AN INTERVIEW WITH ARCADI VOLODOS AN INTERVIEW WITH ARCADI VOLODOS The first time I heard of young Russian pianist Arcadi Volodos was via his 1997 Sony Classical CD (62691) http://tmsyn.wc.ask.com/r?t=an&s=hb&uid=24312681243126812&sid=343126
COST $20-28 Zoned Seating. Piano Virtuoso Arcadi Volodos Performs At Emory Oct. 17 WHO Pianist Arcadi Volodos WHEN 815 p.m. Wednesday, Oct. 17 http://tmsyn.wc.ask.com/r?t=an&s=hb&uid=24312681243126812&sid=343126
Arcadi Volodos It should be a fine recitalhis reviews in the Gramophone have been quite laudatory. Charles Has anyone worked with pianist Arcadi Volodos? http://tmsyn.wc.ask.com/r?t=an&s=hb&uid=24312681243126812&sid=343126
Arcadi Volodos Debut Recording Russian pianist Arcadi Volodos, now in his midtwenties, didn't begin serious study of the piano until he was 16, but hearing these masterful http://tmsyn.wc.ask.com/r?t=an&s=hb&uid=24312681243126812&sid=343126
Arcadi Volodos Messages sorted by date thread subject author Has anyone worked with pianist Arcadi Volodos? http://tmsyn.wc.ask.com/r?t=an&s=hb&uid=24312681243126812&sid=343126
Extractions: Arcadi Volodos almost seems to belong to the Golden Age of the piano virtuoso. His programme on this occasion would certainly stretch all but the most leonine of keyboard interpreters: he seems to positively thrive on vast swathes of semi-quavers (or demi-semi-quavers, for that matter). In fact, this event was part of a major tour: Volodos has already given this programme in Athens, Lucerne and Bologna. In December he will repeat it in four German cities (Bamberg, Berlin, Wiesbaden and Aachen). The sheer stamina of the man is amazing. Using a chair rather than the more usual stool, Volodos breathes a quiet confidence as he approaches his instrument: you just know, before he even sits down, that you are in the safest of hands. Programming Brahms Theme and Variations in D minor to begin with was a stroke of genius. This piece (the composers own transcription of the slow movement of his String Sextet No. 1 in B flat, Op. 18) requires exactly the qualities Volodos imbued it with. Here was playing of real integrity: the stately opening was richly toned and dignified. Volodos used a wide variety of tone-colour to shape the variations. He was not afraid to play drily (as in Variation 2). Only in the passionate third variation could the left hand have been even more sonorous.
Lucerne Piano Festival Report [PGW] The Russian pianist Alexei Lubimov is one who performs and records on both We were pleased to have an opportunity to reappraise arcadi volodos,left http://www.musicweb-international.com/SandH/2001/Dec01/lucernepiano.htm
Extractions: Lucerne's late autumn annual festival is dedicated to the piano and to showing to what advantage it can be heard in the new KKL Concert Hall , which provides the possibility for acoustical tuning of the auditorium to each artist's own preference by adjustments to the reflective canopy over the stage and to the reverberation chamber's doors, a speciality of ARTEC . For musicians, numerous testimonials describe the rare pleasure of being able to hear their own playing very much as it sounds to the audience, which makes them eager to return to Lucerne. During the week I took the opportunity to sample seating positions in many parts of the hall, right up to the high fourth gallery. It is good for listening everywhere, with absolute clarity and projection of the quietest pianissimo , but I found the best sound towards the centre at each level.
Extractions: Liszt, "Hungarian Rhapsody," No. 13 in A minor Arcadi Volodos, the 29-year-old Russian piano virtuoso hailed by critics for his combination of technical skill and eloquent musicality, will perform at Emory University on Wednesday, Oct. 17 as part of the Candler Concert Series. A critic with The Baltimore Sun called Volodos "the most phenomenal pianistic talent to hit the scene since Evgeny Kissin" following his March concert there. For tickets or information, call the Arts at Emory box office at 404-727-5050 or send e-mail to firstname.lastname@example.org. Despite beginning serious training on the piano relatively late at age 15, Volodos has quickly risen to the ranks of the top pianists in the world. He studied at the Moscow Conservatory with Galina Egiazarova, the Paris Conservatory with Jacques Rouvier, and in Madrid at the Escuela Superior de Musica Reina Sofia with Dimitri Bashkirov.
Extractions: Contact: Deb Hammacher, Assistant Director, 404-727-0644, or email@example.com Music at Emory Announces 2001-02 Season Tickets to individual concerts go on sale at 11 a.m. Monday, Aug. 27. Full subscriptions and "pick four" packages are on sale now for the Flora Glenn Candler Series of marquee classical artists. For more information, call the Arts at Emory box office at 404-727-5050 or e-mail firstname.lastname@example.org. Takács String Quartet (Sept. 29) will be joined by former U.S. poet laureate Robert Pinsky in a program called "All the World for Love" that combines the music of Barber (Adagio), Britten and Janácek with the poetry of Yeats, Frost, Dickinson and others. In a world where conductors are stars, the Orpheus Chamber Orchestra (Jan. 24) stands out for performing without a conductor. The ensemble is far from a novelty, however. Named 1998 ensemble of the year by Musical America magazine, Orpheus Chamber Orchestra ranks among the most respected groups in the world. The groups Emory debut will feature Mozarts Violin Concerto in G Major, Dvoráks "String Serenade" and Wolfs "Italian Serenade." Another highlight of the Music at Emory 2001-02 season is the presentation of the entire cycle of Beethovens 32 piano sonatas in eight recitals by noted pianists from around the world. "Ludwig van Beethoven: The Complete Sonatas for Piano" will feature eight pianists, each performing four sonatas, between Oct. 5 and April 19. Tickets are $15 each or $90 for the entire cycle. Sponsored by the Emory Chamber Music Society of Atlanta and the Steinway Piano Galleries, the performances will be recorded for future broadcast on WABE.
AN INTERVIEW WITH ARCADI VOLODOS The first time I heard of young Russian pianist arcadi volodos was via his 1997Sony Classical CD Bob Rivkin, Inna Falíks, arcadi volodos and Bob Benson http://classicalcdreview.com/avint.htm
Extractions: AN INTERVIEW WITH ARCADI VOLODOS The first time I heard of young Russian pianist Arcadi Volodos was via his 1997 Sony Classical CD SK 60893) , recorded live in Carnegie Hall in October 1998, with music of Liszt, Scriabin, Schumann and Rachmaninoff, revealing a master pianist at his best. Reviewing a November 2000 Carnegie Hall recital, Anthony Tommasini wrote in the New York Times: "...his sound was velvety and plush. You could almost hear the voice of Rosina Lhevinne, the great Russian pedagogue, proclaiming from the the beyond, 'Now, that's what I call sound!' By now talk must be spreading all over town about Mr. Volodos's knockout performance of Liszt's Hungarian Rhapsody No. 13 . It would not seem possible to play the piano as fast as he did in the crazed dance that concludes the work...it was astonishing..." When Volodos was scheduled to make his Baltimore debut with three performances of Prokofiev's Concerto No. 2 with the Baltimore Symphony in mid-March 2001, I contacted the BSO requesting an interview with Volodos for this website. A few days later they replied in the affirmative "if it doesn't take more than 25 minutes." The BSO spokesperson warned of a potential problem: Volodos is fluent only in French and Russian and therefore I would have to supply an interpreter. This slight obstacle was easily surmounted, as my good friend Robert Rivkin speaks French and agreed to accompany me. Rivkin and I attended the BSO rehearsal Wednesday afternoon. Guest conductor James DePriest and the orchestra had already rehearsed other works on the program (the world premiere of George Tsontakis' October and Beethoven's Symphony No. 4), so all that remained was the Prokofiev Concerto No. 2. Volodos rehearsed without a score, and obviously knew the music inside and out; several times during the rehearsal when conductor or soloist requested a restart in the orchestral part, Volodos would play the starting point on the piano to make it easier for the orchestra to find where to begin. Things went so smoothly that the rehearsal ended ahead of schedule quite remarkable considering the Prokofiev Second is one of the most difficult of all concertos.
Extractions: SONY CLASSICAL 64384 (F) (DDD) TT: 61:02 per se Vivacissimo The CD also contains the shorter works listed above, beginning with Volodos' exquisite arrangement for piano of the Andante from Rachmaninoff's Cello Sonata. One could say that his decorative embellishments almost turn this into a salon piece, but the result still is beautiful. His performances rival Rachmaninoff's own for the two works the composer recorded ( SÈrÈnade /Prelude Op. 32 No. 6). The accompanying booklet is one of those annoying fold-outs with a total of 14 pages, white print on black shiny paper,difficult to read, even more difficult to get back into the jewel case. Two of the pages are devoted to minimal notes by Paul Myers; other panels are the French and German translations, plus photos of Volodos, Levine and the BPO. R.E.B. (Sept. 2000)
Cheryl North Interviews Arcadi Volodos Cheryl North Interviews arcadi volodos. ANG Newspapers Classical Music Column February 4, 2003. He is a pianist in the grand, 19th century tradition. http://www.northworks.net/c_volodos.htm
Extractions: Cheryl North Interviews Arcadi Volodos ANG Newspapers Classical Music Column - February 4, 2003. During a radio broadcast in 1939, Sir Winston Churchill said Russia is a riddle wrapped in a mystery inside an enigma. These same words seem uncannily appropriate for describing Arcadi Volodos, one of Russia's contemporary sons. Born in 1972 in St. Petersburg, Volodos has hit the classical music world like a meteor. He is a pianist in the grand, 19th century tradition. Many critics, including myself, feel that he now stands alone on that lofty pinnacle of pianism vacated by such late piano titans as Franz Liszt, Sviatoslav Richter, and Vladimir Horowitz. Volodos alone among the young crop of superstar pianists seems to embody the all-too-rare combination of virtuosic keyboard athleticism with profound musical intelligence and lyric sensibility. But, after a brief conversation with him following his solo recital at Davies Symphony Hall last Sunday, Churchill's words about Russia resonated in my mind. Volodos is short, but stocky, and his head is crowned with a luxuriant mass of dark hair. Heavy black eyebrows frame his large expressive eyes. Although he appears downright heroic when at the piano, in person after the concert, he seemed shy, even a little ill-at-ease, with the mass of admirers waiting to greet him. He smiled courteously and spoke bits of English, a little French, and a lot of Spanish and Russian to his many local well-wishers, many of whom were local Russian expatriates. He also posed patiently, albeit a little stiffly, for the shutter-bugs among them.
Bronson Piano Studio 11/06/00, pianist arcadi volodos, Carmel Music Society. pianist arcadi volodos.By Lyn Bronson. volodos, the 28year-old Russian virtuoso pianist who made a http://www.bronsonpianostudio.com/reviews/110600r1.htm
Extractions: Lyn Bronson Volodos, the 28-year-old Russian virtuoso pianist who made a remarkable Carnegie Hall debut in 1998 and subsequently was featured on several extraordinary CDs, has been one of the most eagerly anticipated musical artists of the 2000-2001 season. Well, he finally arrived last night at Sunset Center in Carmel in a concert presented by the Carmel Music Society. Initially a disappointing event, it was redeemed at its conclusion by startling and brilliant playing, so dazzling that you have to hear it yourself to believe how stunning it really was. The first two thirds of the concert was heavy going. Imagine yourself being invited to a private dinner given by a world-renowned pastry chef. On arriving you find you can't sample the pastries until you have consumed a boring, multi-course dinner that almost destroys your appetite for dessert. That was more or less what happened as Volodos presented us with a performance representing some very unfortunate program selections. The opening work, the Theme and Variations in D minor by Brahms, based on the lovely theme from his Sextet for two violins, two violas and two cellos, is a problem work since, unfortunately, the theme is more beautiful than the subsequent variations. On this occasion Volodos banged out the theme, emphasizing inner notes that were totally unimportant along the way, and totally failed to reveal its haunting beauty. He continued this harsh treatment in the variations that followed, until finally, in the fourth variation in D major, Volodos found his voice and quite unexpectedly, after the unpleasant banging, treated us to some soft lovely playing that showed quite another side of Volodos. It was a beautiful moment of lovely playing that was regrettably brief.