Lorezno Gatto in recital from Barcelona in 2010 this week. Accompanied by Éliane Reyes they play music of Mozart, Tchaikovsky, Saint-Saens, Ysaye and Prokofiev – all recorded live and preserved for posterity by Radio Nacional España on December 2, 2010.
A few weeks ago I ran a relatively recent concert featuring the celebrated Spanish conductor Josep Pons – it was quite popular with readers and it confirmed my suspicions that there is a lot of good music being made by relative newcomers who, like their predecessors, share a wonderful gift of talent and unique point of view. That’s not to say there’s no room for the Moura Lympanys or Martha Argerichs on the Mid-Week concert schedule, far from it. But it means there’s room for some balance and that newer talents, those artists just arriving on the scene, are just as valid and appreciated – plus, it makes for new discoveries. As with everything I do on this site; I try to offer the best of everything, or at least some contrasts for you to form on opinion.
That said – here are two artists who have started coming into their own and who are good to hear from.
Here are a few words from Opera Musica about Lorenzo Gatto:
“When Lorenzo Gatto studied violin at the Queen Elizabeth Music Chapel – with dreams of law, math and becoming an aeronautical engineer – the first encounter with the Queen Elisabeth Competition. He felt the need to start anew, and studied for four years with Boris Kuschnir in Vienna. This prize is awarded Second Prize and the Public Prize at the Queen Elisabeth Competition 2009.
The invitation to the ‘Rising Star’ 2010 Philippe Herreweghe, Vladimir Spivakov, Walter Weller, Jan Willem van Vriend, Jaap van Zweden, Martin Sieghart, Andrey Boreyko and Yannick Nézet-Séguin. Recently, Lorenzo has started collaborating with the talented young Belgian pianist Julien Libeer. He makes recordings on a regular basis.
Gatto: ‘From my teachers Veronique Bogaerts, Augustin Dumay, Herman Krebbers and Kuschnir, I have understood that to discover musical ideas while playing, and letting the music grow in a natural way, takes a lot of time in preparation. Sometimes old masters give the impression of playing slower than we do today. It’s surely not a question of tempo: it’s a question of relaxing, of savoring every note, of taking the time to understand.
François Lafon wrote: ‘Style, tone, musicality, inventiveness: Lorenzo Gatto is the true heir of the famous Franco-Belgian school of violin – from Vieuxtemps through Ysaÿe, Grumiaux and Dumay. His Concerto Breathes freely but without pathos, his romances are lyrical wonders. ‘
And for Éliane Reyes, this from Wikipedia:
“First trained by her mother, she then went to the Royal Conservatory of Brussels. This was followed by the prestigious Queen Elisabeth Music Chapel in Jean-Claude Vanden Eynden’s class. From there she went to the Hochschule der Künste in Berlin, to the Mozarteum in Salzburg with Hans Leygraf, the Lemmensinstituut with Alan Weiss and thereafter to the Conservatoire National Supérieur de Musique in Paris under the aegis of Michel Beroff, Brigitte Engerer and Jacques Rouvier. During her training, Ms Reyes also attended numerous master classes with Martha Argerich, Vladimir Ashkenazy, Paul Badura-Skoda, Murray Perahia, Abdel Rahman El Bacha, György Sebők, Michel Beroff, Brigitte Engerer and Vitaly Margulis. Upon completion of her studies, she was appointed professor of complementary piano at the Conservatoire National Supérieur de Musique de Paris (CNSM).
Eliane Reyes has a predilection for French composers and contemporary music. Her discography consists of works by Nicolas Bacri, F. Chopin, C. Debussy,[Benjamin Godard]], F. Liszt, Michel Lysight, Darius Milhaud, Maurice Ravel, Alexander Tansman, as a consequence she obtained many awards such as “Pianiste Maestro” by the French magazine Pianiste, “Ring” by Classic Info, “Joker” by Crescendo Magazine and a “Supersonic” award from Pizzicat and notably from ResMusica, where she was awarded “La Clef d’or” for her solo recording of the 24 Intermezzi by A. Tansman.
A number of very prominent figures of the music world think highly of her. These include Vladimir Ashkenazy, who upon hearing her at a very young age declared: “For many years no one has impressed me as much as this young pianist,” as well as Martha Argerich, “A wonderful talent for music” and Tibor Varga, who after conducting her in a Joseph Haydn concerto at the age of 10 had this to say about her performance: “… touching, deeply moving, unforgettable.”
Here they are together, in recital from a concert given in Barcelona on December 2, 2010 – with Spanish announcements and a splendid time guaranteed for all.