Johannes moser shostakovich biography

Alone Together is one of the first classical music albums to use multi-tracking so extensively. Johannes is renowned for his efforts to expand the reach of the classical genre to all audiences, and his passionate involvement in commissioning new works for his instrument. Download programme biography. Cellist Johannes Moser shares his insights into his musical beginnings, and how he has mentally prepared for a debut with the Berlin Philharmonic.

He describes his work with a sports psychologist, and the musical momentum that came from auditioning for conductors. He brings together modernist elements, but he's a classic in a way. I love the two violin concertos! But the 19th and 20th century is full of great cello masterpieces, so to complain about shortage of repertoire would be quite bizarre!

It's a very different experience from performing concerts. The concert lives off of an exchange of energy with the audience, so not only do you send energy into the hall, but also you have energy coming back from the audience. You don't have that counterpart in a recording. You have to play to an imaginary counterpart. Making music is a strange thing: you play it, and after two to three seconds, the sound is gone!

A recording is evidence for myself about how I was thinking at that stage of my life. I find it interesting to make a record and to know what it was like. I don't believe records are for eternity. They are children of their time. I'm doing an orchestral recording in with concertos by Hindemith, Honegger, and Martinu. Coming out this year is the third edition of recordings in the "Brahms and His Contemporaries" series.

I gave the first performance of a piano trio by Christian Jost at the Jerusalem Festival. He's writing a piece for twelve female singers, organ, and electric cello that is going to be premiered in May He's also writing a cello concerto for me. Fabrice Bollon also wrote an electric cello concerto for me. What really fascinates me is the dialog that I can have with a composer about his music.

It has a very interesting side effect: getting into the minds of composers of today helps me understand what composers of another time were thinking. This opportunity is always wonderful for me! However, history has it that composers have not always been the best executors of their own works, so, as an instrumentalist, I do feel that I am a useful tool in the whole process.

This is a very important work for me: I played it in Moscow at the Tchaikovsky competition in the finals. Reading is important to me. Most of the time I'm traveling. I like to read different biographies at the same time. He was in Munich [Garmisch], while Alma was in Vienna. It gives you a great sense of European history through these very important people of the time.

I find that fascinating. Also, when you read a biography of Strauss even the Sinfonia domestica makes sense! It keeps me in shape and hopefully healthy with all the traveling I am doing. Also, I am turning more and more into a culture junkie, I love to go to the cinema, to concerts, to the theater when I am in Berlin. Outside of music I admire people like the architect Le Corbusier and, to choose someone more contemporary, Apple's Steve Jobs.

But to tell you the truth, last month I heard a really great squeaky sound deriving from the brakes of a car, and it inspired me to look for this sound on my electric cello, so you see, I try to get inspiration from wherever I can. Stalin was the notorious Soviet dictator, known for his brutal ways, whose government had denounced Shostakovich's work and labeled him an "enemy of the people.

I find that very cool: it was so secret that even for people who were really in the know, it had to be explained to them. The first Shostakovich cello concerto has a written-out cadenza that is four and a half minutes long, "and it's definitely full of cellistical fireworks! At the end of the cadenza, Shostakovich definitely showcased the possibilities for the cellist.

For his part, "Rostropovich played this piece everywhere on the planet, and it soon became one of the most-performed cello concertos," Moser said.

Johannes moser shostakovich biography

It was one of those Rostropovich extravaganzas, and of course growing up with all his recordings, that was a big moment for me. While Rostropovich asked many composers for new music, he also left the work of creating it their hands, without interfering. Moser said he finds that to be an ideal model. But otherwise I leave composers alone, and I understand Rostropovich did something similar.

I feel it's a good model, a way to keep classical music fresh and also to give birth to new pieces. So sorry about this, but my attempts to play the 'Cello failed miserably excepting one later thing! Such angst in daily living is quite 'foreign' to North American culture, as you are most certainly well aware It appears this becoming common 'condition' requires Much Discussion!

In he premiered Magnetar for electric cello by Enrico Chapela with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and in the following season he continued this relationship with the orchestra performing Michel van der Aa's cello concerto Up-close. Throughout his career, Johannes has been committed to reaching out to all audiences, from kindergarten to college and beyond.