![]() We made all “EQ adjustments” with microphone placement at the start. There are no equalization adjustments on this album. ![]() She uses a baroque bow (made by Louis Bégin in Montreal) for Bach’s ‘cello suite and for Amour et Biauté Parfaite. Wayne Lee Gay, The Star Telegram, Fort Worth, TexasĮlinor Frey plays a 1962 Mario Gadda Italian ‘cello from Mantua. ![]() “…David Fung performed strongly, showing off velocity, volume, stamina and a wide range of color and mood.” (Yarlung Artists commissioned David Lefkowitz to write Eli Eli for Petteri, in honor of Hagai Shaham.) And then evaluate this music in comparison with the titanic Bach Partita, and enjoy the world of color and emotion that Petteri delivers in this final work on his recording. Note too the yearning of an entire nation, perhaps the entire Twentieth Century, in the arrival of the Eli Eli theme in tracks twelve and thirteen. And then compare that with the icy brilliance of the same sonata’s fourth movement after the one-minute mark. Or the extreme tenderness of the second movement of Ysaÿe’s Sonata No. Listen to the colors Petteri employs in the first movement of the Debussy sonata, especially in the flautando sections. His name is Petteri Iivonen.” Petteri’s affable personality galvanized as much support for this debut recording as did his exceptional talent with the violin. “My name is Hagai Shaham… I know a young violinist you must hear right away. “Hello Bob,” a dark voice greeted me, before I could say hello myself. I remember the first time I heard the name “Petteri Iivonen.” It was late in the evening, and my phone rang at home. The audience broke into wild and uncustomary applause after the first movement, and leapt to their feet after the third, insisting on four curtain calls for the soloist. Writing about Petteri’s triumphant debut with Zubin Mehta conducting the Tchaikovsky Violin Concerto, Noam Ben-Ze’ev writes about “the fantastic young Finnish soloist Petteri Iivonen.” Petteri plays with natural raw talent and extraordinary technical and musical finesse… his personality infuses his music with a charm and depth especially welcome today. This album highlights the ‘cello as a solo instrument and illustrates the impact of pre-Hispanic Amerindian traditions and Spanish based Creole influences as well as the effect of more modern musical developments like the tango on Argentine composers. He chose these particular works because they all draw inspiration from the folk music traditions of Argentina. Schifrin writes “The first theme is distant and evocative which leads to a contrasting section of rhythmic energy… This work was commissioned by violoncello Master Antonio Lysy for which I’m very grateful.”Īntonio Lysy captures the cultural range of this country in our recording. The work evokes the rich grasslands stretching from Buenos Aires to Patagonia. We commissioned famed Argentine composer Lalo Schifrin to write Pampas for this recording. Le Grand Tango for strings and piano obbligato “to keep the colors and authentic nature of this work alive.” What a treasure, and what an unexpected gift! My personal interest in this music emanates from my heritage: my father Alberto, to whom I lovingly and respectfully dedicate this album, was born in Argentina and returned there frequently throughout his distinguished career as a concert violinist and pedagogue. There it was: a fresh and exhilarating arrangement of Piazzolla’s Omaramor is a fantasy on ‘My Beloved Buenos Aires’ ” by Gardel. Carlos Gardel, the mythical tango singer, was young, handsome, and at the pinnacle of his popularity when the plane that was carrying him to a concert crashed and he died in 1935…. It’s definitely dirty enough, especially as it gets into the tough tango section.
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