Beethoven for Three: Symphony No. 6 "Pastorale" and Op. 1, No. 3 Emanuel Ax, Leonidas Kavakos, Yo-Yo Ma
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- Ludwig van Beethoven (1770 - 1827): Symphony No. 6 in F Major, Op. 68, "Pastorale":
- 1Beethoven: Symphony No. 6 in F Major, Op. 68, "Pastorale": I. Allegro ma non troppo, "Awakening of cheerful feelings on arriving in the countryside"11:51
- 2Beethoven: Symphony No. 6 in F Major, Op. 68, "Pastorale": II. Andante molto mosso, "Scene by the brook"11:57
- 3Beethoven: Symphony No. 6 in F Major, Op. 68, "Pastorale": III. Allegro, "Joyful gathering of countryfolk"04:51
- 4Beethoven: Symphony No. 6 in F Major, Op. 68, "Pastorale": IV. Allegro, "The storm"03:42
- 5Beethoven: Symphony No. 6 in F Major, Op. 68, "Pastorale": V. Allegretto, "Shepherd's song. Thanksgiving after the storm"09:41
- Piano Trio No. 3 in C Minor, Op. 1, No. 3:
- 6Beethoven: Piano Trio No. 3 in C Minor, Op. 1, No. 3: I. Allegro con brio10:01
- 7Beethoven: Piano Trio No. 3 in C Minor, Op. 1, No. 3: II. Andante cantabile con variazioni07:38
- 8Beethoven: Piano Trio No. 3 in C Minor, Op. 1, No. 3: III. Menuetto. Quasi allegro03:39
- 9Beethoven: Piano Trio No. 3 in C Minor, Op. 1, No. 3: IV. Finale. Prestissimo08:34
Info zu Beethoven for Three: Symphony No. 6 "Pastorale" and Op. 1, No. 3
Nach der vielgelobten Einspielung der Sinfonien Nr. 2 und 5 von Ludwig van Beethoven in einer Fassung für Klavier, Violine und Violoncello erscheint nun bei Sony Classical das nächste Album in der Reihe „Beethoven for Three“ mit Emanuel Ax, Leonidas Kavakos und Yo-Yo Ma. Diesmal stehen die Sinfonie Nr. 6 "Pastorale" und das frühe, originale Klaviertrio Op. 1, Nr. 3 auf dem Programm.
Wie die erste Veröffentlichung stellt diese Aufnahme die traditionelle Grenze zwischen Kammer- und Orchesterrepertoire in Frage und bietet zwei unterschiedliche Seiten des Komponisten mit denselben drei Stimmen. Im Klaviertrio in c-Moll op. 1 Nr. 3 hören wir Beethovens brillante Erkundung der zentralen Ausdrucksmöglichkeiten dreier Instrumente; in der "Pastorale", die von Shai Wosner für Trio bearbeitet wurde, transzendieren Klavier, Violine und Cello ihre eigenen Identitäten, um die Kreativität der natürlichen Welt zu repräsentieren, indem sie abwechselnd zu Vogel, Bach und Sturm werden. Wie die erste "Beethoven for Three"-Veröffentlichung setzt diese Aufnahme ein musikalisches Gespräch zwischen drei Freunden fort und gibt einen seltenen und intimen Einblick in Beethovens Entwicklung als Komponist.
"Früher war es völlig normal, dass die erste Veröffentlichung einer Sinfonie nicht die vollständige Partitur war", sagt Ax, "denn ein Orchester zu hören, war ein sehr seltenes Ereignis. Man bekam diese Musik erst Dutzende von Jahren später; man bekam die Bearbeitung für ein Klavier zu vier Händen oder ein Trio oder ein Quartett, und so lernte man die Musik kennen. Wir kehren also zu den Wurzeln zurück."
"Wir alle empfinden es als etwas Wunderbares, an einer Sinfonie mitwirken zu können", betont Ma. "Eines der Dinge, die die Menschen seit den Anfängen der Aufzeichnung voneinander getrennt haben, sind die Kategorien, in die wir die Menschen einteilen: Kammermusiker, Orchesterspieler, Menschen, die Konzerte spielen, Menschen, die Transkriptionen machen, Menschen, die komponieren, Menschen, die dirigieren, werden alle als getrennte Kategorien betrachtet, die sich nicht überschneiden. Dieses Silo-Denken entmutigt die tatsächliche Kreativität und Zusammenarbeit zwischen den Menschen. Deshalb sind wir der Meinung, dass es heute sehr wichtig ist, zu den ersten Prinzipien der Musik zurückzukehren, nämlich der einfachen Interaktion zwischen Freunden, die etwas gemeinsam machen wollen."
"Wie die fünfte und die siebte Sinfonie besteht auch die sechste Sinfonie aus kleinen Motiven, die durch Wiederholung zu längeren Musiklinien werden, gewissermaßen eine Form des Minimalismus", erläutert Kavakos. "Aber im Gegensatz zur fünften und siebten Sinfonie - die nicht nur physisch, sondern auch musikalisch und psychologisch anspruchsvoll sind, mit einer fast zwanghaften Wiederholung von Motiven - nutzt die sechste Sinfonie diese Wiederholung, um eine leichtere, gehobene Stimmung zu erzeugen. Es geht einfach ewig so weiter, aber man wird nie müde."
Leonidas Kavakos, Violine
Yo-Yo Ma, Cello
Emanuel Ax, Klavier
Born to Polish parents what is today Lyvov, Ukrain, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.
In fall 2021 he resumed a post-COVID touring schedule that included concerts with the Colorado, Pacific, Cincinnati and Houston symphonies as well as Minnesota, Los Angeles, New York Philadelphia and Cleveland orchestras. 2022/23 will include a tour with Itzhak Perlman “and Friends” and a continuation of the “Beethoven For 3” touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma, this year on the west coast.
In recital he can be heard in Palm Beach, Los Angeles, St. Louis, Chicago, Washington DC, Houston, Las Vegas and New York and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples, Portland OR, Toronto, Philadelphia, Pittsburgh and Cleveland. Touring in Europe in the fall and spring includes concerts in Germany, UK, Switzerland and France.
Mr. Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio of which the first two discs have recently been released. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season Mr. Ax contributed to an International EMMY® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).
Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.
is recognised across the world as a violinist and artist of rare quality, acclaimed for his matchless technique, his captivating artistry and his superb musicianship as well as for the integrity of his playing. He works with the world’s greatest orchestras and conductors and plays as recitalist in the world’s premier recital halls and festivals. He is an exclusive recording artist with Sony Classical.
The three important mentors in his life have been Stelios Kafantaris, Josef Gingold, and Ferenc Rados, with whom he still works. By the age of 21, Leonidas Kavakos had already won three major competitions: the Sibelius Competition in 1985, and the Paganini and Naumburg competitions in 1988. This success led to him recording the original Sibelius Violin Concerto (1903/4), the first recording of this work in history, and which won Gramophone Concerto of the Year Award in 1991.
Kavakos is now an exclusive recording artist with Sony Classics. His latest recording, to be released worldwide in October 2019 in anticipation of the 250th anniversary of Beethoven’s birth in 2020, is the Beethoven Concerto which he conducted and played with the Bavarian Radio Symphony Orchestra, coupled with the Beethoven Septet played with members of the orchestra. In the anniversary year, Kavakos will both play and play/conduct the Beethoven concerto with orchestras across Europe and the USA. He will also play the complete Beethoven Sonata cycle in Shanghai and Guangzhou, Milan and Rome, and a number of single Beethoven recitals in various cities including London’s Wigmore Hall, Barcelona, Parma and Copenhagen.
In 2007, for his recording of the complete Beethoven Sonatas with Enrico Pace, Kavakos was named Echo Klassik Instrumentalist of the year. In 2014, Kavakos was awarded Gramophone Artist of the Year.
Further accolades came in 2017 when Kavakos was awarded the prestigious Leonie Sonning Prize – Denmark’s highest musical honour, given annually to an internationally recognised composer, condcutor, instrumentalist or singer. Previous winners include Daniel Barenboim, Leonard Bernstein, Pierre Boulez, Alfred Brendel, Benjamin Britten, Dietrich Fischer-Dieskau, Yehudi Menuhin, Sir Simon Rattle, Mstislav Rostropovich, Arthur Rubenstein and Dmitri Shostakovich.
August 2019 was a full and rewarding month: after the Verbier Festival where he appeared in recital with Evgent Kissin and conducted the Verbier Festival Chamber Orchestra in a programme in which he played Mozart’s Sinfonia Concertante with Antoine Tamestit, he joined YoYo Ma and Emanuel Ax at the Tanglewood Music Festival for a programme of Beethoven Piano trios, in a duo recital with Ax of Beethoven Sonatas, and in an orchestral concert with the Boston Symphony in which he played and conducted Beethoven’s Violin Concerto and Dvorak Symphony No. 7.
Kavakos was also invited as “Artiste Etoile” at the Lucerne Festival where he appeared with the Lucerne Festival Orchestra with Yannick Nezet-Seguin, Mariinsky Orchestra with Valery Gergiev, Vienna Philharmonic with Andes Orozco Estrada, and in recital with Yuja Wang.
In the 2019/20 season, in addition to concerts with major orchestras in Europe and the United States, Leonidas Kavakos will one again join YoYo Ma and Emanuel Ax for three programmes in Carngie Hall comprising Beethoven trios and sonatas. He will undertake two Asian tours, first as soloist with the Singapore Symphony and Seoul Philharmonic and in recital in the NCPA Beijing, and then in the spring he performs with the Hong Kong Philharmonic and Taiwan National Symphony Orchestra, prior to playing Beethoven Sonata Cycles in Shanghai and Guangzhou with Enrico Pace.
In recent year, Leonidas Kavakos has succeeded in building a strong profile as a conductor and has conducted the London Symphony Orchestra, New York Philharmonic, Houston Symphony, Dallas Symphony, Gürzenich Orchester, Budapest Festival Orchestra, Vienna Symphony, Chamber Orchestra of Europe, Orchestra dell’Accademia Nazionale di Santa Cecilia, Maggio Musicale Fiorentino, Filarmonica Teatro La Fenice, and the Danish National Symphony Orchestra. In the forthcoming season he will return to two orchestra where he has developed close ties as both violinist and condcutor: L’Orchestre de la Suisse Romande and L’Orchestre Philharmonique de Radio France. This season he also play/conducts theCzech Philharmonic, Deutsches Symphonie-Orchester Berlin, and the Orchestra Sinfonica Nazionale della RAI.
Born and brought up in a musical family in Athens, Kavakos curates an annual violin and chamber-music masterclass in Athens, which attracts violinists and ensembles from all over the world and reflects his deep commitment to the handing on of musical knowledge and traditions. Part of this tradition is the art of violin and bow-making, which Kavakos regards as a great mystery and to this day, an undisclosed secret. He plays the ‘Willemotte’ Stradivarius violin of 1734 and owns modern violins made by F. Leonhard, S.P. Greiner, E. Haahti and D. Bagué.
multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.
In 2018, Yo-Yo set out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world that encompass our cultural heritage, our current creativity, and the challenges of peace and understanding that will shape our future. And last year, he began a new journey to explore the many ways in which culture connects us to the natural world. Over the next several years, Yo-Yo will visit places that epitomize nature’s potential to move the human soul, creating collaborative works of art and convening conversations that seek to strengthen our relationship to our planet and to each other.
Both endeavors continue Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to explore how music not only expresses and creates meaning, but also helps us to imagine and build a stronger society and a better future.
It was this belief that inspired Yo-Yo to establish Silkroad, a collective of artists from around the world who create music that engages their many traditions. Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma has sought to expand the classical cello repertoire, premiering works by composers including Osvaldo Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, Esa-Pekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams.
In addition to his work as a performing artist, Yo-Yo has partnered with communities and institutions from Chicago to Guangzhou to develop programs that advocate for a more human-centered world. Among his many roles, Yo-Yo is a UN Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, and a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide.
Yo-Yo’s discography of more than 100 albums (including 19 Grammy Award winners) reflects his wide-ranging interests. In addition to his many iconic renditions of the Western classical canon, he has made recordings that defy categorization, among them “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer and two Grammy-winning tributes to the music of Brazil. Yo-Yo’s recent recordings include: “Sing Me Home,” with the Silkroad Ensemble, which won the 2016 Grammy for Best World Music Album; “Six Evolutions — Bach: Cello Suites;” and “Songs of Comfort and Hope,” created and recorded with pianist Kathryn Stott in response to the COVID-19 pandemic. Yo-Yo’s latest album is “Beethoven for Three: Symphonies Nos. 2 and 5,” with pianist Emanuel Ax and violinist Leonidas Kavakos.
Yo-Yo was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), the Polar Music Prize (2012), and the Birgit Nilsson Prize (2022). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.
Yo-Yo and his wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.