Boyce Lancaster interviews the lutenist, guitarist and musicologist Paul O’Dette. They discuss the evolving interest of the early music, which started in the 1950s and preceded the "authentic" and "historical" performances of the Baroque music. They talk about the sound of the medieval music and musical instruments of the Renaissance. They discuss different lutes, their various tunings and also the tablature system of notation (O’Dette calls it “idiot-proof”). They have a fascinating discussion about improvisation, its role in classical music today and years past (“performer’s music”) and how it affects our understanding of the music of the Baroque.
Boyce Lancaster interviews the guitarist Sharon Isbin. Ms. Isbin talks about her recordings, which range from her work with Joan Baez to the New York Philharmonic, which made with her the first recording of Joaquín Rodrigo’s Concierto de Aranjuez in many years (later in the interview she talks about her friendship with the composer). A concert guitarist, she discusses the limitations of the guitar repertoire and new works that she commissioned, or were written for her by composers such as John Corigliano, Lucas Foss, and Aaron Jay Kernis. She also talks about one of her teachers, the pianist Rozalyn Tureck, who helped Ms. Isbin to prepare the first performance editions of the Bach lute suites for guitar. They end their conversation with the web site IVideosongs, for which Ms. Isbin recorded the first classical tutorial.
Boyce Lancaster interviews the pianist Simone Dinnerstein. Simone introduces her new CD, Bach: A Strange Beauty. She talks about the unusual and unexpected in Bach’s music – things she loves the most. She also talks about the performing process: the focus of it and her relationship with the audience. Simone recalls the recording of “Goldberg Variations,” which was later released as a self-financed recording. One of the compositions on the CD is Bach’s Keyboard Concerto No. 5 in F Minor, BWV 1056 and she talks about the experience of leading the orchestra from the keyboard.
Boyce Lancaster interviews the Israeli violinist Vadim Gluzman. They talk about his passion for the music of Alfred Schnittke, Felix Mendelsshon’s violin concertos (the rarely heard Concerto for Violin and Strings in d minor and the famous e minor concerto, Op. 64). They also talk about contemporary composers and Lera Auerbach in particular.
Boyce Lankacaster interviews the famous American lutenist and baroque guitarist Hopkinson Smith. Since early 1970s Mr. Smith has been living in Switzerland. He is one of the founders of Hespèrion XX, an international early music ensemble. Mr. Smith plays different plucked string instruments, including the vihuela (called viola da mano in Italy), Renaissance lute, theorbo, Renaissance and Baroque guitars and the baroque lute. During the interview you'll hear thee music of Gaspar Sanz and Francisco Guerau.
The 35-year-old Amit Peled is an Israel-born cellist who now lives in the United States and teaches at the Peabody Institute. In his interview with Jon Tolansky, Amit talks about his childhood in a kibbutz in northern Israel and his first teacher Uri Vardi, a pupil of János Starker. Amit talks about several remarkable musicians with whom he studied after moving to the US, among them Bernard Greenhouse and Laurence Lesser. He also fondly recalls his studies in Berlin with the late Boris Pergamenschikov and the amazing atmosphere of his studio. Having worked with Isaac Stern, Amit discusses the great violinist’s unusual perspective on cello playing.
Hailed by The Washington Post as "an uncommonly fine young violinist," Joanna Marie Frankel is a recipient of the 2007 Career Grant from the Rachel Elizabeth Barton Foundation and The Juilliard School's 2007 William Schuman Prize for outstanding artistic excellence and leadership. In her conversation with Jon Tolansky, Joanna recalls her infatuation with the violin at the age of two and a half (she started her studies one year later); and her teacher, the famous violinist and pedagogue Jascha Brodski, who deeply influenced her playing. They also discuss several of Joanna’s recordings of Beethoven, and her perspective on the technical and musical aspects of performing works of great composer.
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