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Credits: Producer: John Bell Young |
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Credits: Producer: John Bell Young |
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Credits: Producer: John Bell Young. Recorded Jordan Hall, The New England Conservatory, Boston, September 10, 2001 |
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| This is the first of Liszt's four Mephisto Waltzes, only one of which was left incomplete. The Faust legend that inspired it is apparent from the outset, where List musically depicts the devil Mephistofoles tuning up his fiddle. The work proceeds with uncommon intensity in the form of a delirious waltz, moving though a sensuous middle section before culminating in a lusty, even orgiastic finale. Pianistically, it is among Liszt's most challenging composition, given its litany of rapid roulades, sweeping arpeggios and demonically difficult leaps. But it is up to the pianist to make something more of those than an occasion for technical prowess, but to convey the musical poetry behind it all. |
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| THE RAMA TRIO. Alexey Shabalin, violinist; Alexey Romanenko, cellist; Marianna Tashkovetsky, pianist |
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Credits: Recorded in Boston, Massachusetts, January 16, 2000 |
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| THE RAMA TRIO. Alexey Shabalin, violin; Alexey Romanenko, cello; Marianna Rashkovetsky, piano. |
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Credits: Recorded Januayry 16, 2000. Boston, Massachusetts |
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| THE RAMA TRIO: Alexey Shabalin, violin; Alexey Romanenko, cello; Marianna Rashkovetsky, piano. |
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Credits: Recorded in Boston, Massachusetts, January 16, 2000. |
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| THE RAMA TRIO. Alexey Shabalin, violin; Alexey Romanenko, cello. Marianna Rashkovetsky, piano. |
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Credits: Recorded January 16, 2000 |
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| A product of Scriabin's student days at the conservatory, this charming, lyrical and melancholy etude remains one of his most endearing and well known works. Though it embraces nothing of his later compositional vocabulary, nor the philosophical aesthetic that would inform it, it nevertheless anticipates the haunting intensity of his later works. |
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| THE RAMA TRIO. Alexey Shabalin, violin; Alexey ramanenko, cello; Marianna Rashkovetsky, piano |
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Credits: Recorded in Boston, Massachusetts January 16, 2900 |
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| THE RAMA TRIO. Alexey Shabalin, violin; Aleey Romanenko, cello; Marianna Rashkovetsky, piano |
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Credits: Recroded in Boston, Massachusetts. January 16, 2000 |
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| THE RAMA TRIO. Alexey Shabalin, violin; Alexey Romanenko,cello; Marianna Rashkovetsky, piano. |
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Credits: Recorded in Boston, Massachusetts. January 16, 2000 |
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| Recorded at Jordan Hall, Boston. September, 2000 |
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Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000. |
MP3.com CD: MARIANNA PLAYS BACH! -  buy it!
Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Recorded at Jordan Hall, Boston, September 2000. |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Recroded at Jordan Hall, Boston, September 2000. |
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Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000. |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Recorded at Jordan Hall, Boston, September 2000. |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Recorded at Jordan Hall, Boston, September 2000 |
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Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Recorded at Jordan Hall, Boston, September 2000 |
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Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young; Executive Proucer: Scott Kutil |
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| Recorded at Jordan Hall, Boston, September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston. September, 2000 |
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Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston. September 2000. |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston. September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, September 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| Recorded at Jordan Hall, Boston, Septmeber 2000 |
MP3.com CD: MARIANNA PLAYS BACH! - buy it!
Credits: Producer: John Bell Young |
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| This haunting work is the third of Liszt's four Mephisto Waltzes, and is only rarely performed. This performance is included on Mariann's forthcoming disc, due out on the Angelok label soon. |
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Credits: Recorded at Jordan Hall, Boston. September 2000. Producer: John Bell Young. |
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| Recorded at Jordan Hall, Boston, September 2000 |
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Credits: Producer: John Bell Young |
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Credits: Producer: John Bell Young; Executive Producer: Scott Kutil |
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| Allegro Moderato |
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Credits: Producer: John Bell Young. Executive Producer: Scott Kutil |
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| Alla Menuetto |
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Credits: Producer: John Bell Young; Executive Producer: Scot Kutil |
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Credits: Producer: John Bell Young. IMCA, Inc. Recorded in Jordan Hall, Boston |
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Credits: Producer: John Bell Young |
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Credits: Producer: John Bell Young |
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| Domenico Scarlatti (1685-1757)wrote more than 500 keyboard sonatas. Italian by birth, he began his career as a composer of operas, follwoing in the footsteps of his father Alesandro. An appointment as the music master of the King's brother and his daughter Maria Barbara took him to Portugal in 1724, and then to Spain in 1729, when Maria Barbara married the heir to the Spanish throne. This scintillating sonata, like so many of his works, demonstrate unequivocally the etent to which Scarlatti was an innovator. In an era when the central aesthetic for musical composition was concerned with the affective appropriation of speech rhythms (to speak nothing of German and French dance forms), Scarlatti's music gave way to the allures of Spain. But what's more, his music anticipated Liszt; for the first time, virtuosity itself assumed unprecedented dimensions, forming no less an important role in musical experience. Most of the sonatas, including this one, are written as a single, uninterrupted movement. The fiendish difficulties of this work demand more than a cultivated fingerfertigkeit, but a refined ear capable of delineating, with limpid transparency, all the musical activity. Scarlatti's thorny hand crossings at high speeds and spectacular repeated notes ("mutando i deti") challenge the player and delight the listener. |
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| Here Scarlatti paints a bucolic picture: in a soup of thirds and sixths,complimented by gently galloping rhythms, the work suggests both the horn calls and the equestrian pleasures that have traditionally given way to the hunt. |
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