Konstantin Manaev (*1983 Yekaterinburg/Russia) received
his first cello lesson by Vadim Klischin at the age of seven. He studied
at the Special School of the Moscow Conservatory with Kirill Rodin, later
with Wolfgang Emanuel Schmidt at the Academy of Music Münster and
the Academy of Music Dresden. Since 2007 he has studied with Ivan Monighetti
at the University of Music Basel. He attended master classes of Daniil
Shafranity, David Geringas, Frans Helmerson, Natalia Gutman, and Siegfried
Palm. As a soloist and chamber musician, Konstantin Manaev received international
awards like e.g. the 1. prize of the Concorsi Int. di Musica Val Tidone/Italy
and the 1. prize at the 12. Young Concert Artists European Auditions in
Leipzig. With the 2. prize he was rewarded at the Concorso Int. dei Duchi
d’Acquaviva in Atri/Italy, the 6. ADAM Int. Cello Competition in
Christ Church/New Zealand, the Int. Charles Hennen chamber music competition
in Heerlen/Netherlands and the Int. Swedish Duo Competition in Katrineholm/Sweden.
In 2002 he won the Young Artist Award of the GWK in Münster/Westphalia
together with Katherina Titova on piano. He was also given a scholarshipof
the Werner Richard - Dr. Carl Dörken-Foundation, Herdecke and the
Vladimir-Spivakov-Foundation Moscow. Konstantin Manaev performs all over
Europe, Japan, the USA and is invited torenowned festivals like the Festspiele
Mecklenburg-Vorpommern, the Schleswig-Holstein Musik Festival or the Viana
Castelo Int. Music Festival.
Alexander Matrosov (*1979 Tschimkent/Kazakhstan) was
the youngest student of Oleg Scharov at the Special School for Gifted
Children Rimsky-Korsakov in St. Petersburg in 1989, where he proceeded
with his education until 2002. The next year he moved to Germany and started
his studies with Mie Miki at the Acamedy of Music Detmold, Dept. Dortmund,
then leaving with her for the Folkwang Academy in Essen. Between 1990
and 2005 Alexander Matrosov received twenty renowned awards
like e.g. the Young Artist Award of the GWK in Münster/Westphalia
in 2005 as well as the Grand Prix of the 4. IAA Int. Accordion Competition
in Tokyo and the 1. prize of the Federal Competition of German Music Academies
in Hamburg. In Essen he was awarded the Folkwang Prize and in Amsterdam
the Prize of the Int. Gaudeamus Interpreters Competi-tion. He was scholar
of Yehudi Menuhin "Live Music Now" as well as of the Kölnische
Rückversicherungs-Gesellschaft GenRe. As a member of the Folkwang
Accordion Trio, he was given the special grant of the Werner Richard -
Dr. Carl Dörken Foundation, Herdecke. Alexander Matrosov was decorated
with the Honorary Award of the Ministerpräsident of the state of
Baden-Württemberg in 2003 and won the 1. prize of the Gitta di Lanciano
in Italy and at the Int. Accordion Competition in St. Petersburg. Three
years before he had won the Grand Prix France in Geneve, in 1998 the 31.
Int. Accordion Competition in Paris, and in 1992 the Russian Accordion
Competition in St. Petersburg.
Debut CD by ClassicClips (CLCL 101).
Franghiz Ali-Zadeh (*1947 Baku/Azerbaijan) received her
piano and composition education at the Conservatory of Baku and finished
a post graduate class under Kara Karajew in 1976. Afterwards, she taught
at the conservatory of her hometown and, from 1990 on, she worked as professor
for contemporary music and the history of orchestra styles. From 1993
to 1996 she led the choir of the Mersin Opera in Turkey followed by a
teaching engagement for piano and musical theory at the Mersin conservatory
for two years. With her "Piano Sonata in Memoriam Alban Berg"
(1970) the composer introduced herself to the western countries at the
music festival of Pesaro in 1976. After this performance her music was
played at many famous festivals, in portrait concerts, on the radio and
on CD productions in the USA and all over Europe, Australia, Israel, and
Turkey. In 1999 Franghiz Ali-Zadeh became the first female "Composer
in residence" at the Internationale Musikfestwochen IMF Lucerne.
On behalf of the Calouste Gulbenkian Foundation Franghiz Ali-Zadeh developed
a concert for violoncello and orchestra, which was premiered in Lisbon
by Ivan Monighetti (violoncello) and the Gulbenkian Orchestra under Muhai
Tang in June 2002. In the same year the twelve cellists of the Berlin
Philharmonic started their 30. anniversary by a big cello festival in
the Berlin Philharmonic, for which Franghiz Ali-Zadeh was engaged to write
the composition „Schüschtar" (meta-morphoses for 12 violoncellos).
In March 2003 Alexander Ivashkin played the British premiere of „Ask
havasi", a piece for violoncello solo in the Royal Festival Hall
in London. On the occasion of the reopening of the concert hall of Baku
in January 2004, Mstislav Rostropovich conducted "Hommage",
an orchestral work especially composed for this event. The Philharmonic
Orchestra Baku performed. In the context of the Concours de Violoncelle
Rostropovitch 2005 in Paris „Oyan!" premiered, a piece for
violoncello originally composed for this competition. With this recording
by Konstantin Manaev the whole present chamber music oeuvre for violoncello
solo and duo of Franghiz Ali-Zadeh is presented on CD.
For Franghiz Ali-Zadeh’s vita
see also: www.sikorski.de
3264 x 1368 pix | 1.303 kb
Ali-Zadeh: Chamber Music for Cello
|FRANGHIZ ALI-ZADEH (*1947)
Counteractions (Yanar Dag) for
violoncello and accordion*
| Oyan! for violoncello solo*
Ask hayasi for violoncello solo
for violoncello and piano
|* First recording
"Counteractions" (Yanar Dag) for
Violoncello and Accordion/Bayan (2002/03)
In Azerbaijan places can be found where the soil is burning. Here,
where so much oil lies deep under ground, the gas elevates to the
surface and catches fire. So the legend of Yanar Dag, the "burning
mountain", exists. They say that the fire leaving the mountain
(accordion) comes from a young man who is very much in love (violoncello).
The monumental spatial sound of the accordion like the grumbling
of the earth confront the excited "human" voice of the
cello. Both are in eternal antagonism because there is no power
to overcome the grief as well as there is no power to extinguish
the flame of love.
Franghiz Ali-Zadeh, September 8th, 2002
"Oyan!" for Violoncello Solo
In Azerbaijan "Oyan!" literally means "Wake up!".
But by this word much more is said: "Come to yourself! Take
courage! Oppose!" - on a new day, for good deeds, for a heroic
deed. The meaning is depending on intonation as well as on context.
Also in my work for violoncello solo, the player has many possibilities
for free interpretation. He may play the sections of "Oyan!"
with percussive effects in order to underline the tension and the
offensive momentum - or he can just leave them out. Another choice
exists in the dolcissimo section (bars 86 - 93), where two versions
(ossia) are available. In addition to that, the interpreter should
perform the flageolet sections completely arbitrary, e.g. in the
bars 176 -178 he can choose to play either fourth or quint flageolets.
Fast rhythmic and metric changes, numerous accelerandi and ritardandi
add to a relative freedom and flexibility in the realization of
the indicated tempi, too. Thus, based on the title of the piece,
every cellist is able to present his style. Fantasy and courage
are very welcome within the interpretation.
Franghiz Ali-Zadeh, 2005
"Ask havasi" for Violoncello
The composition „Ask havasi" for violoncell solo is
a gift to the cellist Ivan Monighetti by Franghiz Ali-Zadeh on the
occason of his 50th birthday. This work is her very personal expression
of adoration and gratitude for a friendship and successful artistic
co-operation that is lasting now many decades. On November 26th,
1998 Monighetti premiered "Ask havasi" at the Tallinn
Festival in Estonia. The title is mysterious and can hardly be translated.
The Turkish word „ask" means love, in the broadest sense
of the word. „Hava", or in plural „havasi",
contains a whole variety of meanings like: air, mood (mentally and
musically), emotion, impression, melody, mode (Mugam or Maqam),
meter, dance ...
„Ask havasi" tells a love story. But the recognition
of details is not to be expected: the folkloric narration,illustrated
by Persian miniatures, "Leyla and Megnun" ("Leyla
ile Mecnun") by Mehmet Fuzulî (also: Muhammed Fizumi,
1494 -1555/6) inspired Franghiz Ali-Zadeh in writing this piece.
The story deals with the encounter of two young people who do not
know each other. They fall in love on first sight. In the first
days of spring, the gardens blossom and scent, Leyla promenades
with her girlfriends. And Qays goes hunting. Both feel that this
day would bring something very unusual. Both talk, still apart,
about the beauty of nature. Unsuspectingly, they approach each other.
When their praise of nature reaches the climax, they recognize each
other and, immediately, faint, „megnun", senseless and
crazy for love. "Nobody has ever written anything better about
love", says the composer in a letter to Ivan Monighetti. "In
our torn and cynical time the most important thing of manhood is
lost: the pureness and dew of feelings. Therefore, I would like
to remind you of Leyla and Qays."
"Ask havasi", virtually, is an endless melody which is sung
out of love. The performer sings like a man in love - on his instrument
and with his voice. He does not only show all his virtuosity but he inserts
all his emotions, everything he has to say with his heart, in the "story".
He could go on telling, on and on, could dance, he would like to sigh
and moan. Directions like "with a resonant, beautiful tone",
"amoroso", "dolcissimo", "grazioso",
"agitato", "cantabile", "leggiero"
display the character of the composition. Intensely striving melodies,
oscillating figures and twinkle-toedly downhill bouncing short motifs
alternate, gradually enhance their impact and change into two voices just
before the climax which mounts up in waves. The meter is free throughout.
Like a Mugam-interpreter, who improvises differently depending on the
mood and grade of ecstasy, the cellist may decide on certain points how
often he wants to repeat the motif, how long he wants to "savour"
a passage. But even "Ask havasi" has to end. The composition
fades in a relaxed way, detached and jaded - "like a breeze".
Ulrike Patow and Thomas Meyer
"Habil-sajahy" for Violoncello
and Prepared Piano (1979)
The work "In the Style of Habil" was developed at Ivan Monighetti’s
suggestion, whom it is dedicated to and who premiered it in the small
hall of the St. Petersburg Philharmonic together with Franghiz Ali-Zadeh
on the piano in 1979. 1990 Juri Gabai wrote about this premiere in the
Soviet magazine "Music in the USSR": "The audience in the
crowded hall was anxious to witness the appearance of the famous cellist
Ivan Monighetti, who was announced to play Webern, Cage and Sofia Gubaidulina.
But to the surprise of all the piece ‘Habil-sajahy’ by Franghiz
Ali-Zadeh became the highlight of the program, brilliantly interpreted
by Monighetti. [...] The music casts a spell on the audience from the
very beginning. The logic of its development was extraordinary and hinted,
although cello and piano performed in the techniques of the so-called
avantgarde, at a completely different direction. A rare harmony was characteristic
of the development - starting at the non-existing (or existing) cello
part to the ecstatic culmination where many more than two musicians seemed
to take part. [...] It is difficult to judge the composition and the performance
separately. Both had a very strong, magical impact on the audience who
listened to the concert with bated breath." At the Warsaw Autumn
Festival 1983 "Habil-sajahy" was declared the best work for
violoncello of the decade. "Habil-sajahy" is a one-movement
composition, inspired by the art of Habil Alijew, a master virtuoso on
the Kemanche, the spiked fiddle, who is highly adored in Azerbaijan. The
piece enfolds itself by stages. Their tonal development is very much influenced
by the traditions of the Mugam art in Azerbaijan, the professional music
of oral tradition. The seemingly free, improvising form originates in
the usual sequence of narrative sections (rhapsody, recitative) and dance
interludes in the Mugam performance. The melody paradigm, which the composition
is mostly based on, relies on the 4. capital mode "Tschargjach",
which bears a passionate excited atmosphere within the Mugam tradition.
The European instruments violoncello and piano in "Habil-sajahy"
imitate by different means the tone colours of the national instruments.
The cello takes the part of the Kemanche. By plucking the strings with
and without the plectrum the piano sounds like the long necked lute Tar
or the short-necked lute Ud, by tremolo or bowing over the strings with
a rubber stick it sounds like the Daf, a kind of tambourine, or like the
small fictile timbal pair Gosch-nagara by knocking on the piano lid.