1

Mary Kaptein Management

Artists and Programme Proposals 2013-2014

1

2

Dear Artistic Director We are looking forward to an exciting new season with the Britten centenary and the 300th birthday of CPE Bach. Both occasions will be remembered in James Lisney’s, Carducci Quartet’s, Carlo Ambosio’s and Angela Brownridge’s recital proposals.

We welcome the Carducci String Quartet! My agency will represent them in the Netherlands and they have already joined James Lisney in a beautiful quartet programme.

Jean Johnson joins Steven Osborne in a stunning clarinet-piano recital and Gil Sullivan shows his version of two sides of the piano: a lovely classical recital combined with a new work from the Australian composer Cochran and a mixture of Bach and Beatles; this programme has already turned out to be very much appreciated by audiences.

I would like to thank our clients for the pleasant way in which we have worked together last year and hope that we can continue our cooperation in future years.

I hope that this brochure will inspire you in creating your own concert season.

All best wishes,

Mary

Mary Kaptein Managementwww.marykaptein.commckaptein@planet.nl+31 786 350 087 office+31 622 977 189 mobile

3

MKM roster

Conductors See Page Paul MacAlindin 22Myron Romanul 23 Instrumentalists See Page Carlo Ambrosio (guitar and lute) 4, 5 Angela Brownridge (piano) 6, 7Moritz Eggert (piano) 10, 11Jean Johnson (clarinet) 12, 13James Lisney (piano) 14, 15Wolfgang Manz (piano) 16, 17Gil Sullivan (piano) 18, 19 Ensembles See Page Carducci String Quartet 8, 9 Voces Intimae 20, 21

4

Carlo AMBROSIO

Carlo has performed all over the world in more that 2000 concerts and has recorded more than 25 CDs. As well as a guitarist, Carlo is a respected lutenist. This year’s tours include China, Netherlands and United Kingdom.

CARLO’S programme proposals:1. De Falla Homenaje Ambrosio Sonatina op. 12 “to the memory of Benjamin Britten” Ambrosio Impromptus op. 24 Britten Nocturnal op. 70 After John Dowland Walton Bagatelles Ponce Preludio, Variazioni su “Las Folia de España” e Fuga

2. Sor Fantaisie Elegiaque op. 59 Diabelli Sonata in A Maj. (ed. J.Bream) Giuliani Gran Sonata Eroica Op. 150 (ed. C. Ambrosio) J.S.Bach Sarabande and Prelude BWV 1007 (ed. C. Ambrosio) Turina Sonata op. 60 (ed. C. Ambrosio) J.S.Bach Chaconne BWV 1004 (ed. C. Ambrosio)

“Ambrosio plays guitar like Olli Mustonen plays piano, with rough and caricature interpretation; like guitar is supposed to be played, for it is a rather pale and mild instrument. Conservatoire-alike sterile purity and form stands far from Ambrosio’s playing as far as the moon stands from the earth, and I was not the only one he caused to smile by/with his powerful conceptually original interpretation. This guitarist lives the music with fi re-alike passion and with each one of his cells, using an unbelievably wide pallet of timbres/tones, from Hawaii-guitar sounds to sharp and on the other hand foggy spheres. He can manage to fade strings’ timbres into one another, melting their nuances, underlining with great tonal and dynamical contrast each repetition and ritornello. Experience, confi dence and joy, in Ambrosio’s playing, were shining like the Sun itself and, in spite of his statement reported in the programme notes, a sovereign, over human technique allowed him to perform even the craziest jumps” Tomi Norha

This astounding virtuoso musician has simply seized his audience in less than four beats with his incredible skill at playing, his powerful sonority and rich colours, his amazing technique. And this is not all, there’s still this authentic music that surpasses all the technical aspects to bewitch the audience in every moment. Le Monde

5

Carlo about his programmes:

The fi rst programme is one with full contemporary guitar repertoire including the three masterworks of the XX Century: De Falla’s Homenaje dedicated to Claude Debussy, being the fi rst contemporary work written for the instrument; Ponce’s Variations upon “La Folia de España” and Fugue, a monumental work presented with the Prelude, fully revised and edited; Britten’s Nocturnal, a dazzling work that still marks the highest peak of texture and technique in Classical Guitar. Also featured are two original Compositions by Carlo Ambrosio, as published by Les Productions d’Oz and two among Walton’s sparking and charming Bagatelles.

The second programme has the classical guitar repertoire featuring three of the most interesting compositions written in the XIX Century: Fernando Sor’s touching and sincere Fantasie Elegiaque, dedicated to his dead friend Charlotte; Mauro Giuliani’s Gran Sonata Eroica, presented with the still unpublished and recently found Adagio; Julian Bream’s creative an fanciful arrangement of Diabelli’s Sonata in A Maj, which makes of the original work the only virtuoso Viennese Sonata in the whole Classical Guitar repertoire.Carlo’s arrangements of Bach’s celebrated Chaconne and of two movements of Cello Suite I are performed “with the bow”, while Turina’s Sonata is restored to its original Cante Jondo derivation and inspiration.

6

Angela BROWNRIDGE

Angela Brownridge gave her fi rst concert at the age of 6, had her Wigmore Hall London debut at the age of 12 and has performed all over the world since. She has recorded numerous solo and concerto CDs. She has been compared with such pianists as the legendary Solomon, Rachmaninov, Cherkasky and Bolet.This year she recorded 3 CDs under the title ‘The three great pianist composers’, with works by Liszt, Chopin and Schumann. Coming year she will return to the Concertgebouw Amsterdam and she will further perform at the Palais de Beaux Arts in Brussels and the Konzerthaus Berlin. Tours through China and Australia are also on her busy agenda.

ANGELA’S programme proposals:1. Beethoven ‘Appassionata’ Sonata opus 57 Debussy Estampes Liszt Ballade no. 2 Kenneth Leighton Sonatina no. 1 Rachmaninov Preludes opus 23 no. 4 & 5 Tchaikovsky Suite opus 72 from which: Méditation, Polacca de Concert and Invitation to the Trepak

2. CPE Bach Fantasy no. 2 in C Schumann Abegg variations opus 1 Chopin Impromptus opus 29 no. 1, 3, & 4 Mozart Sonata in A K331 Debussy ‘Pour le piano’ Barber Excursions

3. Gershwin ‘Two sides of the Piano’: a mixture of Gershwin’s 18 Song Arrangements and 3 Preludes. Liszt Années de Pèlerinage Book 2 ‘Italy’

“One of the world’s fi nest pianists”New York Times

‘.....true genius. Her performances were passionate, rhapsodic and totally compelling. She is a marvellously exciting artist, and a wonderfully assertive pianist with a strong sense of musical structure’.

New York Times

‘....amazing technique and tonal splendour .... wonderful clarity and dramatic force .... electrifying authority of which passion and dedication were the keynotes. She is an artist of the highest calibre and this was playing of the highest order’.

The Guardian

‘....velvety keyboard touch with stunningly beautiful tone and extraordinary command of nuance. She gave one of the fi nest and most riveting performances I have ever heard’.

Daily Telegraph

‘….Her recital was notable for its authority and mastery. She has tremendous power which is directed and controlled by a clear

conspectus of the music. her splendid technique and straightforward ease gave great strength to her interpretations. The force and verve of her playing was brilliant, and her performance stunning in its power and passion’.

Daily Telegraph

7

Angela about her programmes:

Programme 1. Beethoven gets the programme off to an incredible start with extreme variety of sound and mood. The last movement is one of the most virtuoso which shows what a good pianist can do and audiences love it. Debussy has always been one of my favourite composers because of the particular sound he captures and the nuances, each of these pieces has a clear visual image. Leighton was my professor in harmony, counterpoint and composition at Edinburgh University. I heard him play many of his own compositions and I’ve recorded his complete piano works. This sonatina was his fi rst published composition at the age of seventeen. It’s a great introduction to those who don’t know his works. Rachmaninov’s preludes are the most beautiful, sensuous, magical melodies that I fi nd eternally mesmarizing. No. 5 is like the might of a Russian army, in complete contrast to no. 4 and Rachmaninov was a great pianist who wrote great piano music. The Tchaikovsky Suite has some unusual pieces, not often heard and I have chosen the best the last of which is an athletic & sparkling fl ourishwhich is always good to end a programme.

Programme 2: CPE Bach was a genius, improvising in public and his music isnot often played. This Fantasy has a great deal to capture the attention of an audience and is most inovatory. Schumann wrote many large sets of pieces and sonatas but this set of variations is short and easier to programme. It fi zzes and explodes with youthful enthusiasm and ambition and is a challenge to play.Chopin is essential for someone like me who has a wide variety of repertoire and loves the romantic. I chose these impromptus because they contain much of the light perlé touch, beautiful showers of notes, with more dramatic and lyrical middle sections.Mozart I have loved all my life & fi nd his music incredibly satisfying to play. This sonata is justifi ably popular because of its imitation of Turkish marching bands in the last movement. In ‘Pour le Piano’ Debussy is at his most extrovert in the fi rst movement and this is one of my favourite sets. The Sarabande is his most beautiful slow movement.My recording of Barber’s complete piano music was one of my fi rst and the Excursions are unusual and fun and have the fl avour of various parts of the US and the fi nal hoe-down is a great crowd pleaser.

Programme 3. Gershwin was the fi rst music I ever heard and I have improvised on his songs all my life. These arrangements of his are witty and clever, as well as being full of panache. Audiences love them and the Preludes are nicely balanced with two very exciting outer movements and the ‘Blues Lullaby’ in the middle.To contrast the Gershwin with two other classical composers who were both great pianists provides a different programme from the conventional repertoire normally played and in the case of Liszt I have chosen what I feel to be some of his best works.

8

Carducci Quartet

Matthew Denton, ViolinMichelle Fleming, ViolinEoin Schmidt-Martin, ViolaEmma Denton, Cello

The Carducci Quartet is recognised as one of today’s most successful young string quartets. Based in the UK, the quartet holds residencies at Cardiff University and Dean Close School and is visiting quartet in residence at Trinity Laban in London, Repton School and the Cork School of Music in Ireland. Regulars at London’s Wigmore Hall, they perform throughout the UK, including their own festival in Highnam, Gloucester.

CARDUCCI’S programme proposals:1. Haydn String Quartet opus 74 no. 3 ‘Rider’ Quartet Shostakovitch String Quartet no. 4 opus 92 or Piano Quintet opus 57 (with James Lisney) Dvorak String Quartet opus 96 ‘American’ Quartet

2. Haydn String Quartet opus 20 no. 5 Britten String Quartet no. 2 in C major Beethoven String Quartet opus 132

“…playing of constant variety, a masterclass in unanimity of musical purpose.”

The Strad

“...technical rigour, penetrative musical insight and lively yet unifi ed individualism...winning in every sense of the word...”

The Irish Times

“...high-octane playing balanced control with devil-may-care spontaneity...”

The Guardian “...the Carducci String Quartet were stunning...they are clearly musicians of high intelligence...”

The Times

“...The Carducci Quartet played a blinder at the Wigmore Hall...playing of vivacity and constant rhythmic subtlety...”

The Strad

9

CARDUCCI about their programmes:

The fi rst programme begins with one of Haydn’s most expressive and inventive quartets, the ‘Rider’ - named for the rhythmic openings of the outer movements. Shostakovich’s intense fourth quartet was written in 1949 in response to the horrors of war and his own feelings of persecution at the hands of the Soviet authorities. Dvorak’s well-loved ‘American’ quartet is full of vivacious melody inspired by holidays in Iowa, and brings the programme to a rousing conclusion. The second programme opens with Haydn’s opus 20 no. 5 which is an inventive and colourful masterpiece, with a song-like slow movement and remarkable fugue. Britten’s fascinating Quartet no. 2 (2013 is his anniversary year) was completed after a tour of Germany as accompanist to Yehudi Menuhin, playing to the survivors of the concentration camps. The programme concludes with Beethoven’s epic opus 132 with its sublime central slow movement ‘Heiliger Dankgesang’ (‘Holy Song of Thanks’), refl ecting the suffering and recovery of the human spirit.

10

Moritz EGGERT

Multi-talented Moritz Eggert is a renowned composer as well as a versatile performer. He is known worldwide for his compositions and these have been performed by orchestras, opera groups and ensembles like the Concertgebouw Orchestra, Münchener Philharmoniker and Bamberger Symphoniker. As a chamber musician the list of artists he works with is endless, but I have made a selection with some of the most exciting musicians from Germany.

MORITZ’ programme proposals:Programme 1 John Cage: Sonatas and InterludesJohn Cage Sonata I; Sonata II; Sonata III; Sonata IV; Interlude 1; Sonata V; Sonata VI;

Sonata VII; Sonata VIII; Interlude 2; Interlude 3; Sonata IX; Sonata X; Sonata XI; Sonata XII; Interlude 4; Sonata XIII; Sonata XIV; Sonata XV; Sonata XVI

Programme 2 Ein Märchen aus uralten ZeitenR. Schumann Der Schatzgräber opus 45 (Romanzen und Balladen) no. 3 Der Spielmann opus 40 no. 4 Verratene Liebe opus 40 no. 5 Der Hidalgo opus 30 no. 3Brahms Entführung opus 97 (Sechs Lieder) no. 3 Meerfahrt opus 96 (Vier Lieder) no. 4 Lerchengesang opus 70 (Vier Gesänge) no. 2 Auf dem Schiffe opus 97 (Sechs Lieder) no. 2R. Schumann Loreley opus 53 no. 2 Die Meerfee opus 125 no. 1 Die Löwenbraut opus 31 no. 1Wilhelm Killmayer Ritter Toggenburg (2005)R. Schumann Trost im Gesang opus 142 (Vier Gesänge) no. 1 Belsatzar opus 57Killmayer Die Katze des ProhpetenBoris Blacher Fünf Sinnsprüche Omars des ZeltmachersBrahms Am Sonntag Morgen opus 49 (Fünf Lieder) no. 1 Dämmrung senkte sich von oben opus 59 (Acht

Lieder und Gesänge) no. 1 Verrat opus 105 (Fünf Lieder) no. 5 Regenlied opus 59 (Acht Lieder und Gesänge)

no.3R. Schumann Mein Wagen rollet langsam opus 142 (Vier

Gesänge) no. 4 Der Gärtner opus 107, no. 3 Der Knabe mit dem Wunderhorn opus 30, no. 1

With Peter Schöne, bariton

11

Programme 3 Conversations in CelloBeethoven Sonata in g minor, for cello and pianoMendelssohn Variations concertantes, for cello and pianoMoritz Eggert Fast Forward, for cello and pianoMoritz Eggert La Risposta, for cello and pianoRachmaninoff Sonata for cello and piano

With Nicolas Altstaedt, violoncello

Programme 4 Recorders gone wildMichiel Mensingh I Am Sorry, Did I Break Your Concentration? for recorder quartet and pianoMoritz Eggert Freaks, for recorder quartet and percussionMoritz Eggert Flea Walls for recorder quartetMoritz Eggert 3D Fontane for recorder quartet and percussion

With QNG (Quartet New Generation), recorder quartet

“…. Royal Concertgebouw Orchestra – Horizon 1 (Premières 2007) Het album opent en sluit met een Duitse componist. Moritz Eggert is een buitengewoon veelzijdig kunstenaar.Muzikaal bestaan er voor hem geen grenzen, wat zich in het naar een schilderij van David Hockney vernoemde Number 9 VI: A Bigger Splash uit in een lappendeken waarin jazz, pop en veel Stravinsky op een aantrekkelijke manier verweven worden”

Klassik.com

“….(Sein neues Stück „Industrial“ wurde) – eine Seltenheit bei neuen Werken – vom auffallende jungen Publikum im Saal geradezu euphorisch gefeiert. Es ist in der Tat ein energiegeladenes, höchst unterhaltsames Stück, das die Klänge von Alltagsgegenständen und industriellem Schrott mit dem eines Symphonieorchesters auf originelle Art zusammenführt. Als Idee mag das nun nicht gerade furchtbar neu sein – Eggert sieht sich selbst in der Tradition der Futuristen wie auch der Einstürzenden Neubauten – so virtuos und witzig umgesetzt wie hier verfehlt es seine Wirkung kaum”

Stuttgarter Zeitung

12

Jean JOHNSON

American born clarinettist Jean Johnson, now living in Scotland is very much in demand as a guest principal clarinettist. She has worked with orchestras like Bergen Philharmonic, the Scottish Chamber Orchestra, the BBC Scottish Symphony Orchestra and was Principal Clarinettist of the Singapore Symphony Orchestra. But she is a keep chamber player as well. Jean has performed with chamber ensembles all over the world in some of the fi nest halls such as the Concertgebouw Amsterdam and Palais des Beaux Arts in Brussels. Her music partners for coming season are Steven Osborne, Will Conway, Geneviève Martineau, Danny Driver, Matthew Barley, and Patrick Borderick.

JEAN’S programme proposals1. Schumann Three Romanzen opus 94 for Clarinet and Piano Brahms Sonata in f minor for Clarinet and Piano opus 120 Vaughan Williams Six Studies in English Folksong Saint-Saens Sonata for Clarinet and Piano, opus 167 Fauré Sicilienne Pierné Canzonetta, opus 19 Gershwin Three preludes for Clarinet and Piano

With STEVEN OSBORNE, piano 2. Beethoven Piano Trio no.4 opus 11 in B fl at major for Clarinet, Violoncello and Piano Muczynski Time Pieces for Clarinet and Piano Brahms Trio for Piano, Clarinet, Violoncello opus 114, in A major With STEVEN OSBORNE, piano and WILL CONWAY, violoncello

3. Gould Benny’s Gig (clarinet and double bass) Katchaturian Trio for Clarinet, Violin, and Piano Whittenberg Three pieces for Clarinet alone, opus 29 Ives Largo for Clarinet, Violin and Piano, opus 73 Bartok Contrasts for Clarinet, Violin and Piano Gershwin Three preludes for clarinet and Piano

With JEAN JOHNSON ENSEMBLE: Jean Johnson (clarinet); Geneviève Martineau (violin); Danny Driver (piano); Matthew Barley (cello);

double bass t.b.a.

13

Jean about her programmes:

Programme one is a programme to explore the lyricism of the clarinet. Chock full of singing lines and memorable melodies, this is a program of heavy-weights and delightful gems which aims to please.A younger and clever Beethoven meets a mature Brahms in programme two. In between these well-known masterpieces enjoy the fl air and rhythms of American composer Muczynski’s Time Pieces.Programme three is a colourful programme of American chamber music. Be dazzled and delighted as jazzy meets gypsy with Gould, Katchaturian and Bartok, as well as drawn inward with the sounds of New England from Whittenberg and Ives.

‘….sense of freedom and fl air...bounding with energy and purposeful intent….’The Scotsman

‘…..reached outer transcendental limits….’

Morgenweb.de

Although it bristles with dramatic gestures, there is also poignancy and intimacy, particularly in the refl ective andante, as a counterpoint to the energy and dynamism that pulsates through this work. Johnson captured these moods and emotions beautifully in this sparkling, virtuosic performance.

Susan Nickalls/Living Scotsman about Brahms sonata no 1

14

James LISNEY, piano

James Lisney is enjoying a particularly exciting season including a series at the Amsterdam Concertgebouw, Schubert recitals at the Gewandhaus Leipzig and the Philharmonie Berlin – and the launch of an audacious Beethoven and Schubert cycle near Brussels. He is looking forward to collaborations with the stunning British soprano Lorna Anderson – and audiences in London and Amsterdam are keen to see him again with his cellist daughter Joy.

JAMES’ programme proposals: 1. Mendelssohn Prelude and Fugue in e, opus 35/1 Schubert Sonata in A, D 959 Chopin Nocturnes, opus 62 Ballade, opus 47 Granados Goyescas

2. ‘A microcosm of Beethoven’s art’ Hans von Bulow J.S. Bach Ricercare a 3 aus dem Musikalische Opfer, BWV 1079 Mozart Rondo in a, KV 511 OR Debussy Trois Etudes Haydn Sonata in E fl at, Hoboken XVI:52 OR Jan Vriend Meden Agan (2006) Beethoven 33 Variations on a theme by Anton von Diabelli, opus 120

3. Schubert Sonata in a, D 821 ‘Arpeggione’ Britten Sonata, opus 65 Schumann Stücke im Volkston opus 102 Debussy Sonata J.S. Bach Sonata for Viola da Gamba in D, BWV 1028

With JOY LISNEY, violoncello

4. Brahms Drei intermezzi, opus 117 Schumann Frauenliebe und Leben, opus 42 Debussy Suite bergamasque Fauré Melodies (to include Clair de lune) Britten Folksongs

With LORNA ANDERSON, soprano

5. An die Musik Schubert Sonata in A, D959 Twelve celebrated lieder

With LORNA ANDERSON, soprano

15

JAMES about his programmes:

The solo recital programme with Mendelssohn and Chopin Nocturnes is one for all tastes, refl ecting my special study of Schubert and harking back to the era of pianist idols such as Rubinstein, Arrau and Cherkassky when the music of Mendelssohn and the Spanish masters held a central place in the pianist’s repertoire. The second and third solo recital programme present one of the supreme compositions for the piano, the ‘Diabelli’ Variations. Both of them take as their starting point Bach’s Ricercare 3 aus dem Musikalische Opfer, perhaps the fi rst great work composed upon a fortepiano. The fi rst option highlights two further masterworks from the eighteenth century and the second provides ‘Four centuries of piano music’ by including a selection of Debussy’s Etudes and Jan Vriend’s colourful and exciting work, written for James Lisney in 2006.The programme with my daughter Joy is inspired by the celebrated recital of Benjamin Britten and Mstislav Rostropovich in July 1961. The cellist’s uninhibited playing so fi red Britten’s imagination that it was the start of one of the most important series of twentieth century compositions for the instrument. ‘I immediately realized this was a new way of playing the cello, in fact almost a new, vital way of playing music ... He asked me to write a piece for him, which was my cello sonata written “on condition that he came to Aldeburgh!”’ Benjamin BrittenSchumann’s haunting setting of von Chamisso’s poetry in the recital with Lorna describes, from the woman’s point of view, the course of love from the fi rst meeting to after his death. They make a perfect foil for Brahms’ nostalgic intermezzi, music he described as ‘lullabies to my sorrow’ and inspired by a Scottish poem from Herder’s Volkslieder. Both Debussy and Faure were particularly inspired by the words of Paul Verlaine and hear we can enjoy two settings of the celebrated ‘Clair de lune’. Benjamin Britten’s centenary falls in 2013 but his songs are always in fashion, with the Folksong arrangements enjoying particular favour.

‘….One could describe James Lisney by repeating Goethe’s words about Beethoven: A more self-contained energetic, sincere artist I never saw’.

Newbury Spring Festival

16

Wolfgang MANZ

After having been prize-winner at most renowned International Piano Competitions such as Leeds (1981) and Brussels (1983) Wolfgang has had a distinctive career. He has performed with almost all the important orchestras and has given recitals all over the world. Highlights of last year were the release of his new CD with works by Liszt, a UK tour and a recital at the Concertgebouw Amsterdam.

WOLFGANG’S programme proposals:1. ‘Romantic piano’ Brahms 4 Capricci and Intermezzi from opus 76 3 Intermezzi opus 117 Mendelssohn Fantasy F sharp minor opus 28 R. Schumann From ‘Fantasy pieces’ opus 12, no. 1-4 Arabeske opus 18 in C major Sonata no. 2 in G minor opus 22

2. Two antipodes: Johannes Brahms and Franz Liszt Brahms 4 Capricci and Intermezzi from opus 76 3 Intermezzi opus 117 4 piano pieces opus 119 Liszt 4 Etudes d’execution transcendante (Ricordanza ; Wilde Jagd ; Harmonies du soir ; Chasse-neige) ‘Venezia e Napoli’ from Années de Pèlerinage

3. Chopin and Debussy Chopin Ballade no. 3 A fl at major opus 47 Nocturnes opus 9/1 B fl at minor and opus 9/2 E fl at major Waltz in A fl at major opus 34/1 Andante spianato con Grande Polonaise in E fl at major opus 22 Debussy Suite bergamasque 6 Préludes (Danseuses de Delphes ; Les collines d’anacapri ; Ce qu’a vu le vent d’Ouest ; La fi lle aux cheveux de lin ; La Cathédrale engloutie ; Minstrels) L’isle joyeuse

4. Beethoven Sonata C major opus 53 ‘Waldstein’ Sonata E fl at major ‘Les adieux’ Liszt 4 Etudes d’execution transcendante (Ricordanza ; Wilde Jagd ; Harmonies du soir ; Chasse-neige) Les jeux d’eaux à la Villa d´Este from ‘Années de Pèlerinage’ Rigoletto-Paraphrase

17

Wolfgang about his programmes:

The ‘Romantic piano’ is a varied programme with character pieces and sonatas of typical German romantic piano music by Brahms, Mendelssohn and Schumann.

‘Two antipodes - Johannes Brahms and Franz Liszt’ is introvert and extrovert - a contrasting programme with a selection of some of the most characteristic piano music of two of the most creative and infl uential German composers of the 19th century.

Chopin and Debussy Poetry and magic - this is a compilation of the fi nest piano works by two composers who probably got closest to the heart, the ‘soul’ of the piano sound by unlocking new techniques of playing and sound production, thus creating their own stylistic and esthetic ideals. Chopin and Debussy can still be considered as the most innate and exclusive composers for the modern piano.

‘Beethoven and Liszt - 2 revolutionaries’ The last programme is a combination of two major sonatas by Beethoven, the ‘classical’ Waldstein opus 53 and the stilistically advanced ‘Les adieux’ opus 81a, one of the fi rst examples of programmatic music linking to the romatic era. Followed by some of the most awesome piano compositions by Liszt who has always been considered a legitimate successor of Beethoven’s pianistic ingenuity.

‘….An unsurpassed degree of imaginatively intelligent musicianship….’The Times

‘….Manz überzeugte mit kraftvollem Potential, passt sich ganz uneitel in den symphonischen Fluss ein, schärft die Rhythmik und steuerte temperamentvoll die erregten Gipfel des Konzertes an….’(Brahms 1st Piano Concerto with the Nürnberger Symphoniker)

Nürnberger Nachrichten

‘…In a perfectly balanced programme Mr. Manz showed us that he is a great pianist. By his skilful and dynamical playing he touched our hearts so lively….’

Ongakuno Tomo, Tokyo

18

Gil SULLIVAN

Gil is considered to be one of the most inspiring Mozart interpreters. He was one of Murray Perahia’s students in London. Gil has performed all over the world and has been re-invited every where. This has also led to an annual USA tour. This season he will perform at the Concertgebouw Amsterdam, Konzerthaus Berlin and Palais de Beaux Arts in Brussels.

“….Gil Sullivan’s talent is breathtaking. Music you may have heard before -- perhaps many times before -- takes on new meaning and presence when he interprets it. He holds audiences spellbound with the music, and fascinated with the stories. He is an exceptional performer in every way...”

Aiken Standard – South Carolina 6th May 2011

“...It was hard to believe that just one pianist could make the piano sound like an entire orchestra...”

Darmstadter Echo (Germany) 15.3.2002

“...Not just another pianistic wizard, but a cultured and refi ned musician, whose rare and insightful vision into the very soul of the music cast a magical spell over the entire concert hall...”

Badische Zeitung (Germany) 14.3.2002

GIL’S programme proposals: 1. Mozart Sonata in F, K533/494 Cochran 2 Preludes Scherzo no. 1 Brahms Sonata no. 2 in F sharp minor, op. 2 Tchaikovsky/Liszt Polonaise from Eugene Onegin

2. FROM BACH TO BEATLES J.S. Bach Italian Concerto Mozart Sonata in A, K331 (Rondo alla Turca) The Beatles Medley of Songs (incl. Penny Lane, Yesterday) Chopin Prelude opus 28, no. 15 (‘Raindrops) Polonaise, opus 40 no.1 ‘Military’ Liszt 3 Liebesträume Hungarian Rhapsodie no.14

19

Gil about his programmes:

After having been recognised internationally for my Mozart interpretations (“The fi nest interpreter of Mozart in the world” - Südhessen Woche, Germany), and my playing of Brahms (“There were so many magical moments....even Brahms himself would have been impressed” - Weinheimer Nachrichten, Germany), this programme - which includes one of Mozart’s greatest keyboard works, and Brahms’ spectacular entrance into the music world, with his F sharp minor Sonata – is sure to be a recital programme of endless highlights! To accompany these two masterpieces, I will showcase one of Australia’s most interesting and individual composers - Julian Cochran. His music is gaining enthusiastic disciples from every corner of the globe through his You-tube sites, which have attracted hits well into the tens of thousands. Julian’s music is not harshly dissonant, nor feel-good New Age. It is music of immense individual character, whose central purpose has not lost its thread with the classical past.The fi nal work on my fi rst programme is one of the most fl agrantly virtuoso works in the entire piano literature. Liszt and Tchaikovsky publicly hated each other and their music, so this paraphrase of the famous Polonaise from Tchaikovsky’s opera Eugene Onegin must have infuriated the author, which of course may well have been Liszt’s intention! A sensational showpiece, it nevertheless does complete justice to the original, and as a piano work, places Tchaikovsky’s Polonaise on an entirely different plane.

In programme two I present a mix of contemporary music from The Beatles plus a generous serving of well-known classical music. The recital also includes a multi-media component. I will read some of the more comical letters from the composers on the programme, accompanied by a pictorial narrative on the screen to bring some of the background of the music to your audience. This concert will entertain; highlight the musicianship of Lennon and McCartney as well as present the audience with virtuosic performances of classical favourites.

20

VOCES INTIMAE

Luigi De Filippi, violinSandro Meo, celloRiccardo Cecchetti, piano

Voces Intimae plays on period as well as modern instruments and their record label is Challenge Records. The choice of the name, Voces Intimae, expresses the group’s aim to enhance the more subtle aspects of the piano trio repertoire by favouring the more subtle undertones, the more understated, and the poignant melancholy of the 19th century.Their coming tours include the USA and China, Netherlands, United Kingdom and Belgium.

VOCES INTIMAE programme proposals:1. Contemporary Schumann R. Schumann Trio in G min. opus 110 Campogrande Istruzioni per il cielo (2010) R. Schumann Trio in D min. opus 63

2. L’anima romantica - The romantic soul of the piano Chopin Trio in G min. opus 8 Schubert Trio in E fl at opus 100

3. Mitteleuropa Gouvy Trio in A min. no. 2 opus 18 Mendelssohn Trio in D min. opus 49 Dvorak Dumky Trio opus 90

21

Voces Intimae about their programmes:

Contemporary Schumann is a programme inspired by the Schumann complex masterpieces, which have already been recorded by Voces Intimae, together with a contemporary work of the Italian composer Nicola Campogrande. (http://campogrande.it/)

In L’anima romantica – The romantic soul of the piano we like to explore the full romantic inspiration of such beautiful music, through our intimate voices, sounds, feelings and thoughts.

Mitteleuropa is Music from the heart of Europe, well known masterpieces together with an astonishing discovery, the Alsatian born composer L.T. Gouvy.

‘….A performance of inspired clarity and subtle expression, characterized by a transparent reading and fl awless intonation….’

The Strad

‘....the colours and distinctive voices of Voces Intimae are a revelation….’

George Pratt, BBC Music Magazine – April 2006

‘....The interplay between the players is a delight…the performance is magnetic....’

Edward Greenfi eld, Gramophone – April 2006

‘….Voces Intimae restores to this music all its poetry and transparency.…’

Vincent Casanova, Le Monde de la Musique

22

Paul MacAlindin, conductor

For Paul MacAlindin conducting, at its most fundamental level means the art of bringing people together with passion, and leading them beyond expectations. Back in the 1990s Paul gave countless premieres of young composers’ work, both in orchestral concerts with Beethoven and Tchaikowsky and with top ensembles such as Psappha in Manchester, live and on BBC Radio 3. Assisting Sir Peter Maxwell Davies at that time brought him in contact with great British works such as Maxwell Davies’ symphonies 5, 6 and 7 with the Philharmonia, Royal Philharmonic and BBC Philharmonic. Whether with repertoire or premieres, Paul learnt that performance could not be meaningfully taken to the edge without a profound understanding of composition. Paul has worked together with the British Council on groundbreaking projects since 2001, such as The Turn of The Tide with the Croatian Radio Orchestra and 500 schoolchildren, which transformed music education in Zabreb. Conducting the Armenian Philharmonic, a cultural jewel, alllowed him to discover wonderful talents such as the Little Singers of Armenia and promote Armenian composers abroad.

On fi rst learning of the proposed National Youth Orchestra of Iraq in 2008, he immediately phoned British Council, without whom the orchestra would not be possible. Since musically directing their fi rst summer course in 2009, Paul and the National Youth Orchestra of Iraq have performed Iraqi and western music live and across Arab TV. As a peace process bringing diverse, talented young players together, supplying teachers and resources, giving concerts and putting hope and faith in their potential, they have led Paul beyond the imaginable.

Last year the Paul and his NYOI made their European debut at the Beethovenfest in Bonn and in the summer of 2012 they will be special guests at the Edinburgh Fringe Festival, followed by a performance in London.

23

Myron Romanul, conductor

Myron Romanul’s passion and enthusiasm for music has given him the ability to bring people from many different types of arts and backgrounds together to produce spectacular performances that have moved audiences as well as bring critical acclaim. Through his leadership, unique expression and generosity, one can’t help but share his joy and pleasure in all genres of making music.

Coming season will feature his collaboration with the Opéra National du Rhin for the ballet Don Quichotte.

Born in Baltimore, Maryland, U.S.A., he comes from a musical family. He is the grandson of Stella Roman, former leading dramatic soprano at La Scala and the Metropolitan Opera. Through her experience, he studied opera with her and was able to gain the insights and traditions of opera. Raised in Boston, Romanul has studied with, and performed with, the best musicians. He studied conducting at the New England Conservatory of Music, the Boston University School of Music and the Berkshire Music Center at Tanglewood with Seij i Ozawa, Gunther Schuller and Joseph Silverstein. His long association with the Boston Symphony Orchestra, working with Ozawa, Kurt Mazur,

Arthur Fiedler and John Williams, to mention a few, has been a strong infl uence in his growth as a conductor. After conducting orchestras such as the Central Massachusetts Symphony Orchestra, the Pro Arte Chamber Orchestra and the Boston Ballet Orchestra, he moved to Germany where he has worked as Kapellmeister and Associate Music Directors in various opera houses in Stuttgart, Karlsruhe, Mainz and Essen. He has also guest conducted throughout Germany, including Munich, Bonn, Heidelberg Darmstadt, Leipzig, Dresden and Halle as well as orchestras in Italy, Japan, China, Korea, Turkey, Iceland, Norway, Venezuela, Brazil and Romania. Romanul was a major force in the successful Fairbanks Summer Arts Festival in Alaska with his creative 16-year run as Music/Artistic Director. He is currently conductor at the Nationaltheater Munich, Germany, where since 1987 he has been leading performances of the Bayern State Opera and Ballet. In addition, he is Principal Conductor of the newly formed Massachusetts Symphony Orchestra and is Guest Conductor at His Majesty’s Theater in Perth, Australia.

24

About Mary Kaptein Management:

After twenty years working for the government, Mary decided to make a major career change into classical music. She started with the artistic directorship of a small music venue and as advisor for a comedienne. Soon after, she founded her own agency (2003) and she became the CEO of the Rotterdam Chamber Orchestra. Whilst her own agency was blossoming she became co-director of an agency based in the United Kingdom in 2006. In November 2010 she decided to return to her own agency, Mary Kaptein Management.

Besides being an artists’ manager, Mary has become a consultant for classical music venues, political organisations, festivals, competitions and orchestras on marketing, fundraising and artistic views.

She has promoted and organized many concerts at the Amsterdam Concertgebouw, the Musikverein in Vienna, New York’s Carnegie Hall, venues in London and the Netherlands - and many private events.