CD Recordings

ELMIRA DARVAROVA, Concert Violinist
                      

                           
                         COMING SOON:


     VIOLIN DECLAMATIONS
       (a solo violin album)
                    

                             








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                RECENTLY RELEASED
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       PEACE WORSHIPERS   
   



                        OUR NEW CD of MASTERPIECES 
    by the LEGENDARY SAROD VIRTUOSO AMJAD ALI KHAN,                        based on TRADITIONAL INDIAN RAGAS
     (completing a Trilogy with "Soul Strings" & "Amalgam")




                                                     

       Just two months after its release, Peace Worshipers won a
                     GOLD MEDAL at the Global Music Awards!

                                                   

Photo by Inni Singh





 

                                                   






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  TO READ THIS REVIEW by the prominent World Music critic                      ANGEL ROMERO, please click on link below:


            http://worldmusiccentral.org/2017/10/11/sarod-titans-meet-the- western-violin/










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                  INFINITE PIAZZOLLA
      QUINTETO DEL FUEGO




                                                        



                                                     









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      MUSIC BY PHILLIP RAMEY
                          (June 2017, on Affetto Records)


                                                
 
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               RECENTLY RELEASED
                                (by Affetto/Naxos in the US,
              and by Times Music on the Indian subcontinent)


     
                  OUR NEW CD of MASTERPIECES
    by the LEGENDARY SAROD VIRTUOSO AMJAD ALI KHAN,                        based on TRADITIONAL INDIAN RAGAS


                                                                     
                                                       


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      FOR A SHORT VIDEO ABOUT AMALGAM  click here


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          Some of Astor PIazzolla's greatest tangos:



                     1. Michelangelo 70
                      2. Invierno Porteño
                           3. Revirado
                    4. Primavera Porteña
                       5. Adiós Nonino
                  6. S.V.P. (S'il vous plait)
                       7. Otoño Porteño
                         8. Decarisimo
                            9. Escualo




  Transcribed for Violin & Piano from the original Piazzolla version           by OCTAVIO BRUNETTI, who was named "INHERITOR OF               PIAZZOLLA's MANTLE" by the New York Philharmonic





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BREAKING NEWS!
                              
 The world premiere CD with music by              René de Castéra (released by the               French label Azur Classical) is a            
     
RECORD OF THE YEAR  (2015)
                 on MusicWeb International!
 



        (to buy on CDBaby, click here)

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    SOUL STRINGS

       
      Amaan Ali Khan (Sarod)
              Ayaan Ali Khan (Sarod)
                   Elmira Darvarova (Violin)


                                               Affetto 1502
                                        distributed by Naxos

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                     on  
Urlicht AudioVisual 
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 The world-premiere recording of the Vernon Duke violin concerto,      written for Heifetz 75 years ago, and never recorded until now. Also, world premiere-recordings of Vernon Duke's violin & piano           works "Capriccio Mexicano" and "America Rediscovered".


                               

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         Interview & Review in Gramophone
                             May 2015
             (review by Donald Rosenberg)




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   LATIN GRAMMY NOMINATION 2015

               
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                RECENTLY RELEASED

    by the French label AZUR CLASSICAL



  World-premiere recordings of chamber music by Emile Goué
               (a prisoner of war, locked up in a Nazi camp)






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                     on  
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                  World- premiere arrangements of works by
                                  Handel & Barthélemon



 
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  THE CHAMBER MUSIC OF DAVID AMRAM

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                 Amanda Maier: Sonata for violin and piano
          Johannes Brahms: Sonata for violin and piano No.3
                        Johannes Brahms: Horn Trio Op. 40




   
   Sonatas for violin & piano by     Brahms and Amanda Maier, and     the Brahms Horn Trio, with  pianist BRYAN WAGORN and New York Philharmonic Principal         Horn Philip Myers






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                 DISC OF THE MONTH (April 2015) 
      and among the DISCS OF THE YEAR (2015) 
                   on music-web international


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RECENTLY RELEASED 

          by the French label  
Azur Classical

          

        


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       The "lost" violin works of                    VERNON DUKE,
        with conductor / pianist           
        Scott Dunn and             the Vienna Radio Symphony,        released in November 2014.


                       
World-premiere recordings



                                               
With conductor Scott Dunn during the Vernon Duke concerto recording sessions for a world-premier CD with the Vienna Radio Orchestra (the concerto was written for Heifetz in 1940 and has never been recorded until now; the CD, which also contains other violin works by Vernon Duke, was released in November 2014)








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          RELEASED ON NAXOS:

                                    NAXOS 8.570928








    
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  TEN BEST RECORDINGS OF 2009

                        by Gene Gaudette



ALFANO: CELLO SONATA / CONCERTO [TRIO] FOR VIOLIN, PIANO AND CELLO

CoverElmira Darvarovaviolin / Samuel Magill, cello / Scott Dunn, piano
Recorded at M&I Studios New York

Naxos 8.570928 (CD)

Darvarova, Magill and Dunn make you wonder where — and why — these outstanding late romantic works have been hiding all these years.

Perhaps part of the reason is the chequered reputation of Alfano, who was tasked by Ricordi with the thankless job of composing final scenes for Giacomo Puccini's Turandot following that composer's death. I find Alfano's ending immensely satisfying, even in the truncated version usually recorded (you can hear the complete verasion in a few recordings, most notably the "Forbidden City" production — and there is an even longer unpublished version recorded about twenty-two years ago for a Josephine Barstow "Opera Finales" CD on Decca that I would love to see staged). The bad rap stems from Toscanini's behavior leading up to the opera's debut, culminating in his stopping the work where Puccini's music ended, making a comment on the composer's death — and then walking off the podium. I don't care how much Toscanini liked and admired Puccini; his conduct in this case was unprofessional, selfish, and arrogant. It also damaged Alfano's reputation unjustly.

Many critics have compared the present works to the chamber music of Ravel. I find stronger parallels with music of Alfano's contemporaries, particularly Malipiero, Respighi, and de Sabata. This is Italian romantic music at its finest, played with passion and commitment and beautifully recorded.

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    THE STRAD MAGAZINE:
"...Darvarova produces a silky-smooth,          voluptuous sound, ideal for the              concerto's meticulous opulence..."



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  ".....DARVAROVA PRODUCES A SILKY-SMOOTH  VOLUPTUOUS SOUND,  IDEAL FOR THE CONCERTO'S METICULOUS OPULENCE......"


             THE  STRAD MAGAZINE, LONDON





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                FANFARE  MAGAZINE


      ALFANO
Concerto for Violin, Cello, and Piano.                                   Cello Sonata

       Elmira Darvarova, Samuel Magill, Scott Dunn              

                           NAXOS 8.570928 (60:06)

These days Franco Alfano (1875–1954) is remembered more for his controversial and much maligned 1926 completion of Puccini’s Turandot than for his own well-crafted and often quite striking music. His career started promisingly. In 1904, his opera Risurrezione, based on Tolstoy’s last full-length novel, made him internationally famous (see Henry Fogel’s review in Fanfare 28:4). In 1918, he rose to the directorship of Liceo Musicale, Bologna, and two years later helped to found the society Musica Nova. His career remained on the ascendancy until 1926, when Toscanini’s de facto damnation of his completion of Turandot made him an odd man out in Italian music. Add to this that two of his contemporaries, Malipiero and Respighi, were changing the focus of Italian music from opera to purely instrumental, while Alfano continued doggedly in the operatic realm with Madonna imperia (1927), Cyrano de Bergerac (1936), Don Juan de Manara (1941), Il dottor Antonia (1949), Vesuvius (1950), and Sakùntala (1952). Then further add that Alfano was on favorable terms with Mussolini’s fascist government and one has a pretty good recipe for his subsequent obscurity.

Then there is the music itself, as illustrated by these two chamber works—soft edged, introspective, and quietly luminous in a most Debussian manner. Cellist Samuel Magill, in his liner notes to this release, points out that Alfano was half French (on his maternal side), and spent the years from 1899 until about 1905 in Paris, where he composed light music for the Folies Bergère. It is plain from these two pieces that he soaked up the atmosphere and found it most congenial. The earlier of these two works, the Cello Sonata, was commissioned in 1928 by Elizabeth Sprague Coolidge. It is a tour de force in its exploitation of the cello’s full compass and coloristic possibilities. The high A-string writing makes it seem a super violin, and the use of harmonics in combination with quiet sustaining pedaled piano figurations creates moments that would have made both Ravel and Debussy proud. It is a long and discursive work that opens serenely, as if to say “I will reveal a great mystery,” and then travels from the elementally abstract toward the more and more intelligible; unfathomable mystery gives way to unbridled passion, and then to a moment of sublime peace.

The Concerto for Violin, Cello, and Piano of 1932 is similar to the Cello Sonata, but given the third instrument, the violin, it is richer in tonal possibilities. Its opening revealing a kinship with Renaissance polyphony, indeed farther back than that, shows how easily those languages can dovetail into that of the French Impressionists. Alfano, like Bruckner and Brahms, was an antiquarian. In both of these works, Debussy’s idea that pure sonority should be an element of music equal with melody, harmony, and rhythm, is writ large.

All three performers are excellent and play with razor-edged accuracy, passion, and insight in these two world-premiere recordings. The recording, alas, is harsh in its upper register, requiring treble cut on my system, but, on the other hand, it reveals everything, as if under a microscope. The piano, however, is splendidly registered throughout. William Zagorski


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Franco ALFANO (1875-1954) 
Concerto for Violin, Cello and Piano (1932) [28:24] 
Sonata for Cello and Piano (1925) [31:42] 
Elmira Darvarova, Samuel Magill, Scott Dunn  
recorded June 2008, M & I Studios, New York, USA 
NAXOS 8.570928 [60:06] 

Alfano’s 1925 Cello Sonata was a commission from Elizabeth Sprague Coolidge, though its first performance didn’t materialise until three years later in Rome. It’s a big, powerful work written, like the majority of Alfano’s chamber music, on a self-confident and expansive canvas. It’s also deeply expressive, and has strong meditative qualities that make it an intriguing peripheral piece in the cellistic programming armoury. Being Alfano there are also powerfully vocalised melodies as well, as the composer loses no opportunity to explore the full compass of the instrument. Whether Elysian or surly, the first movement is a template of the sonata as a whole – wide-ranging emotively and with virtuosic elements imbued for both instruments. The slow movement is not just the ‘gentle lullaby’ hinted at in the notes because it has its fair degree of eruptive passages – plenty of fast, twitchy writing, and, as ever, mood changeability is omnipresent. The finale is powerful and intense once more. There’s a species of Irish-sounding folk melody coursing through its veins but it falters and ushers in a finale brooding soliloquy. It ends a work of real introspection; in ethos it’s rather late-Debussian, but flecked with hot-house and verismo melodic stamp. 

The companion work is the Concerto, which might hint at an allegiance with Chausson, though it’s one that doesn’t fully materialise. What it does share with the latter’s Concerto, at least, is a sense of space, of tension and passionate sweep. In other respects this trio – premiered in 1933 – is a bold and extrovert work and offers other succulent pleasures. It’s sinuous, rich in glissandi, tremolandi, and moments of baroque-antique sounding passages, that vie with rich unison playing to titillate the ear. As before Alfano knows how to prepare for, and spin, a potent soliloquy. Above all one admires Alfano’s strong sense of narrative development. He laces the central movement with ‘fantastico’ voicings; leering in part, but hinting at both the folkloric and Ravel as well. The slithery Bacchanal is exemplary in its weirdness. The finale reverts to the columnar glory of ‘Old Rome’ – vigorous, exacting and exciting, though the least compelling thematically of the three movements. 

This is music that thrives on assertive but subtle musicianship, and fortunately it has a fine match in the Naxos trio, who acquit themselves splendidly. There are no moments of faltering or tentativeness, either with regard to the idiom or technically. With a suitably warm acoustic, this off-beat offering racks up high marks. 
                                                                Jonathan Woolf

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RELEASED ON NAXOS   (2011)



NAXOS 8.572753


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                                    click here to buy on Amazon.com:

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ACCOLADES for ALFANO's VIOLIN SONATA/ PIANO QUARTET:
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CD OF THE MONTH for OCTOBER 2011             on MusicWeb International


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     THE STRAD  (November 2011)
 

Review by  Julian HAYLOCK

                         


Although his name is remembered today almost exclusively for completing Puccini's last great opera Turandot, Franco Alfano (1875-1954)was a gifted
though not especially prolific composer in his own right. He produced a series of orchestral, piano and chamber music in addition to the operas Cyrano de Bergerac and  La leggenda di Sakuntala, which led to him getting the Turandot job in the first place. 

The Violin Sonata (1923) dates from Alfano's middle period, when he was intoxicated with the sounds of Ravel and Debussy - the rarefied neo-Classical world of Debussy's Violin Sonata is fused here with post-Lisztian flourishes reminiscent of Ravel's Gaspard de la nuit.  Enrico Pierangeli's transcription of two pieces dating from 1933 and the 1945 Piano Quintet return to the more overtly melodic style of his youth, but with a new sophistication of almost Fauréan sensibility.
   
   Considering these are world-premiere recordings, it is remarkable how totally inside Alfano's distinctive idiom these outstanding musicians sound. 
Elmira Darvarova, a former concertmaster of the Metropolitan Opera, plays with intoxicating tonal beauty and beguilingly sensuous phrasing, and is well matched by her colleagues in the Quintet (Darvarova, Samuel Magill and Scott Dunn have already recorded Alfano's Cello Sonata and Triple Concerto for Naxos).  There's atmospheric and well-balanced engineering from John Baker.



http://www.thestrad.com/reviews/alfano-violin-sonata-in-d-major-piano-quintet-in-a-flat-major-nenia-scherzino


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The extraordinarily incandescent violinist, Elmira Darvarova, enlivens every note (and there are lots of them!) of Alfano's Sonata in D, imbuing each phrase with her special intensity and subtlety; by turns heroic, then pensive; whimsical, then emphatic. It is a mammoth work - each movement could stand alone as a mini-sonata in itself. Alfano's music here brings to mind the quote of Samuel Taylor Coleridge: "All poetry is the discovery of unity in variety." Many moods are evoked in these three movements, and they are projected seamlessly by Ms. Darvarova and Scott Dunn, not a "collaborator," per se, but a co-interpreter, whose elegant, lyrically sung, and yes, impassioned piano artistry underpins all of the music in this delightfully exuberant Romantic excursion. Alfano provides the unifying blueprint's variety; Darvarova and Dunn their own tonal variety and structural unity, bringing the Sonata, freshly and glowingly, to vibrant life. Alfano must be in "seventh heaven," hearing such a hearty, sympatico realization of his work, from his celestial aerie.
        EXCERPT from REVIEW on AMAZON.COM

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At long last the Alfano Violin Sonata and Piano Quintet have now been recorded and what a revelation the Sonata is! This is to my mind one of the very finest of 20th century violin sonatas and deserves to be heard alongside those by Bartok, Ravel and Prokofiev. And it is really on another level beyond that of Respighi in its inspiration and depth of feeling. Elmira Darvarova and Scott Dunn have produced a world class performance and Darvarova's complete mastery of her instrument is breathtaking. Everything is perfect, from the soaring melodic line to the command of both her bow and left hand. Dunn's playing is grand and sumptuous. Together they take one to another plane of existence! I cannot recommend this CD highly enough. The engineering is first rate as is the recording space.
..........

        EXCERPT from REVIEW on AMAZON.COM

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 NEW FROM URLICHT AUDIOVISUAL (UAV-5998)


            Cover Art: Mahler II Urlicht by Paula Arciniega








       SONGS FOR MAHLER IN THE                        ABSENCE OF WORDS

                   New Release
  by the NEW YORK PIANO QUARTET        on the URLICHT AUDIOVISUAL LABEL



    MAHLER'S and SCHNITTKE'S PIANO QUARTETS, plus               SEVEN WORLD-PREMIERE RECORDINGS of WORKS INSPIRED by MAHLER, INCLUDING 3 REALIZATIONS of HIS UNFINISHED SKETCH for a SECOND MOVEMENT (by Gernot Wolfgang, Alfred Schnittke and Enguerrand-Friedrich Lühl).




 
This CD is dedicated to Norman Lebrecht, whose artistic                                   advice was a great inspiration.




         
              (click below to purchase on Amazon.com:)

http://www.amazon.com/Songs-Mahler-Absence-Words-Quartet/dp/B0088XQC94/ref=sr_1_2?s=music&ie=UTF8&qid=1380104246&sr=1-2&keywords=new+york+piano+quartet






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                 +++++++++++++++++++++++++++++
                              ++++++++++++++++



         
 NEW FROM URLICHT AUDIOVISUAL (UAV-5996)


               Cover Art: Mahler Des Knaben Wunderhorn 
                                    by Paula Arciniega



                  JOSEF MARX - RHAPSODIE
             ERICH KORNGOLD - SUITE Op. 23






        photo: Yui Kitamura





       NOW AVAILABLE from Amazon.com:


                         (click on the link below)

http://www.amazon.com/Marx-New-York-Piano-Quartet/dp/B00ABMAH1E/ref=sr_1_1?s=music&ie=UTF8&qid=1380104219&sr=1-1&keywords=new+york+piano+quartet









          REVIEW in GRAMOPHONE (May 2013):


    

The New York Piano Quartet offer ultra-impassioned, vividly detailed performances of Korngold and Marx

                                 GRAMOPHONE,  MAY 2013

Forgotten Viennese quartets rediscovered by the New York Piano Quartet

by Donald Rosenberg

   The New York Piano Quartet could be considered a corporate musical archeologist, at least judging from this welcome recording.  The players - all members of the Metropolitan Opera Orchestra  - restore life to works by the Austrian composers Joseph Marx and Erich Wolfgang Korngold long left on the shelf of history.

   Marx (1822-1964) spent most of his career in Vienna as a prominent teacher and critic whose music tended to be overshadowed by the works of other composers. The Rhapsody in A Major for piano, violin, viola and cello epitomises his embrace of Romanticism and succeeding styles, yet the work claims a richness of expression throughout the four movements. The writing abounds in sweeping and ardent gestures, as well as wistful Brahms-like touches.

   Known principally for operas and his swashbuckling Hollywood scores, Korngold (1897-1957) also turned out a generous array of concert and chamber works, such as the Suite, Op.23, for the unusual combination of two violins, cello and piano left-hand. Written for the one-armed pianist Paul Wittgenstein, the five-movement score runs the gamut from brooding fugue and teary-eyed waltz to moonlit lyricism and dashing finale.

   Both pieces receive ultra-impassioned, vividly detailed performances by the musicians of the New York Piano Quartet. Given the fact that Marx and Korngold aren’t shy about wearing hearts on sleeves, the players dig into the music with alacrity, the strings often employing juicy vibrato and slides to emphasise the composers’ expressive points. The artistry has the excitement that often transpires when something significant has been unearthed and savoured.
                                                                   -Donald Rosenberg




                

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                          Available on I-Tunes:

   Tchaikovsky Concerto for Violin & Orchestra
                                       recorded live

        
 
                        click below to buy on ITunes:

                

https://itunes.apple.com/us/album/pyotr-ilyich-tchaikovsky-concert/id474098223






++++++++++++++++++++++++++++++++++++++++++++++++++

             UPCOMING CD RELEASES:

   "Violin Declamations from          the Twilight of the Socialist              Worker's Paradise"-

a solo violin CD, with works by

       Schnittke,  Khachaturian,           Firsova, Smirnov, Zaborov,       Badinski, Denisov, Bodorova,      Soukhovetski, Kathmeridou. 


This CD includes 4 world premieres          to be released in 2017
 
                          
                   *********

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        "Souvenirs d'Ysaÿe"                to be released in 2018.  
   Works by
Ysaÿe, Serebrier,             Gaudette, Oesterle.



     ++++++++++++++++++++

                **************
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 "From Bach to Blues" - a solo      violin CD, to be released by         AZUR CLASSICAL in 2018.


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     SUITES for SOLO VIOLIN

         by STEPHEN BROWN 

            to be released by

  TOCCATA CLASSICS in 2018



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         BRAHMS SONATAS
      with pianist ZHEN CHEN
        to be released in 2018


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   DAVID AMRAM & FRIENDS 
            to be released by 

  TOCCATA CLASSICS in 2018



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     FRENCH MASTERPIECES

            for Violin & Harp

to be released by AZUR CLASSICAL in 2018




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