Svetlin roussev biography examples

By Samuel Zygmuntowicz

It is fun to sell a violin, but less exciting if it just sits in its case. Soloist Leila Josefowicz had bought a violin of mine long ago, but it was seldom used. Her primary instrument was a Carlo Bergonzi (1683–1747) that she had been playing for years, and the moment of truth came when shewas offered the chance to buy it—or return it. As a performer of contemporary music, she was open to performing on a violin that I might make now, but only if it actually did the job she needed. For both maker and musician, this is where it gets real.

We began with questions: Why did she want a different violin, and why did she come to me? What did she like about her current violin, and what was less likable? What other violins had she tried? What did she want from a new violin? What size and model would work best?

Words can be vague, so how can we get real answers?

She played her Bergonzi, and I listened. I needed to play it as well to understand and confirm her impressions, all the while commenting and discussing, establishing a common language about sound. At the earliest stages, it’s less about music than it is about tone color, response, range, projection, stability, size, comfort—a list of specific factors that make the music possible.

We found an open concert hall, where she played the Bergonzi for me. She sounded great, but to my ears the sound lacked some sizzle and scope. Under my chin, it was hard for me to play, and it felt almost dull. She then played one of my new violins, and liked the full sound, but found distracting hot spots high on the G string. The picture began to clarify. She plays with incredible intensity, and her contemporary-music repertoire is full of technical playing, so the violin had to be rock solid and dependable—no soft spots or wolf tones. She didn’t want to have to think about the violin at all.

Her Bergonzi had a compact body, shorter string length, and rounded upper bouts—comfortable to handle. The paramete

South Korean pianist (born 1986)

The native form of this personal name is Son Yeol Eum. This article uses Western name order when mentioning individuals.

In this Korean name, the family name is Son.

Musical artist

Yeol Eum Son (Korean: 손열음; born May 2, 1986) is a world renowned South Korean classical pianist. She is an interpreter of the Classical era of composers, especially Haydn, Mozart, Beethoven, as well as such later composers as Mendelssohn, Schumann, Liszt, Rachmaninoff and Ravel. Over the past fifteen years, Son has achieved global acclaim for her performances of Mozart’s piano concertos.

Son has performed as soloist with the New York Philharmonic Orchestra, the Los Angeles Philharmonic Orchestra, the London Symphony Orchestra, the BBC Symphony Orchestra, the Academy of St. Martin in the Fields, and with such conductors as Lorin Maazel, Sir Neville Marriner, Valery Gergiev, Sir Antonio Pappano, and Jaap van Zweden.

Education

Son was born in Wonju, South Korea.

Son took her first piano lesson at the age of three and a half. She made a recital debut on Kumho Prodigy Concert Series in July 1998. At the age of twelve, she started studying with pianist Kim Dae-jin. At age sixteen, she entered the Korea National University of Arts to continue her piano studies. At the age of 18, she recorded the complete Chopin Etudes (Op. 10 and Op. 25) for a CD on the Universal Music Label.

In 2006, she began studying with Arie Vardi at the Hochschule für Musik und Theatre, in Hannover, Germany, where she currently resides.

Competitions

Son was awarded the Silver Medal at the International Tchaikovsky Competition in 2011. At the Tchaikovsky Competition she also received the prizes for Best Chamber Concerto Performance and the Best Performance of the Commissioned Work. The video of her performance of the Mozart Piano Concerto No. 21 at the Tchaikovs

The piano and Axel Lenarduzzi, it is a relation which knew a first apotheosis, calling others: the culmination of his studies in the mythical city of Rome, crowned by the "Higher Diploma of Improvement unanimously" of the prestigious "National Superior Academy" Santa Cecilia "Diploma obtained in the class of Sergio Perticaroli.

The meeting with the maestro will have taken place during the Salzburg festival, and she will complete her learning of the instrument, will open her artistic vision of the piano, and of concert life.

Because for him, the practice of the piano, the life of the musician, the status of performer, have always been the occasion of a spiritual opening, of a discovery of oneself, and of the human in general. Because playing for an audience involves a humanist dimension, because to interpret, to seek the truth, and the echo of a work in itself, is also a discovery and a work on one's own personality. Thus, alongside his pianistic career, he nurtured literary and philosophical affections, which over time and examples, will be called, Nikos Kazantzakis, Herman Hesse, Fédor Dostoïevski, a thinker like Jean-Yves Le Loup, and many others ...

Before the Roman final, his musical apprenticeship began at the Asnières conservatory under the direction of Christian Manen, where he finished all the cycles of studies brilliantly.

Then come the National Conservatory of Region of Boulogne-Billancourt with Geneviève Ibanez., The National Conservatories of Region of Montpellier, with Patrick Zygmanovski, and of Paris with Jean-Marie Cottet.

During this period, he will also have the opportunity to participate in master classes with Pascal Devoyon and to work with pianist Géry Moutier at the Académie Internationale du Moulin d'Andé.

It was then that he was introduced to Bruno Rigutto. With him, he perfected himself intensively for a few years, before meeting Jean-Claude Vanden Eynden at the