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Water Awakening

Water Awakening

  • Von Rebecca Bower Cherian
  • Version 09.07.2012
  • Medienformat CD
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Preis 22,45 €


Rebecca Bower Cherian was awarded the position of Co-Principal Trombone with the Pittsburgh Symphony by Lorin Maazel in 1989. She has been trombone instructor at Carnegie Mellon University since 1993. Ms. Cherian was a founding member of the International Women's Brass Conference in 1994 and served as the IWBC Newsletter Editor for five years. As a California native Ms. Cherian began her professional career at the age of sixteen as trombonist with the San Jose Symphony under the direction of George Cleve. At the age of seventeen she appeared as a soloist with the San Francisco Symphony as a result of winning First Prize in their Young Musicians' Awards. Ms. Cherian earned her Bachelor of Music Degree from the California Institute of the Arts and her Master of Music Degree from the Yale School of Music. While in school she was awarded First Place in the Atwater Kent Brass Competition and Outstanding Chamber Music Performer at Yale. Cherian studied with Robert Szabo and Miles Anderson while in California and John Swallow at the Yale School of Music. Before becoming a member of the Pittsburgh Symphony Ms. Cherian held the positions of Principal Trombone with the Springfield Symphony in Massachusetts and The Rhode Island Philharmonic. She was trombone instructor at the University of Connecticut in Storrs, the Hartt School of Music and Wesleyan University. As a freelance artist she toured with the Israel Philharmonic under the Direction of Leonard Bernstein, performed with the Boston Opera, New York City Ballet, Hartford, New Haven and Vermont Symphonies and Goodspeed Opera House. In September of 1993 Ms. Cherian enjoyed the honor of performing at the White House in Washington, D.C. as part of a 15-woman ensemble of brass and percussion players for the opening reception of the Annual International Women's Forum. The group performed the world premiere of Joan Tower's fanfare, "Celebration" which was dedicated to Hillary Clinton. Ms. Cherian appears regularly as a soloist and Masterclass Clinician at the IWBC. Ms. Cherian can be heard on recordings of the Pittsburgh Symphony Orchestra under the direction of Lorin Maazel, Mariss Jansons and Manfred Honeck. She can also be heard on the Pittsburgh Symphony Low Brass Section's album, From The Back Row released by Albany Records and available online. Venezuelan born pianist Rodrigo Ojeda began his piano studies at the age of ten. He completed his Bachelor's Degree in piano performance at the IUDEM (Institute of Musical Studies) in 1997 under Arnaldo Pizzolante. In 1999 he went on to complete his graduate studies at Carnegie Mellon University with Enrique Graf where he also remained to complete his Artist Diploma certificate. Mr. Ojeda has performed in master classes with such notable pianists as Kasimierz Giesrod (former rector of the Frederic Chopin Academy in Warsaw), Marek Joblonsky, Georgy Sandor, Marta Gulyas, and Earl Wild. His solo recitals include performances throughout Venezuela, Ecuador and most recently in the Piccolo Spoleto Festival in Charleston, South Carolina and in Pittsburgh, Pennsylvania. He has performed concerti from an expansive repertoire of Tchaikovsky, Brahms, Gershwin, Grieg, Schumann, Mozart, Liszt (Totentanz), Franck and Prokofiev. Mr. Ojeda's most recent live television and radio broadcasts include Prokofiev's Piano Concerto No. 3 with the Orquesta Sinfónica Municipal de Caracas, Venezuela. Currently Mr. Ojeda is an Artist Lecturer in Piano in the School of Music at Carnegie Mellon University as well as a piano faculty member in it's Music Preparatory School. He has also been performing regularly in the Pittsburgh Symphony since October 2006. A versatile pianist, Mr. Ojeda frequently collaborates with chamber ensembles and string, brass and woodwind soloists in a broad range of repertoire from classical to contemporary. His wife, Giuseppina, and son, Sebastian, reside with him in Pittsburgh, Pennsylvania. After decades of dedication to the trombone and music it has been my longtime aspiration to record a solo CD. I began some 20 years ago by commissioning several American composers to write works for solo trombone and piano. It was not until January of 2011 that I was finally able to realize this dream with this recording. I am introducing two of the new works I commissioned, one by Martin Kennedy and the other by Robert Elhai. Also on the recording are several underrepresented, yet excellent solos by Roger Boutry, Vincent Persichetti and Georg Wilkenschildt. I chose and arranged six Gabriel Fauré Vocal "Chansons." And finally I am including the Jacques Castérède Sonatine and one transcription for solo alto trombone, Concerto in B-flat major, by Tomaso Albinoni. 1. Theme and Variations by Martin Kennedy (b. 1978) The Theme and Variations for trombone and piano by Martin Kennedy was written while he was a C.V. Starr Doctoral Fellow in composition at the Juilliard School of Music. Kennedy, equally accomplished as a pianist, studied piano with Jeremy Denk, Evelyne Brancart and Pamela Penick among others. His composition teachers were Samuel Adler, Milton Babbitt, Claude Baker, Davis Dzubay, Don Freund and Sydney Hodkinson. He received his Bachelor of Music in both Composition and Piano Performance at Indiana University as well as his Master of Music in Composition. Kennedy is currently Assistant Professor of Composition and Theory at Washington University in St. Louis. The Theme and Variations begins with a very powerful and driving theme in the trombone, supported by blocks of chords from the piano. There are moments of lyricism which are fully developed later in several of the variations. From the beginning he introduces offset rhythms, syncopations and juxtaposition and ambiguity of duple and triple meter which drive the piece. Kennedy incorporates both harmonic and rhythmic jazz elements throughout his writing. Each variation has it's own mood and style. The first variation has almost a pointillistic characteristic yet never loses sight of it's lyricism. Variation IV fully explores the jazz influence before moving into Variation V where he develops his lyrical ideas to a climax. It is a beautiful and challenging work which I hope becomes a new standard in the solo trombone repertoire. 2. - 7. Chansons: Aurore, En Prière, Toujour, Nell, Lydia, Fleur Jetée, by Gabriel Fauré (1845-1924), arranged by Rebecca Bower Cherian Tiring of Bordogni Etudes and being an ardent fan of lieder and chanson, I acquired several books of lieder by various composers including Schumann, Schubert, Brahms and Mozart. But over the years I have continually returned to my book of Fauré Songs. Their unique, subtle beauty is a consistent source of inspiration for me. Fauré developed his own unique and innovative style of songwriting, which was influenced by both the impressionist and romantic composers. However, he used modality, harmonic nuance, and melody in ways unlike his contemporaries. He pursued song writing throughout most of his career. The songs I have chosen are from different periods in his life. By the end of his life, Fauré was recognized as the leading French composer of his day. Although sometimes criticized for using the text of lesser poets for his Chansons, I find Fauré's music always tells it's own very sensitive and sophisticated story in which words are not necessary. 8. Concerto by Roger Boutry (b.1932) Roger Boutry is an enormously talented pianist, composer, conductor and pedagogue. He studied at the Conservatoire National Supérieur de Musique in Paris with Nadia Boulanger among others. He has won innumerable, prestigious prizes throughout his schooling and life. He has more than 60 published works and is of course greatly influenced by his fellow countrymen, Ravel and Debussy. Boutry's Concerto for trombone and piano consists of four clearly contrasting sections. The introduction begins with a very uncharacteristic, dark, moody, almost Shostakovich-like introduction. The trombone soars in the upper register against offbeat, very dense low chords in the piano. The second section, a jazzy Allegretto still reflects the moodiness of the introduction with it's chromaticism but is more reminiscent of Darius Milhaud. In the calm, at the center of the storm, so to speak, is a solo cadenza first by the piano and then the trombone. The piece ends in a mixed-meter feel with an exciting, frenetic Presto/Scherzando. 9. Water Awakening by Robert Elhai (b. 1959) Robert Elhai is a very talented, successful and busy composer, orchestrator, arranger, pianist, and accordionist. He has been working on Broadway musicals and Hollywood movies for many years. He and his colleagues were nominated for Broadway's 1998 Tony Award for Best Orchestrations for "The Lion King." He has served as orchestrator for dozens of movies such as "Pirates of The Caribbean: The Curse of the Black Pearl," "The Count of Monty Cristo," "The Sixth Sense" and "Battle Los Angeles." So how does a composer like this come to write a piece for solo trombone and piano? I actually commissioned him to write Water Awakening about 20 years ago, before, I am assuming, he became so busy and well compensated! As a fellow alumna of the Yale School of Music, I had played a trombone quartet he had written and was very impressed with his writing. I feel fortunate that I caught him before his Broadway and movie career took off. As the title suggests, Water Awakening is very evocative of a river; still water, swirling eddies, rocky obstructions, rapids, undercurrents and dark mysterious depths. The title, as well as the music is an "awakening" or transformation, a metaphoric reference of water as consciousness. Water, being the source of life includes many disparate elements such as reflection, movement, growth, power, destruction, erosion and renewal. It is in following this river that we follow our own internal path to realization. It is through chromaticism and dissonance that Elhai moves us through seemingly calm waters into the depths. However, like Martin Kennedy he never loses sight of tonality. At the end of the journey we return to calm waters, but under the surface there still lies a tritone dissonance leaving us with unanswered questions. 10. - 12. Concerto in B-flat Major by Tomaso Giovanni Albinoni (1671-1751 ) arranged by Branimir Slokar, continuo by Urs Flück Concerto in B-flat major, Op.7, No.3 was part of a collection of oboe concerti that Albinoni composed between the years of 1705-1719. He was the first Italian Baroque composer to write concerti for solo oboe. I'd like to think that, had he been more familiar with the alto trombone, he would have written a collection of solo works such as this for the instrument. Albinoni was a prolific and popular composer in his time, better known for his fifty or so operas than his instrumental music. Unfortunately, much of this opera music was lost or destroyed during WWII and he became more widely known through his instrumental music. In spite of his music enjoying some eminence today, I feel Albinoni is generally underrated. 13. Caprice by Georg Wilkenschildt (1918-1996) Wikenschildt studied trombone at The Royal Academy of Music in Copenhagen with the Principal Trombonist of the Royal Ballet and Opera Orchestra, Anton Hansen (1877-1947). Hansen, a great trombone soloist, was considered the Trombone King of Scandinavia of his time. He was also responsible for reintroducing the slide trombone to the orchestras in Denmark again, after many years of valve trombones. Georg Wilkenschildt was not only an outstanding trombonist but a fine pianist as well. However, he never performed on piano in public. During his lifetime, he became one of the leading trombone players in Denmark. As a young man, he performed jazz and worked in the recording studios. He can be heard on several important recordings from the 1940's with Danish jazz orchestras and leaders such as Leo Mathisen, Kai Ewans, Erik Tuxen, Bruno Henrichsen, Borge Roger Henriksen and others. He can also be heard on several Danish films and videos. One can be found on YouTube at "Swing from Denmark - 1943: Bruno Henriksen's Orchestra playing Idaho." Wilkenschildt won a trombone position with The Royal Ballet and Opera Orchestra and later became Co-Principal, sharing the solo position with Palmer Traulsen who was the premier trombonist of his time in Denmark. Recognizing Wilkenschildt's talent also as a composer, Traulsen encouraged, motivated and possibly pressured him to compose music for the trombone in all the different keys, the Caprice being one of them. Traulsen also included 24 small solo pieces in all keys by Wilkenschildt in the upgraded version of "Anton Hansen's Trombone Method." Most of these compositions were published by Edition Wilhelm Hansen, Copenhagen. Biography notes on Georg Wilkenschildt by trombone professor Per Gade, Denmark ©2011 The Caprice is a reflection of Wilkenschildt's prowess on the instrument as it is difficult yet intrinsically well-written for the trombone. Stylistically, his experience in both the Ballet and Opera Orchestra and in jazz bands clearly influenced his composition. The introduction to Caprice is bold, broad and orchestral. The recurring theme that appears in the Andante con affetto is a beautiful lyrical melody with capricious flourishes. His written cadenza sounds truly improvised, in a perfect blend of jazz and classical traditions. The middle section to the piece, the Adagietto, amoroso is very sentimental and is followed by a surprisingly simple, distilled piano solo. He returns to the theme in the Andante con affetto and concludes the work with some impressive riffs. 14. Parable XVIII, Op. 133 for unaccompanied trombone solo by Vincent Persichetti (1915-1987) Vincent Persichetti was born and raised in Philadelphia. A virtuoso pianist and organist he also studied conducting with Fritz Reiner at the Curtis Institute. The Parable XVIII was one of twenty-five Parables Persichetti wrote for either solo instruments or small ensembles. He also wrote another unique set of works entitled Serenade one of which is for trombone, viola and cello. The Parable for solo trombone has three distinctive sections with two transitions in between. It is like a Shakespearean monologue. The opening is played in cup mute in a slow, reflective and private mood. When the mute comes out of the horn the voice moves forward into the world at large. The fragmented phrases of the middle section are a 20th Century stream of consciousness. The third and final section returns to looking inward in serious, sorrowful, regretful reflection. 15. - 17. Sonatine by Jacques Castérède (b. 1926) I have always gravitated toward French trombone literature and the 20th Century Parisian school of trombone playing. I chose Castérède's work to close the CD because it has been one of my favorites in the standard trombone repertoire. It is the only piece on the CD that has already been recorded far too many times, but like a delicious Parisian bon bon, I could not resist. Jacques Castérède, like several of the other composers I have chosen on this CD, has found his own unique style incorporating jazz harmonies and rhythms. Interestingly, he was in the same composition class as Roger Boutry in 1953 at the National Conservatory of Music in Paris. He broadened the concept of tonality by his use of chromaticism, modalities and diatonic movement. Castérède was a virtuoso pianist and toured internationally in the 1960's and 1970's. In 1953 he was awarded the Grand Prix de Rome in music composition. He has devoted much of his career to teaching at the National Conservatory of Music in Paris as well as composing. This album showcases composers from Denmark, France, Italy and America, from the Baroque Period through the 21st century. Each work holds a special meaning for me and each I have chosen for it's unique expressive qualities. I hope all of these works will find their way into the standard solo trombone repertoire. I would like to thank the following people for their contributions: Rodrigo Ojeda, Erica Brenner, Thomas Knab, Martin Kennedy, Robert Elhai, Michael Sahaida, Jennifer Habetler, Craig Knox, Peter Stumpf, Ross Garin, Rob Skavronski, Per Gade, Linda Martin and of course my family, Sujoe, Rachel and Ben Cherian. I dedicate this CD to the memory of my dear friend and colleague Ted Toupin. Rebecca Bower Cherian ©2011.


Ausübende Künstler: Rodrigo Ojeda
Titel: Water Awakening
Release-Datum: 09.07.2012
Etikett: CD Baby
Medienformat: CD
UPC: 884501630511
Produkt #: 166423X