquestra Maré do Amanhã, na Sala Cecília Meireles. Criado em 2010, o projeto – também patrocinado pela State Grid Brazil Holding – atende crianças e jovens da comunidade da Maré, no Rio Janeiro, formando músicos e promovendo inclusão social.

Sobre Yi-Jia Susanne Hou

Considerada pela crítica mundial uma das mais extraordinárias artistas da atualidade, já percorreu o mundo como solista das principais orquestras em mais de 50 países, tocando sob a regência de Mtislav Rostropovich, Pinchas Zukerman, Alan Gilbert, Vladimir Spivakov Marek e Janowski à frente da Filarmônica de Londres, Radio-France, SWR Stuttgart Radio Symphony Orchestra, WDR de Colonia, Orquestra Nacional Checa, Sinfônica de Toronto, Hong Kong Philharmonic, Cingapura e Tóquio Philharmonic Symphony entre muitas outras.

Suzanne realizou recentemente o sonho de toda sua vida, gravando o Concerto para Violino de Beethoven com a London Symphony Orchestra, em tributo a uma história extraordinária de 300 anos, a história de um excepcional violino de 1735 que já pertenceu a Fritz Kreisler, Mary Portman, Giuseppe Guarnerie Del Gesù. No período em que foi possuidor desse lendário instrumento Kreisler compôs as Cadenzas incluídas nesse concerto para violino de Beethoven.

Nas telas do cinema, Suzanne atuou por duas vezes com o diretor e autor Atom Egoyan, indicado ao Oscar, e com o compositor Mychael Danna, ganhador do Oscar. Ela tocou os solos para violino em “Adoration”, que lhe renderam o Ecumenical Jury Prizeno Festival de Cannes, e também no filme “Remember”, estrelado por Christopher Plummer e Martin Landau, e exibido em 2015.

Sobre Eduardo Monteiro

Eduardo já compartilhou sua música com platéias exigentes em importantes palcos do Brasil e do mundo, como o Wigmore Hall de Londres, Grande Sala do Conservatório Tchaikovsky de Moscou, Philharmonie de Colônia, Gasteig de Munique, Sala Verdi de Milão, Liceo de Barcelona, Auditório Nacional de Madrid, National Concert Hall de Dublin, Opera House da Universidade de Houston e Jordan Hall de Boston.

Dentre os Maestros com os quais se apresentou destacam-se: Yuri Temirkanov, Mariss Jansons, Dimitri Kitayenko, Philippe Entremont, Arnold Katz, Sergiu Comisiona, Emil Tabakov, Kirk Trevor, Asher Fisch, Isaac Karabitchevsky, John Neschling, Roberto Minczuk, Fábio Mechetti, Roberto Tibiriçá e Eleazar de Carvalho. Eduardo Monteiro foi solista das principais orquestras do país e de renomadas orquestras do exterior, incluindo Filarmônica de São Petersburgo, Filarmônica de Moscou, Filarmônica de Munique, Orquestra de Câmara de Viena, Sinfônica de Novosibirsky, Orquestra da Rádio e Televisão Espanhola, Sinfônica Nacional da Irlanda e Filarmônica de Bremen. Já participou de programas e realizou gravações para a Bayerischer Rundfunk, NDR, WDR, Rundfunk Hessincher, Süddeustcher Rundfunk (Alemanha), BBC (Inglaterra), RTE (Irlanda), Netherlands Radio, Radio New Zealand, France Musique, Texas Public Radio, Radio Canada e Rádio Cultura.

PROGRAMA:

I

Ludwig van Beethoven – Romance nº 2 em Fá Maior op.50

Johannes Brahms – Sonata nº 3 em ré menor op.108

******

II

EugèneYsaÿe – Obsession – violino solo

Astor Piazzolla – Libertango

Yang Bao Zhi – Wong Luo Bing – Suite de Canções Populares Chinesas

Maurice Ravel – Tzigane

SERVIÇO:

Duo Yi-Jia Susanne Hou e Eduardo Monteiro no Theatro Municipal

Dia 11 de agosto de 2017, às 20h30

Local: Theatro Municipal do Rio de Janeiro

Endereço: Praça Floriano, s/nº – Cinelândia – Rio de Janeiro – RJ

Ingressos: Plateia e Balcão nobre – R$ 50,00 (meia R$25); Balcão superior – R$ 30,00 (meia R$15); Galeria – R$ 15,00 (meia R$7,50)

Classificação etária: livre

Capacidade: 2.361 lugares

Ingressos online: www.ingressorapido.com.br

#Duo Yi-Jia Susanne Hou #Eduardo Monteiro #Theatro Municipal

[jollydreamertaco-blog]

Tabakov: Complete Symphonies, Vol. 2 Bulgarian National Radio Symphony Orchestra & Emil Tabakov

Tabakov: Complete Symphonies, Vol. 2 Bulgarian National Radio Symphony Orchestra & Emil Tabakov

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