Imprimer

Frank Proto

Écrit par Thierry Barbé. Posted in Classique

Frank Proto was born in Brooklyn, New York. He began piano studies at the age of 7 and the double bass at the age of 16 while a student at the High School of Performing Arts in New York City. After graduating he attended the Manhattan School of Music where he earned his bachelor's and master's degrees. As a student of David Walter Frank performed the first solo double bass recital in the history of the school. As a composer he his self-taught. For his graduation recital in 1963, Proto confronted the typical bass player’s problem - there was very little literature for the instrument. He programmed a baroque work, a romantic piece, and an avant-garde composition using electronic tape, but he wanted a contemporary composition in a more American style. Unable to find one he liked, he decided to write his own. The resulting piece — Sonata 1963 for Double Bass and Piano — was his first composition. It has subsequently been performed hundreds of times, worldwide by scores of bassists, and has entered the standard double bass repertoire.

During the early 1960s Frank earned his living as a free-lance bassist in New York City, performing with such organizations as the Symphony of the Air, American Symphony, the Robert Shaw Chorale, and — as one of the original members — the Princeton Chamber Orchestra. He also played with various Broadway and Off-Broadway show bands and in many of the jazz clubs that were a mainstay of New York nightlife at the time.

In 1966 he joined the Cincinnati Symphony Orchestra where, with the help and encouragement of CSO Music Directors Max Rudolf and Thomas Schippers, he began to bloom as a composer. The early opportunities given him by the CSO to compose and arrange for the orchestra resulted in a 30 year stay in which the orchestra premiered over 20 large works and countless smaller pieces and arrangements composed for Young People’s concerts, Pop’s concerts, tours and special occasions.

Frank was appointed Composer-in-Residence by Thomas Schippers in 1972 and during his tenure with the orchestra every music director commissioned him to compose works to feature various principal players, visiting guest soloists or the orchestra itself on its subscription concerts, including Max Rudolf (Concerto No. 1 for Double Bass and Orchestra, Thomas Schippers (Concerto in One Movement for Violin, Double Bass and Orchestra), and Concerto for Cello and Orchestra), Michael Gielen (Dialogue for Synclavier and Orchestra), Jesus Lopes-Cobos (The New Seasons for Tuba, Percussion and Orchestra, Hamabe No Arashi and the Music Drama Ghost In Machine.

Writing for the Pops, his Casey at the Bat has been performed over 500 times and has been recorded twice, while his Carmen Fantasy for Trumpet and Orchestra — commissioned and recorded by Doc Severinsen — recently received its 400th performance. His Fantasy on the Saints, An American Overture and Variations on Dixie have become standards in the Orchestral Pops repertoire.

Proto’s Doodles - an Introduction to the Orchestra is widely used in Young People’s Concerts to introduce grade school children to the symphony.

Working in such an all-encompassing musical atmosphere, both as a player and a composer, has resulted in Proto being able to become as comfortable with the large orchestra as he is with a jazz rhythm section. The result is as exhilarating as it is natural.

He has written music for such artists as Dave Brubeck, Eddie Daniels, Duke Ellington, Cleo Laine, Benjamin Luxon, Sherill Milnes, Gerry Mulligan, Roberta Peters, François Rabbath, Ruggerio Ricci, Doc Severinsen, Richard Stoltzman and Lucero Tena.

Since leaving the Cincinnati Symphony in 1997 Proto has continued to work in a wide variety of styles and sizes including the Violin Concerto Can This Be Man? - a Music Drama for Violin and Orchestra for Alexander Kerr, Concertmaster of the Royal Concertgebouw Orchestra in Amsterdam, 3 Divertimenti for Solo Violin for the young virtuoso Eric Bates, Yesterday's News - a Satire for Jazz Band and Actors for the Jazz Band at the University of Cincinnati's College-Conservatory of Music, The Creatures in Room 642 for the Dayton Symphony Orchestra's Young People's programs, Four Scenes after Picasso - Concerto No. 3 for Double Bass and Orchestra for François Rabbath and Paganini in Metropolis for Clarinet and Wind Symphony and/or Clarinet and Orchestra for Eddie Daniels.

Proto and Daniels also collaborated on a year-long DVD project: Bridges - Eddie Daniels plays the music of Frank Proto, which features the world premiere performances and recordings of Sketches of Gershwin and Sextet for Clarinet and Strings.

In 1977 he began a collaboration with the Syrian-French double bass virtuoso François Rabbath. He has written Rabbath four major compositions — with a fifth in the works — with orchestra that span a musical landscape from the most contemporary and serious - Four Scenes after Picasso - to the most unusual Carmen Fantasy that anyone is likely to encounter. Rabbath, whose musical appetite is as wide-ranging as Proto’s has recorded all of the pieces and continues to perform them worldwide.

In 1993 Proto began another collaboration — with poet, playwright and author John Chenault. To date they have written seven works together, the most notable being Ghost in Machine - an American Music Drama for Vocalist, Narrator and Orchestra. Commissioned by the Cincinnati Symphony for the its 100th anniversary in 1995, the work brought Proto and Chenault together with the vocalist Cleo Laine and actor Paul Winfield for the first time. Ghost is a work that is not easily pigeon-holed. It is a large-scale orchestral work that uses elements from a wide spectrum of the musical landscape woven around an equally wide-ranging text that explores contemporary society’s problems with racism, religious intolerance and gender warfare.

The success of Ghost resulted in two new commissions for the pair. The Kennedy Center for the Performing Arts in Washington D.C. commissioned a work for Cleo Laine to celebrate the new millennium. The result - The Fools of Time - is a jazz-based work and was premiered in February 2000. At the other end of the musical spectrum is My Name is Citizen Soldier, commissioned by the Louisiana Philharmonic Orchestra to celebrate the orchestra’s 10th anniversary and the opening of the National D-Day Museum in New Orleans. The work, a tribute to the veterans of World War II, was premiered in September 2000 with actor Paul Winfield as the soloist.

Working with Chenault has brought an added dimension to Proto’s music — the visual. Their pieces bring a more all-encompassing, quasi theatrical experience to audiences. Together they have explored various ways to utilize the orchestra in ways beyond the traditional. Their techniques have enabled them to bond in new ways with audiences, resulting in spectacularly-successful performances. Their most recent collaboration, The Tuner, a Musical Prophecy in Seven Scenes for Vocalist, Actors and Musicians, is a musical what if centered around the events of the present time.

Proto believes strongly in maintaining the connection between composing and performing — a tradition that once was the norm but is now the exception outside of the jazz and pop fields. He does not hesitate to pick up his bass to play with a jazz or chamber music group or travel near or far to play a solo recital. "It helps a great deal to experience what a soloist feels when under the lights," he says. Currently in a long-term project to record all of his chamber music for the Red Mark label — Seven CDs have been released to date, with several more in various stages of production — he continues to maintain his double life as both a composer and performer.

In November 2006 Proto was awarded the Grand Prize in the First New Orleans International Composer Competition for his Fiesta Bayou and Kismet. The prize includes a commission for a major orchestra piece to be premiered during the 2008-09 season.

Proto is also passionate in his belief that performing artists and composers should not hesitate to tackle the pressing issues that confront society today - the controversial social and political issues that most artists in this supposedly free society of ours are loathe to confront with their art. Examples of his work in this area include the chamber works; Afro-American Fragments (poetry by Langston Hughes), Mingus - Live in the Underworld (Text by John Chenault), Four Rogues - a Mystery for Double Bass and Piano and The Games of October for Oboe and Double Bass (after the Anita Hill, Clarence Thomas hearings). Orchestral works include; Can this be Man?, Ghost in Machine, My Name is Citizen Soldier, Four Scenes after Picasso, and The Profanation of Hubert J. Fort - an Allegory in Four Scenes for Voice, Clarinet (doubling) Tenor Saxophone and Double Bass. Proto composed both the Music and the text for the piece.

August 1, 2007  http://www.liben.com/FPBio.html
Imprimer

Fausto Borém

Écrit par Thierry Barbé. Posted in Classique

Fausto Borém (Belo Horizonte, Brasil, 1960) é Professor de Contrabaixo, Música de Câmara, Pesquisa em Música e Práticas de Performance na UFMG, onde criou o Mestrado em Música e a Revista Per Musi. Pesquisador do CNPq desde 1994, é Doutor em Contrabaixo pela University of Georgia e Mestre em Contrabaixo pela University of Iowa, EUA. Organizou o I Seminário Nacional de Pesquisa em Performance Musical (1999), o IV Encontro Internacional de Contrabaixistas (1996), o II Concurso Nacional de Composição para Contrabaixo (1996) e o I Concurso Nacional de Contrabaixistas (2002). Tem representado o Brasil nos principais eventos nacionais e internacionais do contrabaixo acústico (EUA em 1993, 1995, 1997, 1999 e 2001, França em 1994, Escócia em 1998). Tem apresentado trabalhos nos congressos da International Society of Bassists Convention, SBPC, Encontros Internacionais de Contrabaixo, Encontros Nacionais da ANPPOM, GAMUT Annual Meeting - Georgia Association of Music Theory. Tem publicado dezenas de artigos em importantes periódicos nacionais e internacionais nas áreas de performance, análise e musicologia histórica (veja Currículo Lattes no site do CNPq). Solista premiado diversas vezes no Brasil e no exterior, é contrabaixista do Trio Novarte e da Geraes Jazz ´round. Sua obra Uma Didática da Invenção foi premiada com o 3º Lugar no III Concurso Nacional de Composição para Contrabaixo (UFG, 2000). Coordenou duas vezes o Projeto Artista Visitante da UFMG com a Oficina UAKTI (1996) e a Oficina de Luteria de Contrabaixos para Crianças (2002).

http://www.latinoamerica-musica.net/bio/borem.html

http://www.musica.ufmg.br/~fborem/
Imprimer

Elena Filonova

Écrit par Thierry Barbé. Posted in Classique

French pianist of Russian origin, Elena Filonova started playing the piano in the USSR when she was only 3 years old. At the age of 10, she won the first prize of the Beethoven National Competition for Young Talent. At the time, she played under the keen eye of Kirill Kondrashin. When 12, she started her career as concert pianist, directed by Evgeny Mravinsky. At the Moscow Music School, she was taught by Emil Gilels and Pavel Messner.

Her training followed the tradition of the Heinrich Neuhaus School even though she stayed in close contact with Emil Gilels. At the Tchaikovsky Conservatoire in Moscow, she became Evgeny Malinine’s student. After starting her career as concert pianist in Russia, she quickly gained soloist status, being invited to play in concert halls as prestigious as Carnegie Hall in New York or the Great Hall of the Tchaikovsky Conservatoire in Moscow. She accompanied orchestras and chamber ensembles playing in Austria, Belgium, Canada, The Czech Republic, Finland, France, Germany, Israel, Luxembourg, The Netherlands, Russia and The United States. Today, her repertoire ranges from Bach to contemporary composers.

As well as being a concert pianist, Elena Filonova has always had a passion for teaching. In Moscow, she taught at the Academy of Music within the Tchaikovsky Conservatoire and at the Special School for Music for Exceptionally Gifted Children. Since 1990, she has been living and teaching in Paris. In 2002, during one of her master-classes, she appeared in a film entitled "Un, deux, trois… Musique" ("Music Maestro!") that was broadcasted by the television channel Muzzik. Some of her pupils, such as Jean Dubé, have already started a brilliant professional career.

Her discography is mainly recorded under the label Melodyia. In France, she released a series of CDs featuring Giovanni Bottesini’s work with Rinat Ibraguimov, double bass soloist of the London Symphony Orchestra, piano recitals composed by Chopin, Prokofiev, Rachmaninov and Chedrine, followed in 2004 by a CD of Tchaikovsky’s recitals (Marcal Classics MA 040701, distribution Codaex) and a selection of "The Forgotten Melodies" by Nikolai Medtner (AR RE-SE 2005-9, distribution Codaex).

http://www.filonova.com

Imprimer

Hervé Sellin

Écrit par Thierry Barbé. Posted in Classique


Elève d'Aldo Ciccolini au Conservatoire de Paris, Hervé Sellin en sort en 1980 avec un double Prix de Piano et de Musique de chambre.

Déjà familiarisé avec le monde du jazz, il est alors sollicité par de nombreux leaders : G. Badini, G. Laffite, A. Farmer , S. Hampton, S. Grey, E. Lockjaw' Davis, H. "Sweets" Edison, ou encore Chet Baker, D. Gillespie, J. Moody, ou C. Jordan

En 1984, Hervé Sellin devient le pianiste attitré de Johnny Griffin, et enregistre deux ans plus tard Live in Paris avec Dee Dee Bridgewater (nombreuses tournées jusqu'en 1990


En 1989, c'est la création d'un sextet avec S. Beuf, T. Russo, D. Leloup, H. Labarrière, U. Pagnini, qui enregistre en 1990 avec Branford Marsalis et en 1991 avec Johnny Griffin (Live a Jazz Valley).

Il a reçu en 1990 le Prix Django Reinhardt (Académie du Jazz) et a récemment enregistré l'album Acoustic MOP au sein du trio Renaudin/Sellin/Rousseau (1997).


Hervé Sellin est depuis 1994 Professeur de Jazz au CNSMDP.

Depuis 2002, il est en tournée avec le groupe de Richard Galliano « Piazzolla forever » : 150 concerts et un album chez Dreyfus jazz.

Invité par Wynton Marsalis au Lincoln Center de New-York en octobre 2003 pour y créer une suite pour Tentet.
Imprimer

Angeline Pondepeyre

Écrit par Thierry Barbé. Posted in Classique

Angeline Pondepeyre, pianiste, concertiste, chef de chant Obtient ses prix de piano, de musiqaue de chambre, puis d’accompagnement au piano dans la classe d’enriette Puig-Roget au Conservatoire National Supérieur de Musique de Paris. Conjointement à l’enseignement de l’accompagnement au piano au Conservatoire de Rueil-Malmaison, elle se consacre à la carrière de Chef de Chant dans les différents théâtres nationaux, notamment en 1994 au Théâtre Musical de Paris-Châtelet, pour la nouvelle production de la Tétralogie de Richard Wagner dirigée par Jeffrey Tate. Elle est conseillère à la Deutsche Grammophon lors de l’enregistrement des Nuits d’Eté d’Hector Berlioz, avec Kiri Te Kanawa et Daniel Barenboïm. Elle travaille également sous la direction de Pierre Boulez (le Rossignol, Stravinsky) Seiji Ozawa (Elias, Mendelssohn) et James Corlon, Zubin Metha, Mistlav Rostropovich, Semyon Bychkov au sein de l'Orchestre de Paris.

Son vaste répertoire de musique de Chambre lui permet de jouer avec les plus grands solistes du monde entier.

Sa discographie comprend divers enregistrements de mélodies françaises (Ravel, Poulenc, Saint-Saëns, Masent, Jacques Leguerney…) ainsi que des récitals de flûte, hautbois, basson, violoncelle… Lors d’une tournée au Japon, en 1994, elle enregistre pour la firme Sony, un choix d’œuvres du répertoire de contrebasse avec Yasunori Kawahara. En 1997, elle enregistre le Concerto pour piano ainsi que la Fantaisie Hongroise « création mondiale » de Reynaldo Hahn avec l’Orchestre Philarmonique de Lorraine. Elle interprète cette même « Fantaisie Hongroise » à Berlin en 2002. Elle vient de réaliser deux enregistrements consacré à Florent Schmitt et à Henri Vieuxtemps (2007).

En 2002, elle est invitée par la Fondation « Nikikaï Opéra » à Tokyo pour superviser la nouvelle production des « Noces de Figaro » et assurer les récitatifs au pianoforte.
Ses liens avec l'accompagnement de la classe de contrebasse de JM Rollez puis de T Barbé font d'Angéline une amie de toujours pour la contrebasse.

Plus d'articles...

Dernières revues

Revue 56 Revue 57

En ligne