Madrid, 1944. José Luis García Asensio was born in Madrid in 1944. When he was sixteen he won the Sarasate Prize and at twenty-two became a teacher of violin virtuosity at the Royal College of Music in London-the youngest teacher ever in the history of that famous school. He studied with the great conductor Sergiu Celibidache. For more than twenty years he was first violin-conductor of the English Chamber Orchestra, with which he led a very active artistic life and made important recordings, such as the Mozart concertos for violin and orchestra and Vivaldi's The Four Seasons. In 1992 he joined the staff of the Escuela Superior de Música Reina Sofía and one year later acceded to the Chair of Violin.
Biography
Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvious attitude. Listen for example to symphony Nr. 9 - it is complete! There is really not much to add as I see it. The above mentioned piece gave him, at last, at bit of economical success and he could live his last years in relative wellfare. But this period is still characterized by his lack of funds, much because his former patrons no longer could support him. Maybe the lifelong poverty is a reason for his deteriorating health and his death on March 26 1827.
Biography
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2139: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2155: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2243: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2298: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2316: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 6832: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
II. Larghetto
CLASS 2305: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
II. Larghetto
CLASS 2316: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
III. Rondo (Allegro)
CLASS 2298: [O.V.: Spanish] [Tras: English ]
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
III. Rondo (Allegro)
CLASS 2305: [O.V.: Spanish] [Tras: English ]

Israel. Born in Israel, Yair Kless studied with Israel Amida and André Gertler at the Tel-Aviv Academy of Music, continuing his education in Brussels at the 'Queen Elisabeth Musical Chapel' Conservatory. Yair Kless started performing at a very early age and his activities as soloist and chamber musician soon became well known the world over. His extensive repertory includes works from the baroque to pieces composed especially for him. He was a member of the Israeli Baroque Musicians and first violin of the Sol-La-Re Strings Quartet, the Tel-Aviv Piano Quartet and the American New Art Trio. At present, Yair Kless is member of the Israel Modus Trio, a strings quartet performing jointly with several pianists. He is also member of the Stradivari Sextet that appears throughout Europe and with his son Ëyal, also a violinist. Yair Kless is known the world over as one of the most prestigious violin professors. Many of his students have been winners of prizes at international competitions and at present hold important positions in the Israeli world of music and in the rest of the world. During many years he has been in charge of the Strings Department of the Rubin Academy of Music and between 1989 and 1993 he was head of said institution. At present is a jury member in several international competitions. Yair Kless regularly participates in summer courses and in prestigious music festivals, such as the Salzburg Festival. He is also invited to give master classes in the U.S.A., the ex-Soviet Union, Germany, Ireland, Finland, France, Australia, England, Italy, Poland and Holland. Since 1995 Professor Kless teaches in Europe as Professor of the University of Graz in Austria and in Israel.
Biography
Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvious attitude. Listen for example to symphony Nr. 9 - it is complete! There is really not much to add as I see it. The above mentioned piece gave him, at last, at bit of economical success and he could live his last years in relative wellfare. But this period is still characterized by his lack of funds, much because his former patrons no longer could support him. Maybe the lifelong poverty is a reason for his deteriorating health and his death on March 26 1827.
Biography
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 4840: [O.V.: English] [Tras: Spanish ]

Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvious attitude. Listen for example to symphony Nr. 9 - it is complete! There is really not much to add as I see it. The above mentioned piece gave him, at last, at bit of economical success and he could live his last years in relative wellfare. But this period is still characterized by his lack of funds, much because his former patrons no longer could support him. Maybe the lifelong poverty is a reason for his deteriorating health and his death on March 26 1827.
Biography
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2102: [O.V.: English] [Tras: Spanish ]

London, 1934. With his exceptional skill and dedication both as a performer and a teacher, David Zafer has earned international acclaim as one of Canada's leading assets in the field of classical music. In addition to the refinement of his own talents as a performer he has, for more than 30 years now, focused with remarkable commitment and innovation on developing young Canadian musicians. From 1966 to 1999 he has been a Professor of Violin in the Faculty of Music at the University of Toronto, where he is 'professor emeritus' at the present time. He has been founder and director of the Chamber Orchestra at the Toronto University until his retirement. David Zafer is required to give master classes in prestigious schools, such as the Menuhin School in Surrey (England); the Meadowmount Summer School; the British University of Columbia; the University of Rice in Houston (Texas), and he is invited regularly by the Superior School of Music Reina Sofía. Also he has directed the European Seminary of Strings in Budapest and he has given master lessons in Prague. In 1998, Mr. Zafer conducted the Real Chamber Orchestra of Seoul (Korea) and this concert was televised to all the country. For 25 years he has been titular conductor and violin professor of the Toronto Symphony Youth Orchestra and he has made tours with this orchestra to the Young Orchestras Festivals in Aberdeen (Scotland), Boston and Banff. In 1997, he recorded a very successfully CD with the Toronto Symphony Youth Orchestra during a live performance in the Ford Center for the Performing Arts of Toronto. At the present time, he gives private classes and he goes on performing with different orchestras and chamber groups. Also he counts on innumerable commitments in different festivals. His new project is the Toronto Chamber Youth Orchestra, of very recent creation.
Biography
Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvious attitude. Listen for example to symphony Nr. 9 - it is complete! There is really not much to add as I see it. The above mentioned piece gave him, at last, at bit of economical success and he could live his last years in relative wellfare. But this period is still characterized by his lack of funds, much because his former patrons no longer could support him. Maybe the lifelong poverty is a reason for his deteriorating health and his death on March 26 1827.
Biography
Concierto para violín y orquesta en re mayor op 61 (reducción para violín y piano)
I. Allegro ma non troppo
CLASS 2169: [O.V.: English] [Tras: Spanish ]
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