Except the concert on 21st of July, AIMA Music Festival has been cancelled due to extraordinary circumstances in Turkey.
2016 Violin & Viola Masterclass under the directions of Andrej Bielow, Çiğdem İyicil, Pelin Halkacı Akın and Marco Misciagna begins on 12th of July. The masterclass concert will be held on 20th of July at Alibey Kültür Merkezi.
Misha Nodelman was born in 1977 in St.Petersburg and had started taking violin lessons at the age of six. In 1989 when he was only twelve Misha had won the first prize at the City of Leningrad Young Violinists Competition which had gained this young violinist a very good reputation. Following his successful debut as a soloist, in 1990 Misha is admitted at the most prestigious music school in the country -the famous Desiatiletka: St.Petersburg State Conservatoire.
Special Music School for gifted children where he continues to study until the completion of the secondary school grade. In the year 1995 Mr.Nodelman successful enters the St.Petersburg State Conservatoire in the class of renowned professor Vladimir Ovcharek (the first concertmaster of the Leningrad Philharmonic Orchestra under E. Mravinsky). Soon he is invited to be a member of the St. Petersburg Kamerata Orchestra under S. Sondeckis. During his studies at the Conservatoire Misha had won prizes in several competitions such as ¨Gartow Stiftung ¨, ¨Münchener Konzertvereiningung ¨.
In 2000 after receiving his final diploma at the St.Petersburg Conservatoire Mr.Nodelman had been invited to study in the class of Zakhar Bron at the Köln Hochshule für Musik following the postgraduate studies during 2003-2006 and the Konzertexamen. These years Misha continued to challenge himself and had won the following prizes: 3 rd prize at the Liana Isakadze international violin competition (2003), first prize and the special prize at the Eurasia International Competition (2004), Winner of the Oscar and Vera Ritter Stiftung Scholarship.
Since 2006 Misha is assistant of his teacher Zakhar Bron at the Köln Hochshule für Musik and since the 2008 he holds the Concertmaster position at the Neue Philarmonie Westfalen Symphony orchestra.
Misha Nodelman is a very enthusiastic chamber music player and a founding member of Nodelman String Quartet . During the past two years he has appeared as a soloist and a chamber music player throughout Germany, Spain, Switzerland, Estonia, Russia, Austria, USA and Japan.
Ruşen Güneş started playing the mandolin at the age of 10, a year later switched to violin and got into the Ankara State Conservatoire and became a student of Necdet Remzi Atak. 8 years later he took up the viola and after graduation he joined the Presidential State Orchestra based in Ankara. In his second year working as a soloist with this orchestra he was contacted by the orchestra requesting him to replace a soloist who was disposed to play the S Concertante by Mozart for violin and viola, with a violinist friend and the conductor was a well known English musician George Weldon. Weldon liked his playing so much that he managed to secure for Ruşen a British Council scholarship.
With this opportunity Ruşen went to the UK to study at the London Royal College of Music for 2 years and there he studied viola with Frederick Riddle and chamber music with Cecil Aronowitz and worked with conductors like Malcolm Sargeant and Adrian Boult. Just before he was due to return to Turkey he played to the legendary viola player William Primrose who was so impressed he immediately offered to take Ruşen to USA as one of his assistants. A year later Ruşen was studying with him and teaching some of his students!
After a year Ruşen returned Turkey and became principle viola with Presidential State Orchestra of Ankara and during his tenure there played all the big viola concertos like Walton, Bartok, Hindemith for the first time in the country. Ruşen also played in a string quartet and performed again as premiers in Turkey works by Britten, Walton, Suk amongst others. In 1970 with his quartet – named Özsoy String Quartet- they did the first ever live TV performance playing with the Necil Kazım Akses quartet.
After doing his national service Ruşen returned to England and joined the Royal House Opera Orchestra as a rank and file player and after a few months was made co-principal and remained with the orchestra for 2 years and joined the London Mozart Players as principal. A year later he joined the famous early music group ‘English Concert’ led by Trevor Pinnock who asked Ruşen to join them as their viola player where he stayed for 3 years and later joined the English Chamber Orchestra as a co-principal viola where he met Pinchas Zukerman and Daniel Barenboim did many concerts and tours with them. This according to Ruşen was ‘one of my biggest learning times’.
In 1979 the London Philharmonic Orchestra asked Ruşen to be their principal viola where he got the chance to work with Bernard Haitink, Georg Solti, Simon Rattle, Klaus Tenssted, Zubin Mehta, Riccardo Muti, André Previn, Carlo Maria Guilini, Erich Leinsdorf, Antal Dorati, John Pritchard, John Elliot Gardner and others and played the Symphonia Concert ante at the Royal Festival Hall under the direction of Christoph Eschenbach with the leader of the London Philharmonic Orchestra David Nolan.
In 1988 he was offered the position of principal viola job by BBC Symphony Orchestra and stayed there till 2000. During this period of Ruşen’s orchestral life he continued playing with the London String Quartet and recorded Mahler’s piano quartet and C Franc quintet with İdil Biret and The Bocherini guitar quintets with John Williams. In his time with the BBC Symphony Orchestra he had the opportunity to perform with established names such as Pierre Boulez, Günter Wand, Alexander Lazarev, David Atherton, Roger Norrington. One of his memorable moments was when he played the Walton viola concerto with Simon Rattle conducting the Birmingham Symphony Orchestra and another special moment was when he played the Bartok viola concerto with BBC Symphony Orchestra during the Istanbul festival. He performed the Walton concerto on numerous occasions for the Royal Ballet for the production of ‘Oscar Wilde’. Other high points in his career were also playing the Stamitz concerto with the London Philharmonic Orchestra, the Michael Haydn concerto for viola and organ with The English Concert and the Bradenburg 6 concerto with the English Chamber Orchestra.
He was privileged to do the premier of compositions by Ahmed Adnan Saygun, Yalçın Tura and a commission piece composed for him by Cengiz Tanc, for the viola as well as Necil Kazim Akses’s viola concerto. Another highlight is a series he performed under the title of ‘Turkish Composers and viola’. More recently he performed the first performances of 2 of Ateş Pars’s works, 3 Preludes for solo viola and sonata for viola and piano (with İdil Biret). Ruşen currently freelances in London, mainly recording sessions and is active in Turkey both as a teacher at the Yaşar University, Izmir and playing concerts
Vladimir Mykytka stems from a family of musicians in the Ukraine. He started playing the violin at the age of five and attended the special music school of the Lviv Conservatory, where he studied the violin with Prof. Alexander Weissfeld and Prof. Arthur Mykytka. Later he continued his studies at the Music Academy in Warsaw under Prof. Janusz Kucharski. From 1995 onwards he expanded his music studies as both soloist and as violist of the Szymanowski Quartet at the University of Music and Drama Hanover under the guidance of Prof. Hatto Beyerle, who acted as teacher and mentor of the ensemble. In addition to its extensive concertizing, the Szymanowski Quartet continues to refine its playing by working with Isaac Stern, Walter Levin, and the following string quartets: Amadeus, Emerson, Juilliard and Guarneri.
During his student years Vladimir Mykytka received numerous prizes at international competitions such as the “Premio Vittorio Gui” in Florence and the International Music Competition “In Memoriam Dimitri Schostakowitsch“ in Hanover, as well as second prizes and audience prizes at both the International Chamber Music Competition in Osaka as well as in Melbourne.
In 1999 he received the advancement award for music from the state of Lower Saxony and in 2005 the Szymanowski Quartet was awarded the prestigious Szymanowski Award by the Szymanowski Foundation in Warsaw. This was the first time in the history of the Award that it went to a string quartet; recipients in recent years have included, among others, Sir Simon Rattle.
Vladimir Mykytka performs regularly in Europe, Asia, America and Australia at such renowned festivals as BBC Proms London, Schubertiade Festival, the Würzburger Mozartfest, the Rheingau Musikfestival, Schleswig-Holstein Musikfestival, the Bregenzer Festspiele, the Mecklenburg-Vorpommern Festival and in Lockenhaus, at the Cheltenham Festival, the Niedersächsiche Musiktage, Musica de Galicia and the Perth Festival. He has appeared at such illustrious venues as Wigmore Hall (London), the Konzerthaus (Berlin), the Louvre (Paris), Konserthus (Stockholm), Dom Musyki (Moscow), Concertgebouw (Amsterdam), Musikverein and Konzerthaus (Vienna), Teatro Alfa (Sao Paolo), the Conservatory in Tel Aviv, Carnegie Hall (New York), Shanghai Koncert Hall and Angel Place (Sydney).
Vladimir Mykytka is artistic director of the “Lviv Music Festival”. He has performed with the likes of Oleg Maisenberg, Julius Drake, Lily Maisky, Nikolaj Znaider, Wolfram Christ, Lawrence Power, Boris Andrianov, Nicolas Altstaedt, Alexei Ogrintchouk, Chen Halevi and the “Hilliard Ensemble”, he did recordings for AVIE, Avi-Music,
Hyperion, Haenssler Classic and several radio stations worldwide like BBC, Radio France, Bayrischer Rundfunk, WDR, NDR, ORF, TV Music, Arte etc..
Since the completion of his studies in the Fall of 2001, Vladimir Mykytka has been junior lecturer for chamber music at the University for Music and Drama Hanover. He has held master classes at the following institutions: Lake District Summer Music (Great Britain), the Mozarteum Salzburg (Austria), Zeist Music Days (Netherlands), Aborythwith (Great Britain), Instrumenta Verano Oaxaca (Mexico), Mozarteum Brasileiro Sao Paolo (Brazil), Hong Kong Academy of Performing Arts, Konservatorium Wien University.
In a world where the word “cross-over artist” is thrown around without much meaning, clarinetist Julian Milkis stands out as a true testament to this description as one of the most exciting and versatile artist performing today, and as one of the leading practitioners of his instrument. A rarity amongst clarinetists, Mr. Milkis remains the only student of the clarinet icon Benny Goodman and has garnered an international stature as a dazzling soloist, chamber musician, recitalist and jazz clarinetist. His performances include such prominent stages as New York’s Carnegie Hall and Lincoln Center, Salle Pleyel and Salle Gaveau in Paris, Great Halls of the Moscow Conservatory and the St. Petersburg Philharmonic, Roy Thomson Hall and Weston Recital Hall in Toronto, and the National Concert Hall in Taipei, Taiwan. His numerous solo appearances include orchestras in Canada (Toronto Symphony, CBC Vancouver Orchestra, Edmonton Symphony), Russia (State Symphony Orchestra of Russia, St.Petersburg Philharmonic, Moscow State Symphony Orchestra, Novosibirsk Philharmonic, Hermitage Chamber Orchestra), and Europe (Hamburg Mozarteum, Vivaldi Chamber Orchestra, L’Orchestre Nationale de Lyon, L’Orchestre Symphonique Francaise, Divertissment Chamber Orchestra).
Mr. Milkis’s performances have been broadcast extensively on radio and television throughout the US, Canada, Europe and Asia. He is a leading voice for his instrument in the field of jazz. Well-known to Naples audiences, legendary pianist Dick Hyman, Benny Goodman’s old band-mate, has transcribed a number of Goodman’s classics for Milkis. A Canadian citizen, and graduate of The Juilliard School and the Manhattan School of Music, he performs exclusively on Yamaha clarinets.
Born in Ankara, Idil Biret started to play the piano at the age of three and later studied at the Paris Conservatoire under the guidance of Nadia Boulanger, graduating at the age of fifteen with three first prizes. She was a pupil of Alfred Cortot and a lifelong disciple of Wilhelm Kempff. She embarked on her career as a soloist at the age of sixteen appearing with major orchestras in the principal music centres of the world like Boston Symphony, Leningrad Philharmonic, Leipzig Gewandhaus, London Symphony, Warsaw Philharmonic in collaboration with conductors of greatest distinction such as Erich Leinsdorf, Pierre Monteux, Hermann Scherchen, Gennadi Rozhdestvensky, Rafael Frühbeck de Burgos, Kazimierz Kord, Antoni Wit. To many major festival appearances may be added membership of juries for international competitions including the Van Cliburn, Queen Elisabeth of the Belgians and Busoni competitions.
She has received the Lili Boulanger memorial Award in Boston, the Harriet Cohen / Dinu Lipatti Gold Medal in London, the Polish Cavalry Cross, the Adelaide Ristori Prize in Italy, the French Chevalier de l’Ordre National du Mérite and the State Artist distinction in Turkey. Her more than eighty records since the 1960s include the first recordings of Liszt’s transcriptions of the nine symphonies of Beethoven for EMI, Berlioz’s Symphonie Fantastique for Atlantic/Finnadar and for Naxos the complete piano works of Brahms, Chopin, Rachmaninov, the three Sonatas of Boulez, the Etudes of Ligeti and the Firebird piano transcription by Stravinsky, with a Marco Polo disc of the piano compositions and transcriptions of her mentor Wilhelm Kempff. These records have sold nearly three million copies. Her Boulez recording the Golden Diapason of the year award in France in 1995 and the complete Chopin recordings have received a Grand Prix du Disque Frédéric Chopin award in Poland the same year. In 2007 the President Lech Kaczsnky decorated Biret with the highest order of Poland, Cross of the Order of Merit (Krzyzem Kawalerskim Ordera Zaslugi) for her contribution to Polish culture through her recordings and performances of Chopin’s music.
The Idil Biret Archive (IBA) label is now issuing her old and new recordings which are being distributed worldwide by Naxos on CD and digitally. More than 40 CDs have so far been released which include Beethoven’s 32 Sonatas, 5 Concertos, 9 Symphony transcriptions by Liszt (in a box set of 19 CDs), the many LPs she made for Decca, Vega, EMI and Atlantic records in France, Germany and USA as well as recently recorded concertos of Grieg, Liszt, Ravel, Saint-Säens, Schumann and Tchaikovsky. All the 100 plus recordings Idil Biret made since 1959 will be released in a single set containing 9 boxes (Idil Biret 100 Edition) towards the end of 2013
In 2012 Idil Biret has recorded two CDs of Schumann’s music as well as all the piano concertos of Paul Hindemith. She has toured South America giving concerts in Colombia, Peru, Chile, Argentina, Brazil and later given concerts and master-classes in Paris, London, Edinburgh and Glasgow. She has then traveled to China for concerts in Beijing and Shanghai where she also participated in the jury of the piano competition in Shanghai. Idil Biret’s final concerts of the year took place in December in Egypt, in Cairo and Alexandria. Her new recording of all the 5 piano concertos of Hindemith with the Yale Symphony Orchestra will be released worldwide by Naxos in October 2013 to commemorate the 50th anniversary of his passing away.
Idil Biret Celebrity solo concert at Sussex International Piano Competition, Worthing Assembly Hall, Thursday April 16 2015.
Piano virtuoso raises the roof
EVERYTHING could be resisted at the Assembly Hall, Worthing, except the temptation to quote Oscar Wilde – “we are all in the gutter, but some of us are looking at the stars”.
The occasion was the celebrity recital at the third Sussex International Piano Competition on Thursday, April 16. Guttering work at the venue had appeared to affect the hall’s humidity, said Worthing Symphony Orchestra principal conductor John Gibbons before the start.
“Lighting and temperature are difficult today,” he told the audience. Indeed, the unstable atmosphere meant the concert grand needed retuning during the interval.
The star factor, however, reigned supreme from the very first note, dispelling any fears the recital would be marred. Turkish piano virtuoso Idil Biret performed a beautifully balanced Romantic programme of Chopin, Rachmaninov and Scriabin. She made playing some of the most technically demanding repertoire ever written look as easy as turning on the air-conditioning.
Gibbons said the WSO had greatly enjoyed working with competition juror Miss Biret in the past. “She’s an artist of supreme musicianship.”
He could say that again. It was mind-boggling to contemplate that the petite figure in aubergine-coloured skirt, white blouse and black waistcoat, with silver clasp, had been dazzling audiences like us for 60-plus years.
Ankara-born, she started to play piano at the age of three and studied at the Paris Conservatoire under Nadia Boulanger, whose other protégés included Aaron Copland, Quincy Jones, John Eliot Gardiner, Philip Glass and Daniel Barenboim.
Miss Biret was then a pupil of Alfred Cortot and a lifelong disciple of Wilhelm Kempff, with whom she gave a concert at the Théatre Champs-Elysées in Paris in 1953 aged only 11.
Since the 1960s, she has recorded more than 100 albums and her numerous awards include Poland’s highest order (Krzyzem Kawalerskim Ordera Zaslugi) presented to her in 2007 for her contribution to Polish culture through her Chopin recordings and performances.
In the first half, she treated us to Chopin’s swansong of 1846 – his Polonaise Fantaisie in A flat – and his Third Piano Sonata in B minor, of 1844 vintage.
Grace, delicacy, lyricism and light and darkness flowed seamlessly from Miss Biret’s fingers, dipping into every shade and emotional nuance of the late-Chopin palette.
There was dramatic, rolling thunder in the second of the two Rachmaninov Moments Musicaux (Nos. 1 & 6) she played immediately after the interval, but this was nothing compared with the jaw-dropping forces she unleashed in eight of Scriabin’s Etudes.
Never mind about raising the Assembly Hall roof, necessitating more new guttering; she seemed in danger of boring through the earth’s crust one moment, then spontaneously combusting the next as her hands flew across the keys.
And, prodigiously, the final piece capped it all, the Etude No. 12 in D sharp minor from Scriabin’s Opus 8 series. As one critic puts it: “Here Scriabin’s canvas is galactic and his strokes are colossal. The cosmic ship is buffeted by giant breakers, waves that boom and bellow with primal authority.”
Who are we to argue with that or the bravura way Miss Biret delivered it to her Worthing audience?
As a finale, she performed what is believed to have been the first piece of music inspired by a railway journey, Charles-Valentin Alkan’s Le Chemin de Fer of 1844. No lumbering iron horse this, but a full-steam-ahead locomotive surely years ahead of its time.
Frank Horsley ― Worthing Herald