Alban gerhardt plays haydn biography
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Alban Gerhardt
German cellist (born 1969)
Musical artist
Alban Gerhardt (born 25 May 1969) is a German cellist. Since his debut with the Berlin Philharmonic in 1991, he has appeared with many of the world's leading orchestras.[1]
Early life and education
[edit]Born to a musical family, Gerhardt's mother sang coloratura soprano, and his father, Axel Gerhardt, was a second violinist of the Berlin Philharmonic for over 40 years. His brother Darius is a guitarist.[2]
Gerhardt took up both the piano and cello at age eight, and studied with Marion Vetter and Götz Teutsch of the Berlin Philharmonic, and eventually began working under Markus Nyikos. He had also been a student of Boris Pergamenschikow and Frans Helmerson.[3]
Career
[edit]Gerhardt's debut came in February 1987, when he performed the Haydn Cello Concerto No. 2 at the Philharmonie Berlin. He won top prizes in several competitions including the 1990 Deutsche Musikwettbewerb in Bonn and the ARD International Music Competition in Munich that same year. In 1993, he won the International Leonard Rose Cello Competition and in 1994, the Young Concert Artists Audition in New York.[4] His international career was launched in 1991 when he made his debut with the Berlin Philhar
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Program: Cellist Alban Gerhardt
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German cellist Alban Gerhardt review an intemperate musical swashbuckler who loves "the delivery of rendering freelancer" introduction he puts it.
On situation he's a totally formidable presence. Unvarying when acting the well-worn concerto favourites it's monkey if it's for representation first move last time.
Off stage, glimpse interviewed, blogging and placard on public media, he's refreshingly open and regulate, happy harm share his strong extract sometimes tempting opinions give the once over life sit music, topmost the ups and downs of a busy harmonious career.
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Born now almost five decades ago into a household filled with music, I must say I was lucky enough of not having been pressured at an early age into making music too soon. Instead I heard my mother’s beautiful voice in practice and performance; I jealously interrupted my father’s quartet rehearsals; I heard—as a toddler outside of the church where Karajan always loved to record—all of the sessions for Wagner’s Ring der Nibelungen(perhaps why I’m not his biggest fan!); and I sat through several other operas and concerts of the Berlin Philharmonic Orchestra, of which my father has been a member since 1966.
When I was four years old, my Dad tried to make me play the violin—an experiment which failed miserably not only with me but with all of my four younger sibblings. Frustrated by our father’s perfect command of his instrument, all of us got started with the piano, which I still think is the best way to “meet” music in practice. And one day, my sister Manon had just begun the violin experiment, my mother asked me if I was interested in playing another instrument besides the piano, and “how about the cello?” To get her out of my face, eight-year-old Me agreed, and my mother claims now that she could have named any instrument and I would have taken it on.
Although I didn’t t