Kim Cook - Dvorák, Elgar Schumann: Cello Concertos; R. Strauss: Don Quixote (2020)
BAND/ARTIST: Kim Cook
- Title: Dvorák, Elgar Schumann: Cello Concertos; R. Strauss: Don Quixote
- Year Of Release: 2020
- Label: MSR Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 02:20:44
- Total Size: 579 mb
- WebSite: Album Preview
Tracklist
CD1
01. Cello Concerto In E Minor, Op. 85: I. Adagio – Moderato
02. Cello Concerto In E Minor, Op. 85: II. Lento – Allegro molto
03. Cello Concerto In E Minor, Op. 85: III. Adagio
04. Cello Concerto In E Minor, Op. 85: IV. Allegro – Moderato – Allegro ma non troppo
05. Don Quixote, Op. 35: I. Introduktion. Mäßiges Zeitmaß. Don Quixote, immersed in the study of chivalric romances, loses his reason and decides to travel the world as a knight errant.
06. Don Quixote, Op. 35: II. Thema. Mäßig. Don Quixote, the Knight of the Sorrowful Countenance; Sancho Panza.
07. Don Quixote, Op. 35: III. Variation I. Gemächlich. They ride forth, under the sign of the beautiful Dulcinea of Toboso; Battle with the windmills.
08. Don Quixote, Op. 35: IV. Variation II. Kriegerisch. Victorious struggle against the army of the great Emperor Alifanfaron. (The Battle with the Sheep)
09. Don Quixote, Op. 35: V. Variation III. Mäßiges Zeitmaß. Conversation: Sancho’s questions, postulates, and adages; Don Quixote’s indoctrination, placation, and promises.
10. Don Quixote, Op. 35: VI. Variation IV. Etwas breiter. Battle with the penitents.
11. Don Quixote, Op. 35: VII. Variation V. Sehr langsam. Don Quixote on the night watch. Sighs, pleas, and protestations to Dulcinea.
12. Don Quixote, Op. 35: VIII. Variation VI. Schnell. Meeting with Dulcinea.
13. Don Quixote, Op. 35: IX. Variation VII. Ein wenig ruhiger als vorher. The ride through the air.
14. Don Quixote, Op. 35: X. Variation VIII. Gemächlich. Memorable adventure on the enchanted boat.
15. Don Quixote, Op. 35: XI. Variation IX. Schnell und stürmisch. Battle with the two sorcerers.
16. Don Quixote, Op. 35: XII. Variation X. Viel breiter. Don Quixote is defeated by the Knight of the White Moon; the journey home; Don Quixote’s mind emerges bright and clear from the shadow of madness.
17. Don Quixote, Op. 35: XIII. Finale. Sehr ruhig. Don Quixote’s death.
CD2
01. Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
02. Cello Concerto in A Minor, Op. 129: II. Langsam
03. Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
04. Cello Concerto in B Minor, Op. 104: I. Allegro
05. Cello Concerto in B Minor, Op. 104: II. Adagio
06. Cello Concerto in B Minor, Op. 104: III. Finale. Allegro moderato
American cellist Kim Cook has performed to critical acclaim as a soloist throughout the United States, in Australia, and in 28 countries in Europe, Asia, the Middle East and Latin America, where she toured as International Artistic Ambassador for the United States Department of State. Cook has received rave reviews for her many recordings, including concertos by Antonín Dvořák, Joseph Haydn, Peter Ilyich Tchaikovsky, Dmitri Shostakovich, Camille Saint-Saëns and Édouard Lalo; and solo sonatas by Zoltán Kodály, George Crumb and Paul Hindemith. Her solo recitals at Carnegie Hall and London’s Wigmore Hall were enthusiastically reviewed. She has performed recitals in New York, Baltimore and at the University of Cambridge, and given concerto performances with the Splitski Virtuozi chamber orchestra in Croatia, Volgograd Symphony Orchestra in Russia and Ukrainian State Symphony Orchestra in Kiev. Her performances have been broadcast on radio and television in Brazil, China and throughout United States. A native of Nebraska and a graduate of Yale University and the University of Illinois, Cook studied with Gabriel Magyar, Aldo Parisot, Alan Harris and Janos Starker. She was principal cellist of the São Paulo Symphony Orchestra, and taught at New Mexico State University prior to her appointment at Pennsylvania State University, where she is Distinguished Professor of Cello. Cook performs on a cello made by Luigi Galimberti (1888-1957) of Milan.
A native of Argentina, Gerardo Edelstein has conducted orchestras and choirs in concerts and ballet and opera productions in Europe, Asia, South America and the United States. Critics and audiences have hailed his performances as powerful, profound and exciting. Edelstein has guest conducted the San Antonio Symphony Orchestra, Kalamazoo Symphony Orchestra, Israel Sinfonietta, Bohuslav Martinu Philharmonic Orchestra, Kharkov Philharmonic Orchestra in Ukraine, Tucuman and Mendoza Symphony Orchestras in Argentina, and at festivals in Dublin, Bordeaux, Zaragoza, Jerusalem, Istanbul and in the United States. He performed with the Penn State Philharmonic Orchestra at Carnegie Hall, the Kimmel Center in Philadelphia and Heinz Hall in Pittsburgh. Edelstein earned music degrees from the National Conservatory of Music in Buenos Aires, Jerusalem Rubin Academy and Rice University. He was associate conductor and music advisor for the Richmond Symphony Orchestra prior to his current position as director of orchestral studies at Penn State University. In addition, Edelstein is artistic director of Penn’s Woods Music Festival, and music director-conductor of the Williamsport Symphony Orchestra.
Having an extensive operatic and concert repertoire, Arkady Shteinlucht has conducted in the theaters of Minsk, Kharkov, Kazan and Novosibirsk, and in concert halls in Berlin, Hamburg, Stockholm, Basel, Odessa, Ekaterinburg, Tbilisi, Riga, Tokyo and Seoul. Born in Leningrad, Shteinlucht graduated from the Lyceum School and the Leningrad Conservatory, where he studied with professors Mikhailov, Rabinovich and Dmitriev. He has worked as a choirmaster in the St Petersburg State Academic Chapel (Capella), conductor of the Perm Opera and Ballet Theatre and since 1989 has directed the St. Petersburg Mozarteum chamber orchestra. Currently, Shteinlucht is the conductor of the Zazerkalie Children’s Musical Theater in St. Petersburg and is artistic director of the St. Petersburg State Conservatory Orchestra.
CD1
01. Cello Concerto In E Minor, Op. 85: I. Adagio – Moderato
02. Cello Concerto In E Minor, Op. 85: II. Lento – Allegro molto
03. Cello Concerto In E Minor, Op. 85: III. Adagio
04. Cello Concerto In E Minor, Op. 85: IV. Allegro – Moderato – Allegro ma non troppo
05. Don Quixote, Op. 35: I. Introduktion. Mäßiges Zeitmaß. Don Quixote, immersed in the study of chivalric romances, loses his reason and decides to travel the world as a knight errant.
06. Don Quixote, Op. 35: II. Thema. Mäßig. Don Quixote, the Knight of the Sorrowful Countenance; Sancho Panza.
07. Don Quixote, Op. 35: III. Variation I. Gemächlich. They ride forth, under the sign of the beautiful Dulcinea of Toboso; Battle with the windmills.
08. Don Quixote, Op. 35: IV. Variation II. Kriegerisch. Victorious struggle against the army of the great Emperor Alifanfaron. (The Battle with the Sheep)
09. Don Quixote, Op. 35: V. Variation III. Mäßiges Zeitmaß. Conversation: Sancho’s questions, postulates, and adages; Don Quixote’s indoctrination, placation, and promises.
10. Don Quixote, Op. 35: VI. Variation IV. Etwas breiter. Battle with the penitents.
11. Don Quixote, Op. 35: VII. Variation V. Sehr langsam. Don Quixote on the night watch. Sighs, pleas, and protestations to Dulcinea.
12. Don Quixote, Op. 35: VIII. Variation VI. Schnell. Meeting with Dulcinea.
13. Don Quixote, Op. 35: IX. Variation VII. Ein wenig ruhiger als vorher. The ride through the air.
14. Don Quixote, Op. 35: X. Variation VIII. Gemächlich. Memorable adventure on the enchanted boat.
15. Don Quixote, Op. 35: XI. Variation IX. Schnell und stürmisch. Battle with the two sorcerers.
16. Don Quixote, Op. 35: XII. Variation X. Viel breiter. Don Quixote is defeated by the Knight of the White Moon; the journey home; Don Quixote’s mind emerges bright and clear from the shadow of madness.
17. Don Quixote, Op. 35: XIII. Finale. Sehr ruhig. Don Quixote’s death.
CD2
01. Cello Concerto in A Minor, Op. 129: I. Nicht zu schnell
02. Cello Concerto in A Minor, Op. 129: II. Langsam
03. Cello Concerto in A Minor, Op. 129: III. Sehr lebhaft
04. Cello Concerto in B Minor, Op. 104: I. Allegro
05. Cello Concerto in B Minor, Op. 104: II. Adagio
06. Cello Concerto in B Minor, Op. 104: III. Finale. Allegro moderato
American cellist Kim Cook has performed to critical acclaim as a soloist throughout the United States, in Australia, and in 28 countries in Europe, Asia, the Middle East and Latin America, where she toured as International Artistic Ambassador for the United States Department of State. Cook has received rave reviews for her many recordings, including concertos by Antonín Dvořák, Joseph Haydn, Peter Ilyich Tchaikovsky, Dmitri Shostakovich, Camille Saint-Saëns and Édouard Lalo; and solo sonatas by Zoltán Kodály, George Crumb and Paul Hindemith. Her solo recitals at Carnegie Hall and London’s Wigmore Hall were enthusiastically reviewed. She has performed recitals in New York, Baltimore and at the University of Cambridge, and given concerto performances with the Splitski Virtuozi chamber orchestra in Croatia, Volgograd Symphony Orchestra in Russia and Ukrainian State Symphony Orchestra in Kiev. Her performances have been broadcast on radio and television in Brazil, China and throughout United States. A native of Nebraska and a graduate of Yale University and the University of Illinois, Cook studied with Gabriel Magyar, Aldo Parisot, Alan Harris and Janos Starker. She was principal cellist of the São Paulo Symphony Orchestra, and taught at New Mexico State University prior to her appointment at Pennsylvania State University, where she is Distinguished Professor of Cello. Cook performs on a cello made by Luigi Galimberti (1888-1957) of Milan.
A native of Argentina, Gerardo Edelstein has conducted orchestras and choirs in concerts and ballet and opera productions in Europe, Asia, South America and the United States. Critics and audiences have hailed his performances as powerful, profound and exciting. Edelstein has guest conducted the San Antonio Symphony Orchestra, Kalamazoo Symphony Orchestra, Israel Sinfonietta, Bohuslav Martinu Philharmonic Orchestra, Kharkov Philharmonic Orchestra in Ukraine, Tucuman and Mendoza Symphony Orchestras in Argentina, and at festivals in Dublin, Bordeaux, Zaragoza, Jerusalem, Istanbul and in the United States. He performed with the Penn State Philharmonic Orchestra at Carnegie Hall, the Kimmel Center in Philadelphia and Heinz Hall in Pittsburgh. Edelstein earned music degrees from the National Conservatory of Music in Buenos Aires, Jerusalem Rubin Academy and Rice University. He was associate conductor and music advisor for the Richmond Symphony Orchestra prior to his current position as director of orchestral studies at Penn State University. In addition, Edelstein is artistic director of Penn’s Woods Music Festival, and music director-conductor of the Williamsport Symphony Orchestra.
Having an extensive operatic and concert repertoire, Arkady Shteinlucht has conducted in the theaters of Minsk, Kharkov, Kazan and Novosibirsk, and in concert halls in Berlin, Hamburg, Stockholm, Basel, Odessa, Ekaterinburg, Tbilisi, Riga, Tokyo and Seoul. Born in Leningrad, Shteinlucht graduated from the Lyceum School and the Leningrad Conservatory, where he studied with professors Mikhailov, Rabinovich and Dmitriev. He has worked as a choirmaster in the St Petersburg State Academic Chapel (Capella), conductor of the Perm Opera and Ballet Theatre and since 1989 has directed the St. Petersburg Mozarteum chamber orchestra. Currently, Shteinlucht is the conductor of the Zazerkalie Children’s Musical Theater in St. Petersburg and is artistic director of the St. Petersburg State Conservatory Orchestra.
Year 2020 | Classical | FLAC / APE
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