Shaked Duo | Dance Preludes

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Dance Preludes

by Shaked Duo

An exciting collection of five vivid works for clarinet and piano. Experience the richness of colors and styles through the 19th and 20th centuries with some famous pieces, some works less well-known, and one completely new composition written for our Duo
Genre: Classical: Chamber Music
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  Song Share Time Download
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1. Dance Preludes: 1. Allegro molto
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2. Dance Preludes: 2. Andantino
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3. Dance Preludes: 3. Allegro giocoso
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4. Dance Preludes: 4. Andante
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5. Dance Preludes: 5. Allegro molto - Presto
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6. Vier Stücke, Op. 5: 1. Mässig
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7. Vier Stücke, Op. 5: 2. Sehr langsam
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8. Vier Stücke, Op. 5: 3. Sehr rasch
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9. Vier Stücke, Op. 5: 4. Langsam
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10. Sonatina, H. 356: 1. Moderato - Allegro
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11. Sonatina, H. 356: 2. Andante
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12. Sonatina, H. 356: 3. Poco allegro
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13. Drei Stücke Für Klarinette Und Klavier: 1. Präludium
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14. Drei Stücke Für Klarinette Und Klavier: 2. Molto allegro
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15. Drei Stücke Für Klarinette Und Klavier: 3. Tranquillo
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16. Première Rhapsodie, L. 116
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Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
This album is an exciting collection of five vivid works for clarinet and piano written through the 19th, 20th and 21st centuries.
Some of the pieces are famous, some works less well-known, and one completely new composition was written for our Duo!

About the pieces and composers:

Tracks 1-5 - Dance Preludes / W. Lutosławski:
In the years following World War II, the repression of artistic freedom was wide-spread in Poland as well as in the Soviet Union. Art considered abstract or avant-garde was condemned, and Polish composers were obliged to conform to a style of nationalistic “social realism”. In order to make a living, Lutosławski played in cafes and wrote “functional” music such as children’s songs as well as music for theatre, film, and radio. Much of this music was based on the rich heritage of Pol-ish folk music and had for Lutosławski a social purpose at the time, which involved more than merely responding to official requirements. "[In those days], I could not compose as I wished, so I composed as I was able".
The cultural thaw after Stalin’s death in 1953 allowed Lutosławski to explore pub-licly the avant-garde language he had already been using subtly in his works based on folk idioms.
In 1954, Lutosławski bid farewell to his folklore style with the “Dance Preludes” for clarinet and piano based on five songs from northern Poland. A year later he ar-ranged them for clarinet and orchestra and again in 1959 for woodwind quintet and solo strings.

Tracks 6-9 - Vier Stücke / A. Berg:
The “Four Pieces” for clarinet and piano are expressive miniatures; the shortest piece lasts a mere nine measures, while the longest is only 20 measures long.
Alban Berg wrote these pieces in 1913, before the outbreak of World War I. They are dedicated to his friend and teacher Arnold Schoenberg and are strongly in-spired by Schoenberg’s” Six Little Piano Pieces” Op. 19.
As a child, Berg seemed more interested in literature then in music and did not begin to compose until the age of 15 as an autodidact. In 1904, his older brother secretly showed some of Berg’s songs to Schoenberg, who was ten years older and already a well-known composer. Schoenberg noticed immediately Berg’s ex-ceptional musical talent. In Berg’s songs, he heard “an overflowing warmth of feeling“, a quality that was to become typical in Berg’s compositions. Berg had little formal musical education until, together with Anton Webern, he became Schoenberg’s private student in 1905. For the next six years, he studied counter-point, music theory, harmony, and composition. Berg admired his teacher both as composer and mentor, and they remained lifelong friends.

Tracks 10-12 - Sonatina / B. Martinů:
Bohuslav Martinů is one of the 20th century’s most significant Czech composers. Son of a shoemaker and bell ringer, he received his first violin lessons from the town’s tailor. Due to his remarkable talent, his townspeople helped raise money to fund his schooling at the Prague Conservatory, where he studied violin, organ, and composition.
At first, he was primarily influenced by Impressionism, but his encounters with the “Groupe des Six” in Paris and the Neoclassicism of Igor Stravinsky had a lasting influence.
One of the most interesting aspects of his style is his close relationship with Czech folk music, which often gives his work a playful and light character. His composi-tions are often lively and dance-like. Especially interesting is his sophisticated and nuanced rhythmic language, with frequent changes of meter as well as a consis-tent tension between regular and irregular elements.
His father’s unusual second job as a bell ringer and the family’s residence in the St. Jacob Church tower are noteworthy. In the “Sonatina”, composed in 1956 in New York, one can clearly hear the presence of bell sounds, which were such an important part of Martinů’s childhood.

Tracks 13-15 - Drei Stücke für Klarinette und Klavier / R. Vossebrecker:
Roland Vossebrecker is a freelance composer, pianist, conductor, and teacher.
Nach After graduating from the Cologne University of Music and Dance (where he studied piano, pedagogy, and conducting), he was head of the student orchestra in Aachen and a scholar at the “Kunst- und Kultur Stiftung” of North Rhine-Westphalia. As a composer, he is, however, an autodidact:
„The most important thing I have learned about music I learned from my father, who was not a musician, but a great music enthusiast. He taught me how to listen to music in an active way (in recordings, concerts, or at the opera), even while also reading a score. I learned that music was not a form of relaxation, but rather an exciting activity [...]. Almost everything I’m capable of as a musician, and espe-cially as a composer, I have learned through listening”.
Vossebrecker has composed numerous works for piano, instrumental ensemble, and orchestra: including the "Lyric Requiem (1989 -based on texts written by chil-dren in the Theresienstadt Concentration Camp), Concerto for 12 Instruments (1993); Concerto for Five Soloists and Orchestra (1998); Sonata for Cello and Piano (2000); "Das Klavierbuch" (2004); two trios for oboe, heckelphone, and piano (2006, 2009); "Das Klavierbuch" Vol. 2 (2007-2008); as well as many cham-ber works for friends. The three short character pieces for clarinet and piano from 2011 heard in this recording resulted from the players’ friendship with the com-poser. The pieces were first performed in Cologne on 19 November 2011 and have often been played since then. The players consider themselves very fortunate to have a second, even more extensive work from Roland Vossebrecker: a clarinet “Sonata” in three movements, which was premiered in Essen on 8 November 2012.

Track 16 - Première Rhapsodie / C. Debussy
“Music begins where words end.”
The “Première Rhapsodie” for clarinet and piano may be the most famous work in a long tradition of competition pieces – the “Solo de Concours” – written annually by many composers for the Paris Conservatory since 1897.
In 1909, Claude Debussy was appointed to the conservatory’s governing council under Gabriel Fauré, and one of his first assignments was to write two pieces for the next competition: “Petit Piece” – a sight-reading assignment for the competi-tion – was composed merely days before the contest and recalls the piano prel-udes Debussy was working on at the same time. Composition of the more signifi-cant “Première Rhapsodie” took a longer time, extending through the end of 1909 into the beginning of 1910. The work is dedicated “as a testimony of my true feel-ings” to the distinguished clarinet professor Prosper Mimart, who played the offi-cial premiere on 16 January 1911. That same year, Debussy published an orches-tration of the “Première Rhapsodie”.

The Artists:

The clarinettist Gil Shaked-Agababa was born in Tel-Aviv in 1985. She began her musical educa-tion in Israel with Eva Wassermann-Margolis and Richard Lesser. She graduated from the Thelma Yellin High School of the Arts and completed her studies in Germany with a Master of Music de-gree from the Cologne University of Music and Dance where her teacher was Ralph Manno. She will resume her education at the Sibelius Academy in Helsinki with Harri Mäki in fall 2013.
In recent years, she has made chamber music recordings for the German radio (WDR) in Cologne and has been invited to give a master course at the annual "Internationaler Kunstsommer Arnsberg".
Gil Shaked-Agababa has won several prizes in competitions and is a recipient of scholarships from the America Israel Cultural Foundation, the “Musikstiftung Köln”, the Lions Club, and the Yehudi Menuhin organisation “Live Music Now”. She has also participated in the West Eastern Divan Orchestra conducted by Daniel Barenboim.
Currently she performs in Germany’s major con-cert halls as a member of the Klassische Phil-harmonie Bonn, with whom she also performs as a soloist. She has played solo concerts with a number of other orchestras, such as the Warsaw Symphony and the Israel Chamber Orchestra.

Pascal Schweren is a versatile “crossover” musician and pianist. He is an accompanist, chamber musician, jazz pianist, and since 2012 a lecturer for piano and music theory at the Folkwang University of the Arts in Essen. After a musi-cally colourful youth, he began his serious education at the age of 18 with the German jazz pianist Andy Lumpp, who was a pivotal influence. Schweren then studied classical piano and music pedagogy at the Cologne University and completed his studies in jazz piano at the Folkwang Univer-sity of the Arts in Essen.
To intensify and enrich his pianistic studies, he participated in lessons and master classes with Peter Orth (a student of Rudolf Serkin), Ludger Maxsein, Daniel Höxter, Renate Kretschmar-Fischer, Richie Beirach, Glen Wilson (harpsichord), and others. Pascal Schweren won the prize at the “International Jazz Workshop” in Weimar in 1992 and performed already during his studies with such artists as Kenny Wheeler and Norma Winstone.
Besides teaching, Pascal Schweren appears with singers, instrumentalists, and orchestras playing classical music, jazz, and other genres, and has performed in many impor-tant halls such as the Cologne Philharmonie, Lanxess Arena in Cologne, Aalto Theatre Essen, Thürmer Hall in Bochum, Jazzschmiede in Düsseldorf, Marktkirche in Hanover, Palais des Festival in Cannes, Felicia Blumenthal Center in Tel Aviv, and the Manuel de Falla Hall in Granada.

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