Cello Recital- Shaw, Jacob - Brahms, j. : Britten, b. : Bloch, e. : Wallensbourg, t. de : Liping, Wang (Debut)

7/24/2019 Cello Recital- Shaw, Jacob - Brahms, j. : Britten, b. : Bloch, e. : Wallensbourg, t. de : Liping, Wang (Debut)

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CD 1JOHANNES BRAHMS: SONATA NO. 1 IN E MINOR FOR PIANO AND CELLO, OP. 38eI. ALLEGRO NON TROPPO . . . . . . . . . . . . . . . . . . . . . 15:272II. ALLEGRETTO QUASI MENUETTO . . . . . . . . . . . . . . . . . . 05:21gIII. ALLEGRO . . . . . . . . . . . . . . . . . . . . . . . . . 06:27

JOHANNES BRAHMS: SONATA NO. 2 IN F MAJOR FOR PIANO AND CELLO, OP. 99iI. ALLEGRO VIVACE . . . . . . . . . . . . . . . . . . . . . . . 08:285II. ADAGIO AFFETTUOSO . . . . . . . . . . . . . . . . . . . . . 07:146III. ALLEGRO PASSIONATO. . . . . . . . . . . . . . . . . . . . . 06:53lIV. ALLEGRO MOLT0 . . . . . . . . . . . . . . . . . . . . . . 04:32

TOTAL TIME: 54:22CD 2

BENJAMIN BRITTEN: CELLO SUITE NO. 3, OP. 87eINTRODUZIONE: LENTO . . . . . . . . . . . . . . . . . . . . . 02:282MARCIA: ALLEGRO . . . . . . . . . . . . . . . . . . . . . . . 01 :483CANTO: CON MOTO . . . . . . . . . . . . . . . . . . . . . . . 01 :264BARCAROLLA: LENTO . . . . . . . . . . . . . . . . . . . . . . 01 :545DIALOGO: ALLEGRETTO . . . . . . . . . . . . . . . . . . . . . 02:066FUGA: ANDANTE ESPRESSIVO . . . . . . . . . . . . . . . . . . . 02:537RECITATIVO: FANTASTICO . . . . . . . . . . . . . . . . . . . . . 01 :208MOTO PERPETUO: PRESTO . . . . . . . . . . . . . . . . . . . . 00:56nPASSACAGLIA: LENTO SOLENNE . . . . . . . . . . . . . . . . . . . 1 1 :31oTRADITIONAL/SHAW: A BRIT IN DENMARK . . . . . . . . . . . . . . . 02:41rERNST BLOCH/SHAW: (PRAYER). . . . . . . . . . . . . . . . . 04:21 sTHOPHILE DE WALLENSBOURG: (PERSIAN SAM). . . . . . . . . . . . 06:43tTRADITIONAL/SHAW-CASALS: EL CANT DELS OCELLS (SONG OF THE BIRDS) . . . . . . 03:22uWANG LIPING/HENDERSON: (SONG OF THE BURIAL OF FLOWERS) . . . . . . 07:16

TOTAL TIME: 50:452


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CD 1 RECORDING AND MIXING: BERNHARD HANKECD 2 RECORDING ENGINEER TRACKSe-9: ANDREJ KOCAN

CD 2 RECORDING ENGINEER TRACKSo-u: MARC CASANOVASCD 2 ARTISTIC ASSISTANTS TRACKSe-9: JAN FLESSEL AND ESTERA RAJNICKA

CD 2 MIXING ENGINEER: MARC CASANOVAS / NORCAT LYDMUSIC PRODUCTION: JACOB SHAW, MARC CASANOVAS / NORCAT LYD

EXECUTIVE PRODUCERS: GLEN ROVEN, IRA YUSPEH, MITCH YUSPEHMASTERED BY: IRA YUSPEH FOR M & I RECORDING

PHOTOS: NIKOLAJ LUNDPHOTO OF JOS GALLARDO: NIKOLAS HAGELE

DESIGN: KILMULIS DESIGN

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JACOB SHAW (CELLO), JOS GALLARDO (PIANO),ZHANG MENG (GUQIN), CUI YING (PIPA), YANG XINYUE(GUZHENG), WANG SHAMEI (YANGQIN), YAN YAN (ERHU)

PIANO: STEINWAY MODEL D (HERMES&WEGER AUGSBURG//HELMUT TRNDLE)CELLI: PAOLO ANTONIO TESTORE ON LOAN FROM THE ROYAL DANISH ACADEMY OF

MUSIC AND A CELLO MADE FOR JACOB IN 2007 BY PATRICK ROBINBOWS: ALBERT NRNBERGER ON KIND LOAN FROM MORTEN ZEUTHEN AND A BOWMADE FOR JACOB IN 2003 BY STPHANE TOMACHOT

RECORDED BETWEEN 2009 - 2015 IN AUGSBURG AND COPENHAGEN.RR90015 RR ROVEN RECORDS 2015.WWW.ROVENRECORDS.COM

ALL RIGHTS RESERVED.MADE IN THE UK.

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This debut project has taken almost 6 years,from the first note recorded in June 2009 untilthe last, in March 2015. The different pieceswere recorded at 2 year intervals. Betweenrecordings I was influenced by other different

artists, places, and personal experiences. Thishad a huge effect on my musical development andlistening back, I can literally map these changesthrough the variances both in my playing andchoices of repertoire.

In 2009 I won the competition held by the

foundation of the Banque Populaire in France.The prize and their support enabled me to recordthe Brahms sonatas. The date of the recordingscoincided with my master-studies at the LeopoldMozart Zentrum (Augsburg University); thereforethe Augsburg University concert hall with such awonderful natural acoustic and Steinway concert

grand was selected for the recording.

Via my former professor and mentor, JuliusBerger, I met the wonderful pianist Jos Gallardoin the mid 2000s and I knew as soon as I heardhim that there was no one else I would dream ofrecording the Brahms sonatas with. He brings

magic to the piano, his colours and sensitivity


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are unique. There are so many things I could write about the Brahms sonatas : The first sonata and itshomage to Bach Die Kunst der Fuge, the second written for friend and cellist Robert Hausmann (cellistof the Joachim quartet), and so on and so forth. Most of these things (if not all) have been written downand explained over and over. So instead I will answer a question: Why have I chosen to record perhapssome of the most well known repertoire for cello in my first ever commercial recording? The answer is

simple. I love his music. Passion, drama, love, fragility, beauty. I hear and feel in his music all aspectsof life.

The Third Suite for Solo Cello by Benjamin Britten (CD 2, e-n) is based on three Russian songs fromTchaikovskys volumes of arrangements along with Kontakion (Hymn for the Departed). This suite isBrittens final work for the cello. As with his other works for cello, it was written for the great Russiancellist Mstislav Rostropovich in 1971. It is often said that when a person nears death their life plays out

backwards, flashing in front of their eyes for just a split second. Similarly, the form of this piece appearsbackwards, with nine movements containing variations on themes that appear only in the coda at the endof the suite. Furthermore, I cannot help but draw parallels between the form of this piece and the personalstruggle undertaken by Rostropovich in the USSR during the early 1970s. His friendship and sheltering ofAleksandr Solzhenitsyn coupled with his support for dissidents led to official disgrace and eventual exile.Britten quotes the G major prelude of Bach (CD 2,i) and throughout the suite intertwines variations onRussian songs, before ending almost 30 minutes of heart wrenching passion and beauty with Hymn for the

Departed (CD 2,n). I believe this demonstrates a strong show of support for Rostropovich during such adelicate political and humanistic struggle.

A Brit in Denmark (CD 2,o) is a combination of two traditional melodies: the first, from the Danish islandof r and the second, a Scottish fiddle tune. Following my relocation to Denmark in 2012 I have becomeinterested in Scandinavian folk music, which has captured my imagination. It felt only natural to merge thewonderful fiddle culture I experienced during trips to Scotland with a beautiful Danish melody and form

this piece. 7


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Aged 17 I moved to Paris, to study. It was here that I met my great friend Theophile de Wallensbourgwho introduced me to a new world of art, culture, music and Parisian life. I have since performed severalof his works. (Persian Sam) (CD 2,s) is dedicated to me and inspired by Persian music and theKamancheh (4 stringed instrument).

One of the great classical Chinese novels A Dream in Red Mansions was written by Xueqin Cao in 1784.In the 1980s this book was adapted for Chinese television and became one of Chinas most celebratedtelevision dramas. Song of the Burial of Flowers (CD 2, u), written by Chinese composer Liping Wang,is the theme tune to this drama and is sung by the beautiful, young heroine Daiyu Lin. In 2013 I premieredthe cello concerto On the Beach with Alice in Bejing, written by British composer Philip Henderson. In2015, Philip kindly agreed to arrange Song of the Burial of Flowers for me to play together with a groupof traditional Chinese musicians visiting Copenhagen. It gives me great pleasure to include Song of the

Burial of Flowers as the last track of my release.The most important thing I have learnt in the 6 years, between my first ever recording (the passion ofBrahms op.99) and my last (the simple beauty of the Catalonian folk tune, El cant dels ocells), is theirreplaceable significance of music to my life. As Nietzsche so eloquently wrote Ohne Musik wre dasLeben ein Irrtum. (Without music, life would be a mistake). I hope that you get as much pleasure listeningto this recording as I have had creating, constructing and realising each element of it.

With my warmest wishes,

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Award winning British cellist JACOB SHAWwas born in London in 1988. After studies at theYehudi Menuhin School, he moved to Paris where at 19 years old he became the youngest ever cellist tograduate with highest honours from the cole Normale de Musique in Paris.

With a vast repertoire and fresh approach to classical concerts, Jacob established Radical Classic asan alternative movement to build a diverse and new generation of classical music lovers. His passionfor collaborating with different cultures and musical genres has led to projects with indie, jazz, folk,traditional and electronic musicians.

In 2008, together with his family, Jacob founded the Festival International de Musique de Chambre enCharente in France (www.chalaismusique.com).

A dedicated teacher, his students have won national and international competitions and he frequentlyholds classes and workshops in music schools and universities. In 2013 Jacob was appointed International

Music Ambassador for Dulwich College International (Asia).

Jacob Shaw is based in Copenhagen, Denmark. Further information available at www.jacobshaw.de

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Born in Buenos Aires, Argentina. JOS GALLARDO began at the age of five with pianolessons, first in Buenos Aires at the Conservatory. Later he continued his studies with Prof. Poldi Mildner atthe Department of Music, University of Mainz and received his diploma. During this time he discovered hispassion for chamber music.

He was musically inspired by artists as Menahem Pressler, Alfonso Montecino, Karl-Heinz Kammerling,Sergiu Celibidache, Rosalyn Tureck and Bernard Greenhouse.

Jose Gallardo has won numerous national and international awards. Invitations to numerous tours andfestivals followed, including the Chamber Music Festival Lockenhaus, Verbier Festival, Lucerne Festival,Chopin and his Europe Warsaw, Ludwigsburg Castle Festival, Schwetzingen Festival, Schleswig Holstein,the Kronberg Cello Festival, Cork Music Festival, Musiktage Hitzacker, Kaposfest Hungary and the Rheingau

Music Festival.14


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A busy concert and chamber music Cooperation in Europe, Asia, Israel, Oceania and South America connectshim among others with Gidon Kremer, Barnabs Kelemen, Linus Roth, Benjamin Schmid, Carolin Widmann,Alina Ibragimova, Dmitry Sitkovetski, Nils Mnkemeyer, Andreas Ottensammer, Nicolas Altstaedt, MiklsPernyi, Maximilian Hornung.

Recordings for EMI, Hnssler, Challenge Records Int., Oehms Classics, Neon, Genuin, Warner and Naxos aswell as television and radio productions in BR, SWR, MDR, BBC, RAI, etc.

From 1998 to 2008 he was a lecturer at the Department of Music, University of Mainz, since the fall of 2008he taught at Leopold Mozart Centre, University of Augsburg.

Since 2013 he became, together with Andreas Ottensamer, artistic director of the chamber music festivalBrgenstock Festival in Lucerne.

THE MUSIC CONFUCIUS INSTITUTE (MCI) was established in 2012between the Central Conservatory of Music (CCOM) in Beijing and The Royal Danish Academy of Music(RDAM) in Copenhagen.

The purpose of the MCI is to facilitate musical and cultural exchange between China and Denmark. MCI

aims to actively contribute towards the future global development of music by creating synergies betweenclassical Western and Chinese musical traditions.

Through the power of creativity and inspiration, MCI believes we can harness the beautiful diversity ofsound. MCI is open to anyone who is interested in Chinese musical tradition and culture.

The traditional Chinese instruments on this recording are played by the teachers of the MCI.

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Documents

Cello Recital- Shaw, Jacob - Brahms, j. : Britten, b. : Bloch, e. : Wallensbourg, t. de : Liping, Wang (Debut)