live performance of
Oblivion by Piazzolla, transcribrd for four celli by Villarejo.
Cellists- Avigail Arad, Michal Beck, Emanuele Silvestry and Micha Haran
at BYU Jerusalem Center, July 7th 2013

Piazzolla Oblivion

Armando Trovajoli - Greatest Hits

Un'ora di bellezza (From "Passione d'amore")

15 Arno Babajanyan - Danza di Vagharshapat

Here is a beautiful collaboration on a Bach's invention with my friend-guitarist Haris Oikonomou.
Video Available Here: https://www.youtube.com/watch?v=63ngEMJv_J0

J.S.Bach-Invention No13-Guitar Duet.Guitars: Ioannis Dimitropoulos,Haris Oikonomou

The Masters Of The Roll - Rarities, Vol. 1

Waltz (For Claudio Arrau) Impromptu In F Minor, Op.142 No.4

The Godfather Waltz

Bonus cut from the Japanese Edition of Dusker.
Released on Plancha.
May 2016.

http://www.artuniongroup.co.jp/plancha/top/releases/artpl-075/

An alternate Airplaneshadows rebuild from the Dusker era that we ended up shelving.

Dusker [Japanese Edition]

Crane Ensemble

Crane Ensemble [Bonus Track for Dusker - Japanese Edition]

BRAHMS | WEBERN | BERG

For acclaimed pianist Pina Napolitano, there is no better way of looking at art and history than through the lens of inverted time, from the present to the past. This seems to be what Schoenberg invites us to do in his essay, “Brahms the Progressive”, in which Brahms, often considered a musical “conservative”, becomes instead the father of modernism. This provides the essence of this album: traversing time in two directions, looking at Brahms from the future of the modern Viennese, and vice versa, looking at the Second Viennese School from the past of Brahmsian romanticism. 

For Pina Napolitano there are romantic echoes in the works of the Second Viennese School; an enormous expressive force distilled and compressed, all the way up to Webern’s rarefied language where even the silences are charged with music and significance. And on the other hand she has always perceived Brahms’ music as a magic prism, in which an entire musical past (encompassing Bach, Beethoven, Chopin, Schumann…) merges together, before breaking off into rivulets that will give birth to 20th-century music.

We hear on this album Berg’s Op.1 Sonata, in which there is an intricate network of motivic relations, rhythmic flexibility and metrical ambiguity, the music unfolding with the sort of fluidity and connectedness which are hallmarks of Brahms’ style. Harmonically, the sonata begins and ends in B minor, but includes a range of non-tonal harmonies. Webern’s Satz (1906) was written not long after he had begun to take lessons with Schoenberg, but the piece shows clearly how Webern’s music grew out of the 19th century. Written in 1924, Webern’s Kinderstück is his earliest complete piece using 12-note serialism, but it is with his Variations, Op. 27 (1936) that we hear a more typically sophisticated serial technique from Webern.

If Webern’s Op. 27 looks back to Brahms in its sense of motivic connectedness, it is perhaps possible to see the opening Intermezzo of Brahms’ Op. 119 looking forward to Webern. Both Opp. 118 and 119 were written in 1893 and are among Brahms’ final works. Brahms gives the sets the title of Klavierstücke – which Schoenberg would use later for his own works for solo piano.

Italian pianist Pina Napolitano made a splash with her debut CD in 2012: Norman Lebrecht featured her recording of Arnold Schoenberg’s complete piano works as his CD of the Week, shortlisting it for his Sinfini Music Album of the Year; Guy Rickards in International Piano Magazine called the CD “outstanding”, citing the “tensile strength to her playing that is distinctly hers”, and Calum MacDonald in BBC Music Magazine gave it five stars for its “rare penetration, understanding, grace and elegance.”

12 - Anton Webern - Variations Op. 27 - II. Sehr Schnell

Ludwig van Beethoven: Sonata No. 1 for Cello and Piano in F Major, Op. 5/1
Benjamin Capps, cello; David Kaplan, piano

Recorded at Vermont Public Radio, Colchester, VT
Producer: Joe Goetz
Audio Engineer: John Billingsley

Beethoven: Cello Sonata No. 1 in F Major, Op. 5 No. 1

Tina Guo, Cello
Live in Brazil with the Petrobras Symphony
Movement 1 

Tina Guo: Elgar Cello Concerto Mvt. 1 Live Recording

"Alchemy" is my first album I have recorded and published under my new label Vanishing Records. The title of the album refers to the ancient practice of chemistry and seemingly magical process of transformation, the alchemy of one thing turning into another, and here in more poetic form - and represented by a carefully curated set of pieces - the alchemy of us and what we do with that powerful idea.

---
Pianist: Igor Lipinski
Recording engineer: Igor Lipinski
Recording dates: March 28-30, 2020
Recording venue: Pitman Recital Hall at the University of Oklahoma in Norman, Oklahoma
Piano: Steinway Concert Grand Model D #611594
Piano technician: Peter Krauss
Photography: Jiyang Chen
Record label: Vanishing Records

Handel: Minuet in G Minor (arr. W. Kempff)

Odradek Records is a democratic classical cooperative, non-profit and artist-controlled label and concert association, promoting new artists and fresh repertoire.

Entrance to our roster is through anonymous demo.

Our dream is utopian: to separate music-making from markets and create a just system of pure artistic meritocracy.


Odradek Records is not just a new record label. Odradek Records is the first wedge of a larger project, proposing a new way to produce and enjoy classical music. We think that the current model undermines the true essence and significance of music. We think that a model centered on just a few big names, the great concert halls, a limited repertoire that is necessarily restricted by the bonds of popularity--a model that makes its selection of new young performers from the anti-musical system of competitions, the success of which is often obtained through extravagant histrionics rather than the correctness or subtlety of interpretation--and finally, a model that is subject to the exploitation of the marketplace, and which obliges the majority of musicians to pay enormous sums to record CDs, for which the profits then go largely to the record company, thus depriving many very worthy but not wealthy musicians from the possibility of recording--is not only a model that is far from art, but is a model that even itself is in crisis. 

Ideally, music just as other primary goods, should not fall subject to the markets. We know that in a strict sense, this is utopian, but it is precisely this tension towards an unreachable utopia that guides our project.

Odradek Records is a non-profit seeking label. Once production and distribution expenses are recuperated, all of our proceeds go directly to the artist. Odradek Records selects its artists solely through the criterion of utmost quality of the recording and the interest of the proposed program. We don’t want to exclude, but rather include: we are not interested if you have won important competitions or not, neither if you have performed in important halls or signed with major labels. We are not interested in your age or where you come from. The only thing that interests us is whether you play your instrument to a very high and professional level. With us you can record Chopin, but you can also record: Berio, Scelsi, Copland, Carter, Webern, Schoenberg, Ligeti, Kurtag, Ives, and many others.

Our recording studio avails itself of the greatest technical instruments available today.

The distribution of our CDs is guided by an innovative criterion of transparency and flexibility in setting prices.
The rights of the composers and of the artist are protected by Creative Commons copyright (sometimes referred to as “copyleft” policy) because we want to render legal and free all those things that almost everybody already illegally does anyway.

We consider that the distribution of our music is not a one way street, but instead a dialogue. Only the presence of an active public gives true life to an artistic product. Write us. In the comments section you can leave opinions, suggestions, and criticisms of our music and our project. If you want to you can sign up as a “Friend of Project Odradek”, indicating your name, your profession, where you are from, and why you support Project Odradek. Send us your thoughts on the state of music, culture, and the arts: we’ll publish them on our blog.

If you like us, help us spread the word by linking to us from your blogs, sites, and through your social networks.

Odradek Records does not only produce CDs. We are convinced that the truest fruition of music happens in live concerts. For this reason we organize itinerant music festivals, moving from city to city, to promote our disks and music.

And finally, a word about our name: we borrow it from Kafka. Like the worried family man in Kafka’s tale, we are also worried. We are worried that music might become always more and more an odradek, an indefinable and incomprehensible being, whose voice sounds falsely, like the voice of one who is “without lungs”, a being without form, disturbingly replicating that which was once alive, that can plastically become whatever is wished for by those who posses the instruments of power and control. We wish for the cage-like railing surrounding the man of Kafka’s drawing to become instead an instrument to play - we would like to transform our prison into our liberty. 

We would like to restore music to its true role, that of artwork, and restore musical interpretation to its true function, the only one that opens itself towards the possibility of a future: that of a field of research.

Welcome to Project Odradek.

12 - Anton Webern - Variations Op. 27 - II. Sehr Schnell

Odradek Records

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