TANGOS CLASICOS

01. El Amor Desolado (Jorge Falcon)

Writer: Ruggero Leoncavallo
Tenor: Jonathan Cozzino

Pagliacci / Act 1: “Recitar!… Vesti La Giubba”

A voyage through musical time and space. Original release in 2009.
This album won the OPUS Prize of the "Conseil québécois du Québec" (CQM), Canada, in 2011 in the "World Music" category.

Libertango (Astor Piazzolla)

Sucessos Italianos

Il Mondo

Tim Fain, violin
Francisco Fullana, violin
Robert Koenig, piano

Por Una Cabeza (Carlos Gardel)

La Valse Perdu - Official video (Claudio Constantini, bandoneon)

Boring Music II
Violin, Cello and Organ

SCORE VIDEO
https://www.youtube.com/watch?v=5ZulZRiSvdI&pp=0gcJCRUKAYcqIYzv

Boring Music II

Grabetta de Rubén Juárez y Cristián Zárate en un bar de Neuquén
Viva el Tango y viva él.

Rubén Juárez / Cristian Zárate - Pasional

My Music - My World - The Very Best Of

Nessun dorma (From Turandot) (Live)

Tango Argentino

Garganta Con Arena

Best Classical New Age Piano Music

Ludwig van Beethoven - Ode to Joy

Toccata and Fugue in D minor, BWV 565 (not to be confused with a series of German cars), attributed to Johann Sebastian Bach. This is from around 1700 but sounds timeless to me.

Live video: http://www.youtube.com/watch?v=GGUBreY-6J8

I'm using the Nord Stage 2 sampled church organs and I've added some harpsichord to try to give it a little bit different feel. I only play the beginning and the end of the fugue (the middle part is less fun...) Organ (and harpsichord) are not the most expressive instruments - you can't control the volume of each note - yet this piece works so well and is so overwhelmingly beautiful.

Cute story: I remember attending church every Sunday when I was a kid and naively hoping they'd play this piece!

Video

J.S. Bach - Toccata & Fugue in D minor [organs + harpsichord]

Por Una Cabeza

Volver

Una Furtiva Lagrima Dub Session Mental Physix Luciano Pavarotti David Sylvian Freek Banning

Una Furtiva Lagrima

watch

With his adventuresome spirit and vast musical gifts, violinist Tim Fain has emerged as a mesmerizing new presence on the music scene.  The “charismatic young violinist with a matinee idol profile, strong musical instincts, and first rate chops” (Boston Globe) was most recently seen on screen and heard on the soundtrack of the new hit film Black Swan, and heard as the sound of Richard Gere’s violin in Fox Searchlight’s feature film Bee Season. Selected as one of Symphony and Strad magazines’ “Up-and-Coming Musicians,” Fain captured the Avery Fisher Career Grant  and a Young Concert Artists International Award.  As The Washington Post recently raved, “Fain has everything he needs for a first-rate career.”

He electrified audiences at debuts with the Baltimore Symphony with conductor Marin Alsop, at Lincoln Center’s Mostly Mozart Festival and with the Orchestra of St. Luke’s.  He has also appeared with the Mexico City and Oxford (UK) Symphonies, Cincinnati Chamber Symphony, Brooklyn and Hague Philharmonics, and the Curtis Symphony Orchestra in a special performance at Philadelphia’s Kimmel Center.  In addition, he was the featured soloist with the Philip Glass Ensemble at Carnegie Hall in a concert version of Einstein on the Beach and continues to tour the US and Europe in a duo-recital program with Phillip Glass.

Fain appeared in recital at the Ravinia Festival, Amsterdam’s venerable Concertgebouw, Isabella Stewart Gardner Museum, the Kennedy Center Mexico’s Festival de Musica de Camara in San Miguel de Allende, Carnegie’s Weill Hall, California’s Carmel Mozart Society, University of Georgia, Boston’s Ives and Ringling International Festivals, San Diego Art Institute, University of California at Davis, Alice Tully Hall, the 92nd St Y, and elsewhere across the globe. His multi-media evening Portals premiered to sold-out audiences in New York, Los Angeles and at its midwestern premiere at Omaha’s KANEKO. The centerpiece of the evening is Partita for solo violin, a new work written especially for him by Philip Glass, and also features collaborations with Benjamin Millepied, Leonard Cohen, film maker Kate Hackett, and with radio personality Fred Child and pianist Nicholas Brittel appearing on screen.  

A dynamic and compelling performer in traditional works, he is also a fervent champion of 20th and 21st century composers, with a repertoire ranging widely from Beethoven and Tchaikovsky to Aaron Jay Kernis and John Corigliano; as the Los Angeles Times recently noted, his career “is based, in part, on new music and new ways of thinking about classical music.“  His provocative debut CD Arches, music for solo violin, reflects Fain’s inquisitive passion and intellect, combining old and new solo works by J.S. Bach, Fritz Kreisler, Kevin Puts, Mark O’Connor, Daniel Ott, and Randy Woolf. His new disc, River of Light (Naxos), brings the tradition of the virtuosic short piece into the present, with short works by living American composers.

He has collaborated with such luminaries as Pinchas Zukerman, Richard Goode, Jean-Yves Thibaudet, Jonathan Biss, has appeared with the Mark Morris Dance Group, Seán Curran Company, and Bill T. Jones/Arnie Zane Dance Company, and appeared onstage with the New York City Ballet, performing alongside the dancers in the acclaimed premiere of Benjamin Millepied’s “Double Aria." He has also worked with jazz pianists Billy Childs and Ethan Iverson (The Bad Plus), guitarist Rich Robinson (Black Crowes), and appeared at Jazz at Lincoln Center with singer-songwriter Rob Thomas (Matchbox 20). 

A sought-after chamber musician, Fain has performed at the Chamber Music Society of Lincoln Center, New York’s Bargemusic, Chamber Music Northwest, and the Spoleto (Italy), Bridgehampton, Santa Fe, Caramoor, Bard, Lucerne (Switzerland), “Bravo” Vail Valley, Moab, and Martha’s Vineyard Festivals. He has toured nationally with Musicians from Marlboro, and was first violinist of the Rossetti String Quartet. 

A native of Santa Monica, California, Tim Fain is a graduate of The Curtis Institute of Music, in Philadelphia, where he studied with Victor Danchenko, and The Juilliard School, where he worked with Robert Mann.  He performs on a violin made by Franceso Gobetti, Venice 1717, the “Moller,” on extended loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago.

Por Una Cabeza (Carlos Gardel)

TimFain

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